2 Chainz

5 Reasons 2 Chainz Shouldn't Sign to Kanye West

Over the course of the last 12 months, 2 Chainz has enjoyed a year that's been almost too good to be true. Since changing his name in early 2011 from Tity Boi to 2 Chainz, he's made dozens and dozens of appearances on other artists' songs. He's released his critically-acclaimed mixtape, T.R.U. REALigion. He's taken over the radio with his hit, "Spend It." He's signed to Def Jam. And, he's even managed to get into the good graces of Kanye West, who asked 2 Chainz to appear on "Mercy," the first single from the G.O.O.D. Music compilation album that Kanye & Co. are currently putting together.

In fact, 'Ye apparently feels so strongly about 2 Chainz's talent that he took to his Twitter account late last week and sent out a tweet that had some folks speculating about whether he had signed 2 Chainz to his label. "2 Chainz is charging 100k for a verse now," the tweet read, "cause he's G.O.O.D!!!!!!"

Quite the accomplishment, eh? Well, yes…and no. You see, while getting a co-sign from Kanye was, is, and probably always will be a good thing, we're not so sure that we want to see 2 Chainz signed to Kanye's label (as of today, no official announcement has been made and 2 Chainz has denied that he's signed to G.O.O.D.) We actually think he'd be better off if he just kept going down the path he's been going for the last year or so. So, we put together a list of the 5 Reasons 2 Chainz Shouldn't Sign to Kanye West's G.O.O.D. Music. It'll probably be all good if he does end up signing to G.O.O.D., but we think it could be even better if he sticks to the script and does his own thing.—Chris Yuscavage

Reason #1: The last time 2 Chainz was signed to another rapper's label, it didn't work out so well.
As a member of Playaz Circle, 2 Chainz (then known as Tity Boi) and his partner Dolla Boy released two albums, Supply & Demand (2007) and Flight 360: The Takeoff (2009), on Ludacris' label Disturbing tha Peace. And while both spawned minor regional hits, neither really gave 2 Chainz or Dolla Boy the kind of visibility you'd expect. Part of that was because they never got the right push from the label. But, a larger part of it was because they were simply stuck in the mix with a bunch of other artists signed to Luda. That tends to happen when you're signed to a major rapper's label. And, who really wants to be put in that situation?

Reason #2: 2 Chainz already has plenty of visibility without the help of a major rapper like Kanye West.
Say what you want about 2 Chainz right now—he's awesome, he sucks, he uses the same rhyme scheme on every song—but you can't say that the guy hasn't worked his ass off (he calls it "griming") to get his name and his face out there. And, he's largely done that on his own. So, he doesn't really need Kanye's co-sign in order to get people to check for him. He's managed to get plenty of attention for himself. Signing with 'Ye might help increase his visibility, but it also might stunt his growth at this point if G.O.O.D. tries to have a hand in how he's marketed to the public. If you're 2 Chainz, why risk it?

Reason #3: We'd rather have 2 Chainz focus on his own solo debut, Based on a T.R.U. Story, than have him working on the G.O.O.D. compilation.
The "Mercy" guest appearance was a BIG look for 2 Chainz. Of all the guest appearances he's done in 2012, that was the one that really made us sit up and say, "This guy might become a bonafide superstar by the end of the year." At the same time, if he did sign with G.O.O.D., he'd be forced to contribute a lot more to the G.O.O.D. album. That wouldn't necessarily be a bad thing for us, but it would take up a good amount of his time and force him to work on something other than his debut album right now.

Reason #4: Pusha T, Cyhi Da Prynce, Mos Def, Q-Tip, and Teyana Taylor are all already signed to G.O.O.D.
How exciting was it when Pusha T signed to G.O.O.D.? The thought was that he'd finally get to release his long-awaited solo album. And, yet, he's yet to do it. Same for Cyhi. Same for Mos Def. Same for…well, you get the point. If 2 Chainz signs to G.O.O.D., he'd have to either get in the back of the line and wait his turn to release his music or skip to the front of the line and potentially piss off people who've been waiting for all of the artists listed above to drop their albums. Either way, it's not a great look for 2 Chainz. So, instead of signing 2 Chainz, how 'bout 'Ye gets to work on making that Pusha solo album happen?

