We Gonna Run It Again Dom Kennedy
Dom Kennedy is a product of the early 2010s blog era where rappers were divers past the record labels or imprints they claimed. While many of his contemporaries became cornerstone figures in burgeoning rap super crews, the Los Angeles native opted for a different route. Instead, he hunkered down in the South LA neighborhood that raised him and laid the foundation for OPM (otherwise known as "Other People's Coin), his label and lifestyle make that stood as a beacon of independence in a chop-chop changing music industry.
Eleven years afterwards, a lot has changed in rap, but a few things accept stood the test of fourth dimension. On From the Westside with Love Three—the latest installment in Dom'south seminal anthology series—the Leimert Park legend proves that there's a stark contrast between stagnation and remaining steadfast. The storytelling is just every bit vivid, and the production still sounds tailor made for a sunny drive down La Cienega boulevard. Nonetheless, everything feels more polished, and Dom'south commentary is noticeably sharper.
He proves as much on "Valet," a standout cut where Dom raps, "And we realer than nosotros ever been. I get the biggest cut when the record spin." The line lands like quality rap blowing at face value, simply coming from Dom, it's more of a subliminal mission statement; past betting on himself and his squad he's made sure that OPM takes habitation the biggest piece of the pie.
Dom sabbatum down withBillboard following the release of his latest studio album to talk virtually the new release and rap's renewed outlook on independence earlier dropping a few gems for up-and-coming artists who are looking to find their footing in today'due south industry.
The following was edited for length and clarity:
Billboard: Allow's start withWestside With Beloved Three. Why was right now the perfect time for you to continue the series?
Dom Kennedy: It wasn't nothing I planned out, honestly. I never thought virtually doingWestside With Love Three until nigh a yr and a half agone. I was working with Hit Boy real heavy. Nosotros was working on some joint music together, then I started making solo songs once again, and they had a certain feeling to them.
I simply started working on it quietly for vi, eight months before I even told anybody what I was working on. Information technology was inspired by working with Hit-Boy and making music that I felt put me back in that same mindset that I had when I made the first 1. Information technology just felt accurate. It wasn't forced. That was the spirit I was in, so I just embraced it, honestly.
B: In another interview, you said that this latest installment was your favorite from the series. In your mind, what sets this project apart from its predecessors?
DK: Maturity, kickoff and foremost. I have songs that I didn't employ because I empathise now what I like to hear from myself over fourth dimension. Non just things that might go played i time and exist like, "that's cool." I was looking for more value from the music and more longevity.
On [From the Westside with Love Two], I had that aforementioned will, and drive, and spirit, but I hadn't had enough trial and fault to know what would age well over a long flow of fourth dimension. It's [merely] more polished, all the way effectually.
B: Permit's accept a pace dorsum and talk about OPM in those early days. I read that you turned downward 7 or eight dissimilar major label deals in favor of starting your ain imprint. Why did starting OPM feel similar the route that was right for y'all at the time?
DK: Man, I only wanted to be a CEO more than an entertainer, more than a rapper, peculiarly in those days. I was willing to put it all on the line to exist a CEO, to share the information and the lessons I learned through my company.
Signing with a characterization never gave me that opportunity. I got shut to signing deals with certain labels a couple of times, but and so it simply became besides much of a compromise. When yous become into negotiations, you could even similar some of the people at the function, the A&R, whoever's going to be responsible for running your project. But so, at the finish of the mean solar day, you lot get the paperwork, and you realize you're signing away everything.
B: Where did that mentality come from? Was there someone that you saw growing up that influenced you to have that ownership mindset?
DK: A lot of people. Shit, people that own businesses in the street, my family. I grew upward with people that had liquor stores, endemic apartment buildings. It wasn't [ever] the most glamorous shit, but that had a big event on me.
If you're talking virtually music, I was inspired by the CEOs of the rap game. I was inspired by Master P, J Prince, Matriarch Dash, and Jay-Z. That was the space I saw myself in—I never wanted to just be an artist.
B: Were there specific skills you developed that other artists may not take had to because you were doing it all on your own?
DK: Engineering science, marketing, writing for other people, working with PR. Running a full-fledged label is really what we do, all the mode down to distribution. We was one of the first people to do direct business with Best Buy when we dropped Get Abode Safely in 2013. I learned how to maneuver in those spaces past being independent.
None of those [were] things I was practiced at, or even knew how to exercise coming in. Then at present, I work with other people, and I could executive produce anybody's album. That was the point because OPM's going to have artists for the next decade.
B: There'south a lot of overhead involved with existence an artist whether you're talking about paying for studio time, paying for your marketing or scheduling a tour. I'm curious, what's your philosophy when information technology comes to managing the finances that come with working in a creative space?
DK: It'south always expenses. As an artist, as a business owner, you've got to discover out what those are and stay on meridian of that. If you're making $100, and yous've got one person that's getting 20% [and some other] person getting x%, make sure yous're coming away with a good chunk of that $100 neb [too].
[Say you lot] become $100 a bear witness. Past the time your $100 check comes, there could be $5 left considering everybody else is getting paid, and you're still covering all the expenses.
B: Where practise you see the OPM label going adjacent? Are there other areas that yous want to aggrandize the label and the brand into?
DK: I've got a book that I've been working on, a couple of film things. I really documented the whole process of [creating]Westside with Love 3. Me making it, working with producers, struggling in the studio, I filmed all of that.
[On the label side] we're working on our showtime film. It'southward a documentary about OPM, and really but a celebration of independence and showing our proof of concept.
B: If yous could boil it down to three tips, business organisation-related or otherwise, that you'd give to an upwardly-and-coming artist that'due south trying to model their career subsequently yours, what gems would you offer up?
DK: I would say to learn patience. Mastering patience and timing is key.
2nd, learn how to control your emotions. For some people, that'due south easy. There are things that won't go your way that you lot thought [would], only it'southward nearly how yous deal with [those moments].
And 3rd, human being, you've got to be able to create something out of zilch. If all you've got is your best homeboy, and he's got a will to make beats, and you lot all don't know Timberland, Jermaine Dupri, or [DJ] Mustard, you've got to be able to make a vocal with your homeboy that Timberland might listen to.
He might have 100 wack beats, just you've got to find number 101 and make it into a vocal that y'all can get some money and do a show with. I say all that to say, look inwards. You're going to have to get in that mirror and figure out how to create something out of zero, truly.
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Source: https://www.billboard.com/music/rb-hip-hop/dom-kennedy-new-album-and-independence-1235008052/
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