If you’re making $100, and you’ve got one person that’s getting 20% person getting 10%, make sure you’re coming away with a good chunk of that $100 bill. As an artist, as a business owner, you’ve got to find out what those are and stay on top of that. I’m curious, what’s your philosophy when it comes to managing the finances that come with working in a creative space?ĭK: It’s always expenses. That was the point because OPM’s going to have artists for the next decade.ī: There’s a lot of overhead involved with being an artist whether you’re talking about paying for studio time, paying for your marketing or scheduling a tour. So now, I work with other people, and I could executive produce anybody’s album.
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None of those things I was good at, or even knew how to do coming in. I learned how to maneuver in those spaces by being independent. We was one of the first people to do direct business with Best Buy when we dropped Get Home Safely in 2013. Running a full-fledged label is really what we do, all the way down to distribution. That was the space I saw myself in-I never wanted to just be an artist.ī: Were there specific skills you developed that other artists may not have had to because you were doing it all on your own?ĭK: Engineering, marketing, writing for other people, working with PR. I was inspired by Master P, J Prince, Dame Dash, and Jay-Z. If you’re talking about music, I was inspired by the CEOs of the rap game. But then, at the end of the day, you get the paperwork, and you realize you’re signing away everything. When you get into negotiations, you could even like some of the people at the office, the A&R, whoever’s going to be responsible for running your project.
I got close to signing deals with certain labels a couple of times, but then it just became too much of a compromise. Signing with a label never gave me that opportunity. I was willing to put it all on the line to be a CEO, to share the information and the lessons I learned through my company. Why did starting OPM feel like the route that was right for you at the time?ĭK: Man, I just wanted to be a CEO more than an entertainer, more than a rapper, especially in those days. I read that you turned down seven or eight different major label deals in favor of starting your own imprint.
It’s more polished, all the way around.ī: Let’s take a step back and talk about OPM in those early days.
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On, I had that same will, and drive, and spirit, but I hadn’t had enough trial and error to know what would age well over a long period of time. Not just things that might get played one time and be like, “that’s cool.” I was looking for more value from the music and more longevity. I have songs that I didn’t use because I understand now what I like to hear from myself over time. In your mind, what sets this project apart from its predecessors?ĭK: Maturity, first and foremost. That was the spirit I was in, so I just embraced it, honestly.ī: In another interview, you said that this latest installment was your favorite from the series. It 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 one. I just started working on it quietly for six, eight months before I even told anybody what I was working on. We was working on some joint music together, then I started making solo songs again, and they had a certain feeling to them. I never thought about doing Westside With Love Three until about a year and a half ago. Why was right now the perfect time for you to continue the series?ĭom Kennedy: It wasn’t nothing I planned out, honestly. The following was edited for length and clarity:īillboard: Let’s start with Westside With Love Three. I get the biggest cut when the record spin.” The line lands like quality rap bravado at face value, but coming from Dom, it’s more of a subliminal mission statement by betting on himself and his team he’s made sure that OPM takes home the biggest piece of the pie.ĭom sat down with Billboard following the release of his latest studio album to talk about the new release and rap’s renewed outlook on independence before dropping a few gems for up-and-coming artists who are looking to find their footing in today’s industry. He proves as much on “Valet,” a standout cut where Dom raps, “And we realer than we ever been.
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