Reason #5: It should be almost time for 2 Chainz to get his own label.
2 Chainz is obviously not on Kanye's level yet. But, we say "yet" because he's slowly building up his discography and putting himself in a good position to one day have his own label. That day probably isn't too far off, either. If all goes well with his debut album and he's able to continue building momentum, 2 Chainz will likely get his own label at sometime in the near future. Unless, of course, he's stuck in a deal with G.O.O.D. and waiting around for his sophomore album to drop. So, in the short term term, G.O.O.D. might sound like a good idea. But, in the long term, it's probably best for 2 Chainz to keep "griming" on his own. You "good" with that, man? We sure hope so.

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Singers Ronald Isley (L) and Kim Johnson perform at the "18th Annual Soul Train Music Awards" at the Scottish Rite Auditorium on March 20, 2004 in Los Angeles, California.
Kevin Winter

Music Sermon: The Soul Train Awards Been Lit, We're Just Late To The Party

Black entertainment's oldest televised awards show has been patiently waiting for us to come back.

As I was watching the 2019 BET Awards, at some point around trying to decipher the difference between DaBaby and Lil Baby, I said – not for the first year – “I’m not the BET Awards demo anymore.” BET’s flagship awards’ aspiration to cover every segment of black entertainment has always stretched it a little thin; current rap and R&B artists, plus legends, plus some gospel, plus a few TV, movie and sports moments, and some social good and politics crowd a run-of-show. But in the last several years – probably due to me moving solidly into the Urban Adult Contemporary demo – watching the BET Awards has been comprised mostly of me tweeting “Who is this child?” while waiting to see maybe two performances and a tribute.

But then, in sweet November, BET gives me my entire two-step life with the Soul Train Awards, where I know (almost) every artist and live for every performance and I can’t even tell you who took an award home because that’s not even the point. The Soul Train Awards is family reunion time: an opportunity for your respected faves to get their props and a platform for soulful new school artists who don’t get mainstream airplay. It’s a night to dance and sing along in your living room. Ain’t no stuntin’, no pretense, no cappin’ (did I use that right?). It’s just a good a** time. So why did it take us so long to embrace it again?

BET has owned the legacy awards show since 2009, but for years the Soul Train Awards seemed a bit forgotten. The timeline wasn’t joining forces to watch the Tom Joyner Cruise Live (Side note: Tom Joyner should ABSOLUTELY do the Tom Joyner Cruise Live). Over the last four years, however, an aging millennial demographic combined with a drive of ‘90s nostalgia and renewed demand for straight up and down soul music has shined a light on the awards broadcast. Since 2015, the BET ecosystem has also thrown more support behind the show, including moving it from a Centric/BETHer-branded property to a BET proper event and giving it the same Viacom-wide simulcast as the BET Awards. Production values, talent bookings, and show elements keep rising, and the TL is paying attention. This Sunday, the Soul Train Awards will air live for the first time (the show is usually taped a week or two in advance), with Black America’s favorite on and off-screen besties Tisha Cambell and Tichina Arnold hosting for the second year.

It’s by grace, though, that the Soul Train Awards is even still here for us to enjoy. The show that launched as the only televised Black entertainment awards ceremony started fading during Black music’s growing mainstream dominance, and then was lost in the shadow of the bigger and splashier BET Awards. Superstar artists stopped attending, because teams no doubt felt like their presence wouldn’t move the needle on sales, and it became the Old Heads Awards. Quietly, though, the Soul Train Awards has been a ratings driver for BET since the network acquired the show; the rest of us (including talent) are just finally catching up. And we should be ashamed it took so long! This specific celebration of Black entertainment is as important now as it was when launched over 30 years ago — almost more so — for the very reason that it’s not just a show packed with hottest, newest, latest. But to appreciate the show’s legacy and staying power, we should look back at its history.

In 1987, Soul Train founder Don Cornelius decided it was time to elevate his 20-plus-year-old platform to another level. At the time, the major entertainment awards weren’t properly acknowledging Black artists. The handful that had reached massive pop success – Lionel Richie, Michael Jackson, Janet Jackson, Prince and Whitney Houston – were recognized and honored.

