50 Cent signs new Deal with Caroline/Capitol/UMG & is No longer with Shady/Aftermath/Interscope

Yayo is delusional. 50 stop messing with Yayo and the rest (Banks, Buck, and Game), because he was either doing all the heavy lifting, or due to them being disloyal. Yayo and Banks just got lazy once they had success early on. Once 50 broke through, he put all of them on and they all went platninum with they debut albums with the exception of Yayo who did maybe 700-800k out the gate. That was all due to the strength of 50's buzz at the time and rest being tied to the G-Unit brand which 50 made into a household name. All of them came into the game already ahead and didn't capitalize period. Here it is 10-11 yrs later, and none of them are relevant.
 
wouldn't this route put more money in his pocket and give him more creative freedom? I just hope he doesn't release some crossover b.s.
 
Banks is a great rapper that could have been one of the best and still could be but is lazy as hell and isn't hungry for more. Dude constantly releases music that is well received by the hood/his fan base but he doesn't drop any videos, no tours, no outside business ventures, no nothing.

Yayo? Dudes want to play the position of the sidekick but get mad when they treated like it? Yeah ok...

Dudes just mad at 50 cause he's the type of dude when once he washes his hands with you, that's it. Not every N is about that B.S.
 
GeminiStar said:
Banks is a great rapper that could have been one of the best and still could be but is lazy as hell and isn't hungry for more. Dude constantly releases music that is well received by the hood/his fan base but he doesn't drop any videos, no tours, no outside business ventures, no nothing.

Yayo? Dudes want to play the position of the sidekick but get mad when they treated like it? Yeah ok...

Dudes just mad at 50 cause he's the type of dude when once he washes his hands with you, that's it. Not every N is about that B.S.
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I hate how 50 painted him that way, so everyone took it and ran with it.

Banks also had his dad die and was an active participant in his kids lives.

Being associated with 50 also stunted Banks, because he couldn't work with a lot of artist who would have ordinarily worked with him because of his talent.
 
50, musically, has evolved into a cancer over the past 4-5 years.

i knew banks wasnt feelin the situation eventhough he was never vocal. def didnt think yayo was gonna jump ship either.

we've all seen this movie before tho. unfortunately, all power houses crumble eventually...
 
smh. still want a new g unit mixtape complete with whoo kid gun shots. the ppl want MUSIC, not this ******** drama stuff.
 
50cent‏@50cent·36 mins
New music today 12:30 est Animal Ambition. THE FUNERAL ( 50 bars of pleasure & pain part 2.



wow, guess he could release music quicker :lol:
 
50 babied g-unit way too much which a lot of ppl been saying since around the time Hunger for More dropped in 04. He did all he could for them dudes. He showed them how to manuever in the industry, made them millions before they even dropped their solo albums. He gave them the ball and them fools dropped it smh.
 
Idk what the hell Banks was doing after Beamer Benz & Bentley & Start It Up and didnt keep it rolling. Both those records were everywhere...especially "Start It Up" :smh:

Right then and there I thought Banks was going to continue making his own lane
 
160jordansdeep said:
its the end of an era

the only thing capital records has is the beatles pink floyd tina turner catalog coldplay & katy perry and other acts from years ago

only rap acts to ever make any money on capital records where mc hammer and vanilla ice & since no one buys music anymore 50's will be lucky if he touches 300,000 sales in any format for capital records

Lloyd banks last album tanked on capital and he had a hit or 2 from that album
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LOL at you thinking records sales matter
 
PolosandDunks said:
Idk what the hell Banks was doing after Beamer Benz & Bentley & Start It Up and didnt keep it rolling. Both those records were everywhere...especially "Start It Up" :smh:

Right then and there I thought Banks was going to continue making his own lane
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Exactly

Like, can you really blame 50 for not wanting to **** with these N's anymore? How long is he supposed to hold grown 25+ men hands?

"Give a man a fish, and you feed him for a day; show him how to catch fish, and you feed him for a lifetime."

50 taught them how to fish and they still ain't do nothing with it.

 
There is blame to be had all around with the demise of g-unit. Part of it was 50 over saturating the market with music. And part if it was the lesser skilled members getting an album. Mainly yayo. Also remember he did sign spider locc and 40glocc. Errors all around. Em and dre should have checked him earlier. Or maybe they knew he'd self destruct and wanted to milk the cow dry beforehand.
 
