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Featured photo: Paras Griffin/Getty Images for BET
A couple of weeks ago, Jacquees kicked off his 4275 Tour. The self-proclaimed âKing of R&Bâ had a busy December leading up to this. His bold statements rubbed Keith Sweat the wrong way, brought the 90s and 2000s R&B singers out of the woodwork, and dominated the discussion on Black Twitter. The 24-year-old was ready to cash in on all that earned media and recognition. This was designed to be his breakout moment.
Unfortunately, this tour wasnât it. His venues are the same size ~1,000 capacity music halls that his 2016 âMoodâ tour was in. But that tour had 30 shows, eight more than this current one. Since tickets prices are roughly the same range as before ($25-40), Jacquees will likely earn 25% less money this time around. And despite initial reports, itâs unclear whether Jacquees got a truly significant spike in music streams.
The Cash Money Records artist will have to go back to the drawing board. Trolling was not the meal ticket it has been for other artists. The strategy has its holes.
J. Cole would be delighted to hear this. Hereâs a segment from his interview with Angie Martinez in May 2018:
âThese kids have figured something out⊠theyâve figured out that attention is all that matters. The skill? The quality? [Who gives a] fuck about qualityâŠÂ  This music is just a platform for [them] to get attention, and whatâs even more important than the music is the shit that [they] do outside of the music.â
The 33-year-old rapper is referring to Lilâ Pump, Tekashi 6ix9ine, and everyone who follows their path. âThese kidsâ create shock value and reap the immediate benefits. But a different strategy is required to drive ticket sales and become the king of a genre. Jacquees needs a new playbook.
Trolls can spark discussion, but they have a hard time controlling the narrative.
// Why Cash Money Records probably thought this was a good idea
Your boy Jacquees (via Hollywood Unlocked)
Jacquees signed with Cash Money Records in 2014, pledged his lifelong loyalty to the label in 2016, and hasnât turned back. With Lilâ Wayne and Drakeâs departure, Birdman is grooming the 24-year old singer to put the team on his back. The label wants ‘âQueesâ to become the next Wayne. Mr. Carter, like Jacquees, made bold statements in his youth.
At 23, Wayne didnât just call himself the best rapper aliveâhe made a song about it. By this point though, Birdmanâs âsonâ had a few Ws to his name. The Hot Boys had made waves in the 90s. âBack That Azz Upâ was an established anthem. And despite all those early accolades, Wayne still got clowned for his statement. Luckily for Wayne, Tha Carter II (2005) and Dedication (also 2005) built momentum for an epic run. He spoke his dreams into reality.
With Wayneâs journey and trollingâs popularity, itâs easy for Cash Money to believe that this was the best model for Jacquees. But these are wrong assumptions to make for two reasons.
First, despite Jacqueesâ now heightened awareness, heâs not Wayne in 2005. Not even close. I canât refer to him as âthe [insert popular Jacquees song here] singerâ because most of you donât know an original Jacquees song. âOlâ boy who covered âCandy Rainââ doesnât have the same ring to it. He might get there someday, but today ainât that day. Conversely, Lilâ Wayne rose to the top despite his comments, not because of them. Those statements helped Wayne build self-confidence, but his music spoke for itself.
Second, trolls can spark discussion, but they have a hard time controlling the narrative. Most of last monthâs âKing of R&Bâ tweets were about who the actual king is. There was little discussion about the discovery of Jacqueesâ music. Rappers who have perfected trolling understand its benefits and limitations.
Birdman and Jacquees. Could they really be the next Like Father, Like Son?? (via YouTube)
âThe Pump Planâ build influencers, but not legendary artists
Lilâ Pumpâs record label, Inzei Records, executed âThe Pump Planâ to help the rapper build his career. According to Lauren Levy at Vulture:
Itâs a ten-step program that guarantees transforming a local rapper or minor celebrity into a meme and then a viral sensation using a set of proven marketing tricks. It includes tactics like: social-media influencer campaigns, meme-ing the artist, Musical.ly placements, World Star promotions, and something called âcontroversy projects,â which seems to mean planting feuds between artists and igniting drama to stoke controversy and online attention. They pitch it to new artists theyâre looking to sign.
This plan reinforces J. Coleâs statement. Rap is a mere platform to expand to other opportunities: sponsorship, branding, and other business ventures. The goal is to become an influencer. The Pump Plan is a playbook to become the next Logan Paul, not the next Kendrick Lamar.
But the core elements of The Pump Plan are nothing new in hip-hop. Back in 1999, 50 Cent trolled any and everybody to get notoriety. Once he elevated his platform, he pivoted to focus on everything except music: Vitamin Water, Effen Vodka, POWER, trolling Wendy Williams, the list goes on. Itâs why he feels a kinship with Tekashi 6ix9ine, who has become his protĂ©gĂ©.
Soulja Boy did the same. Big Draco used his âCrank Datâ fame to put his energy into other ventures. He started a fashion line, had a brief acting stint, partnered with a gambling company, and launched a video game console. This weekâs Breakfast Club interview was textbook Soulja Boy. His buzzworthy statements and hilarious soundbites were all promotional tactics to support his business pursuits.
The game hasnât changed. Social media and SoundCloud have just reduced the friction for todayâs rappers to achieve what 50 and Soulja Boy took years to build.
The path to becoming the best rapper alive or King of R&B is much more traditional and linear. A hot mixtape leads to a commercial hit, which leads to guest features, a quality album, classics albums, and award-winning accolades. Wayne, Kendrick Lamar, Usher, and Chris Brown check almost all those boxes.
Jacquees has dreamed of R&B greatness since he was 13. He clearly loves the craft and wants to be one of the greats. But The Pump Plan wonât get him there. Cash Money needs to course correct.
A short clip from last yearâs talk between J. Cole and Lilâ Pump. Cole asks Pump to explain why he made a song called âFuck J. Cole.â (via YouTube)
// The Jacquees Plan?
Jacquees lacks the recognition of fellow R&B artists. The boy can sing, but 4275 sounds a bit dated. His cover songs are fine, but he needs to be known for his own music. Young R&B artists like H.E.R., Daniel Caesar, and Khalid were all recognized for critically acclaimed work in 2018. If Jacquees wants to be the king, he has to be in that conversation.
His biggest crutch is a reliance on well-known guests artists. 4275 was littered with household names. Meanwhile, H.E.R., Daniel Caeser, and Khalid had barely any guest features on their albums. Jacquees next album should be 13 tracks or less with no else but him.
If Jacquees still wants to collaborate, it should be on other artistâs songs. The next time DJ Khaled or Calvin Harris make a compilation album, Jacquees should get a couple of features. He needs the hooks that Bryson Tiller has gotten for the past few years.
Once Queesâ music is in a better spot, he needs to elevate his platform in a helpful way. In November, I suggested that Cash Money should start a music festival:
Birdman should take a page from [Drakeâs] book and launch a Cash Money redemption music festival in New Orleans. He should invite all the artists heâs had ever had disputes with to perform. And yes, it should be a festival, not a concert. Heâs had issues with enough artists to fill a dayâs lineup at Bonnaroo.
The intention was different, but it can benefit Jacquees too. The tour would generate a considerable buzzâthe right kind of buzz. Jacquees can be a signal of Cash Moneyâs ability to nurture its newer talent in a more responsible way.
In 2019, expect more artists to follow The Pump Plan. It has made its way through the music industry. Some record labels are pivoting to help artists navigate branding and exposure opportunities. If an artistâs primary goal is to be an influencer, then it makes more sense. But if the artist wants to be in the discussion for Top Five Dead or Alive, King of R&B, or any other proclamation of greatness, itâs less impactful.
J. Cole would be happy to hear that Jacqueesâ ideal next move is a page from his book. Remember, Coleâs early albums were flooded with guest features. But then he dropped 2014 Forest Hills Drive and went platinum with no features. Maybe we should start calling that the The J. Cole Plan.