But in the 80s, the soul and R&B world was still vast and wide.

Cornelius decided it was time to create a night of celebration and excellence which, like Soul Train itself, was created for us, by us. He insisted at the time, “Black music is too big and too powerful not to have its own awards show. It’s overdue.” The Soul Train Awards was born.

Not only did Cornelius want to create a space for our artists who were overlooked by award shows like the Grammys and the AMAs, but also an awards system that didn’t hang on politics, or follow the same long-time criticisms of Grammy voting; selections by a group of people who just vote on the names they know. The voting block for the Soul Train Awards was made up of black retailers, radio programmers and artists themselves, to grant the prized Soul Train trophy design based on African sculpture. But the Soul Train Awards weren’t even meant to be about the awards; they were about highlighting our talent – current and established – featuring special legacy honors, originating the concept of tributes via performances instead of just film packages, and putting together super-performances of key artists across genres. This was our showcase.

For the first eight years of the show, the hosting panel was a mix of Dionne Warwick, Luther Vandross, and Patti Labelle, and our biggest and best showed up in their award finery ready to celebrate and be celebrated. When the Grammys weren’t yet making room for hip-hop, Don gave it a little light (not a whole lot, but a little), and the Soul Train Awards honored Black entertainment across the board, not just music.

In fact, until 1994, the Soul Train Awards were the only televised Black entertainment awards. The Source Awards debuted as the first hip-hop awards show in 1994, The NAACP Image Awards were first televised in 1995, and that same year the female-artist heavy landscape prompted the creation of Soul Train’s Lady of Soul Awards. For the first several years, the Black entertainment community turned out in numbers for their long-awaited party. The first year, Black luminaries from Magic Johnson to Miles Davis to Stevie Wonder to Don King to Run DMC to Isaac Hayes were in the building. In 1990, Michael Jackson snubbed the Grammys, but showed up at Soul Train. Whitney Houston was even famously booed at the Soul Train Awards because the crowd felt she was too pop, and this was not a pop space. This was a forum for soul.

But like many of our most important early platforms for Black culture, progress eventually rendered almost of these celebrations obsolete. As Black music crossed over, more Black artists were being recognized by the mainstream, and Black culture became the culture, the entire Soul Train brand felt outdated and unnecessary. By 2000, the awards were in a bit of an identity crisis. After twelve years at LA’s Shrine Auditorium, the show bounced to a new location every year for the next six years. Cornelius started having trouble getting stars to commit to the awards because they were held within a month of the Grammys.

Then, in 2001, BET debuted their award show: a younger, hipper, and larger budget version of the Soul Train Awards that adopted virtually the same format, with Viacom promotional power and a dedicated channel and time slot (unlike Soul Train’s syndication) to their advantage.

In 2006, Soul Train signed off after 35 years and over 1,100 episodes as the longest-running nationally syndicated TV program in America at the time. Around the same time, the syndication company for the show and the awards, Tribune Entertainment, changed hands and shut down. In 2007, the Soul Train Awards’ biggest winners of the night, like Beyoncè and John Legend, didn’t bother to show. Finally, in 2008, there were no Soul Train Awards. And had that been the end of the line for the show for good, there probably would have been very little complaints or rumblings – we’d stopped paying attention, anyway. BET seemed to have all Black excellence bases on lock with the BET Awards, the BET Honors (which debuted in February of 2008), and the BET Hip-Hop Awards (2006). But fortunately, someone at the company had the good sense not to let the Soul Train Awards die.

As part of BET on Jazz’s rebrand to Centric (now BETHer), BET acquired the Soul Train Awards and revamped the program to fully embrace its old head’ness, perfect for the channel geared towards an older demo with a soul music focus. They moved the awards from LA to Georgia (it has since moved to Vegas), changed the date to November, got Terrence Howard and Taraji Henson coming straight off of Hustle & Flow to host, and gave tributes to Charlie Wilson and the Gap Band, Chaka Khan and Motown. That’s a party.

