Lyor Cohen's role as a music industry mover and shaker began when he promoted hip-hop shows in L.A., notably at the Mix Club. Even back then, Lyor had a knack for recognizing talent: Social Distortion, Fishbone, Red Hot Chili Peppers, and Run-DMC were some of the first acts that he booked and promoted. Soon afterwards, Def Jam founder Russell Simmons asked Cohen to join him at Rush Entertainment. Cohen left the Mix Club in a heartbeat and moved out East. By now, he had toured with Run-DMC and the Beastie Boys during the "Raising Hell" tour. Shortly thereafter, Cohen managed Rush Entertainment's day-to-day affairs while Simmons focused on building Def Jam into the juggernaut that it is today. Lyor Cohen's DNA is all over the signings of acts like DJ Jazzy Jeff & the Fresh Prince, Eric B. and Rakim, EPMD, and Slick Rick, to name a few... But the sunshine made way for some rainy days. By 1987, Def Jam cofounder Rick Rubin and Simmons parted ways, with Cohen winning the power struggle and reinforcing his bond with Simmons. With the departure of Rubin to Capitol Records, so went the Beastie Boys, which to this day, remains a black mark on Lyor Cohen's most impressive resume. Undeterred, Lyor ushered in a new era in the 1990s, signing more acts and expanding from a purely hip-hop label, to one that also embraced other musical genres. Today, while the challenges he faces have changed, they are met with the same resolve that has made Lyor Cohen one of the most respected, feared and sought-after record executives around. We caught up with Mr. Cohen -- that is, Lyor to you -- as he sat atop his empire and chatted about all things music industry... |
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Q: Well Mr. Cohen, we've featured and interviewed many prominent artists from Island Def Jam, so it's only natural that we would want to sit down with the man behind the label.
Call me Lyor.
Q: Will do. You've signed artists like DJ Jazzy Jeff, Run-DMC, Will Smith, Eric B. and Rakim, the list goes on... Aside from being African-American (laughs), what do you look for in an artist?
I prefer when their feet don't touch the ground. I am not a star maker; I am a star finder. Some people are arrogant about the entire process, and I do not want to be arrogant. I am not going to dust someone off and mold them; I am in constant search for that star. That is my drug addiction. Do you think anyone ever told Jimi Hendrix what to wear? Or show him how to play guitar?
Q: In your career, you've had to part ways with folks like the Beastie Boys, among others. Any regrets?
I walk away with lessons every single day and I am fortunate that I am alive and cognizant, whether it is a good or bad experience. I was sad when they left, we were kids and stupid, and I would not have gone for that now.
Q: I read a quote from Jay-Z saying that you do not like taking risks, yet I also read that early on, you would put together shows that no one would dare touch... who's lying?
Jay-Z said that?
Q: The Jigga man! Maybe he was being sarcastic...
Probably, I am an extraordinary risk taker.
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Q: What comes to mind when you hear the name "Russell Simmons"?
Hmm... love.
Q: What about [the Recording Industry Association of America's] Hilary Rosen?
(pause) Bye-bye, adios.
Q: Great. This is what I wanted to talk to you about since you are not a typical record executive. That is a good thing. But the record labels have taken a defensive strategy in regards to file-sharing software; what are your thoughts?
You are absolutely right, they are purely defensive because the people in power still do not even have a computer on their desks, so if someone does not know about something, they play defense. They cannot make the right judgment calls, they have no familiarity or clue, so they do not see that offense is the way to go.
Lyor Cohen's way of fighting file sharing, and his take on P. Diddy's comments... Next >>
Q: At first, the RIAA took on the fans -- the people that effectively pay your salaries. Then, you go after the ISPs, the firms who could give you a platform to charge users. Strike two. When will the powers that be in the record industry get the picture and stop hurting themselves?
I think that actually, we are starting to have some direction; we will flop around until it is necessary. Unfortunate, but true.
Q: What is this new strategy, if I dare ask?
Subscription service, vis-à-vis Pressplay. I do not think that people wanted to steal music -- it just so happened that it was the easiest way to get music. But if you make the service user-friendly, and it happens to cost money, people will be fond of it.
Q: You mention Pressplay, but Pressplay does not offer music from all labels -- do you think fans like that?
You have not been on it lately?
Q: You could say that... Okay, never.
Well then, it actually has licenses from all music companies.
Q: This may be getting technical, but thus far, you offer streams, not downloads -- don't you anticipate that as being a problem? The slogan last decade was "I want my MTV," not "I want to stream my MTV." Until you let users download the music to store on their hard drives [instead of only streaming it], you will fail.
Well, we now allow for more downloads, but you have to pay. Pressplay is not perfect but it is getting better and better.
Q: You have a relationship -- through Pressplay -- with Sony. When Tommy Mottola resigned, there were rumors that you would replace him. