Machine Gun Kelly. Maroon 5. Michael Kiwanuka. Moneybagg Yo. Mura Masa. No Doubt. Olivia Rodrigo. Paris Bryant. Pi'erre Bourne. Playboi Carti. Rae Sremmurd. Role Model. Sam Fender. Sarah Proctor. ScHoolBoy Q. Selena Gomez. Sheck Wes. Sir Sly. Still Woozy. Stunna 4 Vegas. Summer Walker. Tame Impala. Tay Money. The Rolling Stones. The Struts. The Who. Tokyo's Revenge. X Ambassadors. Yoshi Flower. I broke artists through street marketing and through the internet.
With a new artist, you have to think: What do we think of the music, and how are people engaging with it? Is there a particular thing you do every day to unwind from work? I think the one thing is that I make sure to see my kids and wife before they go to sleep.
My two boys are four and seven, and on the rare day I take off, I spend it with my family. Newswire Powered by. Close the menu. Rolling Stone. Log In. To help keep your account secure, please log-in again.
You are no longer onsite at your organization. Please log in. For assistance, contact your corporate administrator. Arrow Created with Sketch. Calendar Created with Sketch. Path Created with Sketch. Iovine had been involved in the music industry for several years and had been a producer for acts as various as the New York-based singer Patti Smith to the phenomenally successful pop band U2.
Between Iovine's inside influence and Field's high-profile financing, it wasn't difficult for Interscope to find further backing, both in the form of monetary support and publicity, in Time Warner, a huge company which was involved in all aspects of the entertainment and communications industries. Time Warner's music production division saw in Interscope an opportunity to share in profits from music which the publicly owned company could not otherwise overtly touch.
Shortly after the establishment of Interscope, a small rap label called Death Row Records was started by former professional football player Marion 'Suge' Knight. In , Death Row produced Dr. Dre's 'The Chronic,' a rap album filled with explicit, violent lyrics, the nature of which were to set the standard for gangsta' rap for years to come. Although Death Row had successfully produced 'The Chronic,' the company could not find a distributor for the album, as most well-established labels found the contents too controversial.
Seeing profit in controversy, however, Interscope stepped in and agreed to distribute the album, thus establishing an intimate partnership with Death Row. Interscope's gamble proved a success; 'The Chronic' was one of the biggest albums of the decade, selling almost four million copies, and helped to make the company a real contender in the music industry. Death Row's Dr. Dre pioneered gangsta' rap, and other Death Row artists, all of whom were distributed by Interscope, were not far behind: the rap artists Snoop Doggy Dogg, Tha' Dogg Pound, and Tupac Shakur were all part of the label's roster during the s, and they all sold millions of albums.
Soon after the distribution of 'The Chronic,' Interscope began producing other artists as well, focusing particularly on hard-core alternative music, such as that of the bands Nine Inch Nails and Primus.
The popularity of Nine Inch Nails allowed the band to create in conjunction with Interscope a small, alternative rock label called Nothing Records, which Interscope distributed. Interscope not only focused on fringe sub-genres, however. The company also produced the mainstream pop band No Doubt, which Interscope distributed in partnership with Trauma Records, and which brought in millions in revenue for the company.
By Interscope had well established itself as a renegade company willing to take on artists, no matter how outrageous or controversial, that other labels would not touch. While its reputation had garnered a great deal of profit for the company--well into the hundreds of millions by it had also in turn put Interscope in a high-profile position which, given the political climate of the time, came at a cost to the company's stability.
Indeed, almost from the company's inception it had been subject to political upbraiding of the most public sort. In , after Interscope produced and distributed Tupac Shakur's '2Pacalypse Now,' an album which would later be blamed in part, by some, for police shootings in Texas. At the time, Vice-President Dan Quayle announced to the press that 'There is absolutely no reason for a record like this to be published by a responsible corporation.
It has no place in our society. Had Interscope not been half-owned by the corporate giant Time Warner, a company which had to answer to both the financial and moral concerns of its shareholders, it might not have found itself in the middle of an increasingly mercurial and divided public debate in the middle of the decade.
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