Now, here’s the part we probably haven’t been paying attention to: since the very first year in 2009, the Soul Train Awards has been a fourth-quarter ratings hit for BET. In fact, 2009 was the award show’s highest rated broadcast ever in its history. Media and consumer trends often focus on the young, overlooking that while the 35-and-older set may not be as reactive, we’re loyal. Especially with music and entertainment (a look at any number of R&B theater tours featuring people who haven’t released an album in ages will tell you that). The cultural powers-that-be finally seem to be catching on: things that were long considered “Auntie & Uncle” territory, like Essence Festival, are hitting the hip radar. The Soul Train Awards is part of that wave. Also – and this is my personal, not data-supported, get-off-my-lawn opinion – there’s a lightness and fun with good ol’ R&B, soul and even older hip-hop that you just don’t get from the pull-your-panties to the side R&B and mumble rap of the last 10 years.

The BET Awards is now at a similar crossroads as the Soul Train Awards was in the early 00s: major talent is skipping the show, and the network is challenged to put together a cohesive program while trying to serve all demos. After two years of plunging ratings, the broadcast finally seems to have found balance again in 2019. But still, I’m not personally here for all the Lil’s, the YBNs and YGs and other letter configurations, and Babies and whatnot. I need music that works as a backdrop for brown liquor in red solo cups, please. But as viewers and fans, we also have to check ourselves on our awards show criticisms. Complaints amplify every year around the Grammys, AMAs and the like that we need to give less weight to mainstream awards and celebrate our own, ourselves, which is exactly what Don Cornelius and then Bob Johnson and team set out to do. During the BET Awards, though, there are gripes about the diversity and quality of talent, content and production. There was even a period of Black Twitter referring to them as the “EBT Awards.” Criticism is often valid, but straight disdain isn’t. Also every year, there are cries about how we need more and different awards shows. Meanwhile, Soul Train’s been right there, chillin’, with your old school faves and your burgeoning soul stars. I’m ok with knowing I’m not the right in the pocket of the BET Awards demo anymore, but that means I’m going to support the Soul Train Awards with all my Auntie might because Black music and culture needs the intergenerational love and community that the Soul Train Awards represent.

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Jeff Spicer

Lizzo Sued For Defamation By Postmates Driver She Accused Of Stealing Her Food

A former Postmates delivery driver is suing Lizzo for defamation and intentional infliction of emotional distress, two months after the “Truth Hurts” singer put her on blast over a food delivery mix-up.

According to TMZ, Tiffany Wells claims that she received threats, fears for her safety and has been battling stress and anxiety since the incident. Wells claims that while she no longer works for Postdates she remains subject to being humiliated and ridiculed.

In September, Lizzo blasted Wells on Twitter when her food delivery never showed up to her Boston hotel. She tweeted out a photo of Wells and accused her of stealing the food. “She lucky I don’t fight no more,” Lizzo joked.

As it turns out, Wells was actually in the hotel but left because she couldn’t get a hold of Lizzo. Postmates delivery drivers are allowed to leave a location if they can’t get in touch with the customer within a certain amount of time.

Lizzo received backlash for publicly shaming Wells. She later deleted the tweet and apologized. “I apologize for putting that girl on blast. I understand that I have a large following and that there were so many variables that could’ve put her in danger,” she tweeted at the time. “Imma [sic] really be more responsible with my use of social media and check my petty and my pride at the door.”

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Nicholas Hunt

Lil Nas X Debuts On Forbes’ List Of Top-Earning Country Music Acts

It’s been a good year for Lil Nas X. The 20-year-old’s record breaking “Old Town Road” single helped him make it on the Forbes list of Top Earning Country Acts of 2019.

With an estimated $14 million in income (before taxes), Nas X debuted at No. 18 on the list ahead of Miranda Lambart, Lady Antebellum and Rascal Flats. Country star Luke Bryan topped the list with $42.5 million followed by Zac Brown Band, Keith Urban and Kenny Chesney rounding out the Top 5.

Aside from being the youngest on the roster, Nas X is the only black artist and the only openly gay artist to make the Forbes’ Country Music list.

With a record 19 weeks on the Billboard singles charts, “Old Town Road”  became the longest No. 1 single in history and the first single to earn a diamond certification from the Recording Academy while simultaneously topping the charts.

Earlier in the week, the Atlanta native made history with his win at the CMA Awards and was recently spotlighted in TIME magazine's Next 100 list of influencers.

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