How did he over-saturate the market with music? All the main members got album releases, plus Mobb Deep and Lil' Scrappy had momentum with their stuff (whether the quality was there or not is another story). The main problem (other than the 50 practically out-casting himself) was getting way too many people involved, signing guys who you knew would more than likely never release an album. G-Unit for the long haul should've been either just 50/Banks/Yayo or 50/Game/Banks/Buck/Game. That were the heavyweights (yes, even Yayo), and that's how it should have stayed. Things always get messed up when you bring in too many people, especially ones you're not all that familiar with personally.
 
nobody f'n with that *new joint though?

Thats what i want to hear from fif...!
 
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Fif cut ties with Bang Em and Domination... then Game.. then Buck and Olivia.. it was bound to happen with Yayo and Banks too

It's not going to happen but it would be cool if Game, Buck, Banks and Yayo jumped on a track together.

Also when the Unit had Mase, MOP and Mobb Deep and didn't do anything with that giant roster you knew Fif was never going to do anything productive with G Unit, hes too busy with his non music ventures
 
Pretty much the nail in the coffin for 50 music wise.


_'s had the game in a choke hold at one point.






The memories bruh...
 
Can someone explain the rift between 50 Cent and Dr. Dre, like what happened and what was it all about initially??
 
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50 Cent The Latest To Exploit The Music Industry's Newest Business Model




It was announced recently that rapper 50 Cent is leaving his previous record label Shady/Interscope for a new home with Caroline, the label services division of Universal Music Group. The artist and his G-Unit imprint joins a number other artists like Macklemore & Ryan Lewis, Korn, Peter Gabriel, and Prince who chose to leave the comfort of a traditional major label (Shady/Interscope is a subsidiary of the giant Universal Music Group) record deal behind in favor of going independent, but with a new twist. Now the label’s once exclusive services are for hire instead of available only as a byproduct of a traditional recording agreement.

What we may be witnessing is the dawn of a new age in the music business as all the major labels have set up separate divisions to be able to offer their services and expertise on an a la carte basis. Need physical distribution, radio promotion, digital strategy or product development? If you’ve got the money or the audience, you can hire their expertise for these services plus a lot more. Where once upon a time, an artist signed exclusively with a record label for a number of albums, the new label services deals can be for a single album at a time, with none of the traditional multi-record contractual strings attached.

Although some were faster into the space than others, all the majors are now represented. Sony Music has its Red Associated Labels unit, Warner Music Group has Alternative Distribution Alliance (ADA), while Universal Music owns Caroline. In addition, there’s also BMG, which began the trend in 2008 when it sold its traditional record business to Sony to concentrate on artist rights management, as well as the independent Kobalt Label Services and in the UK, Cooking Vinyl.



The reasons why an artist might want to consider such an arrangement are many. First of all, there’s the issue of artistic control. In a traditional record deal, the artist and the record label are in a partnership, with the label as the senior partner. The stories about clashes on creative direction between the artist and label execs are legendary, but all this is alleviated when the artist is independent and hires the label services on a “as needed” basis. The artist is now the boss when it comes to product creation, but the responsibility for making it or breaking it are on his shoulders alone.

Then there’s the payout. A traditional record deal has an artist making between 12 and 15% of the net income, but once again, stories of creative accounting abound, and it wasn’t an uncommon scenario to have an artist sell a million copies back in the days when physical media like vinyl records and CDs ruled only to find that he actually owed the record label money when all was said and done. This is because the label also acted as bank, funding the recordings, tour, and promotion of the product. A label services deal with a company like BMG turns that scenario upside down, with the artist taking 70 to 80 percent of the income for overall rights management, while individual services from other companies may be had for a small percentage of the record or even a fee.

This fits more in line with the do-it-yourself nature of the business today along with the expected payout, since the iTunes 70/30 split has become the expected standard. Any deal that doesn’t talk at least in those terms gets a quick pass when an artist is in control.

That said, artists like Trent Reznor and his Nine Inch Nails have gone the opposite way, going back to the womb of Columbia Records after spending time outside the major label structure as an independent. Some artists, even with the impressive online infrastructure like Reznor had created, still don’t enjoy the burden of dealing with other aspects of the business beyond the creative, regardless of how great the potential monetary split might be in their favor.

While it seems like artists are the big gainers here, labels win too. They can get on with what they’re really good at, which is distribution and promotion, and get paid fairly for those services. They no longer have to worry about being a bank, doling out advances and recording costs, and they can afford to be even more selective in the acts they do sign, which can increase the odds of a hit.

What we’re seeing here is a business model morphing right before our eyes, but right now it’s in its early adoption phase before the ball begins to roll down hill. A more or less traditional recording contract is still the primary ambition of most artists, but that may change before long. For now, it should be a well-considered option for every artist and manager.



http://www.forbes.com/sites/bobbyow...it-the-music-industrys-newest-business-model/
 
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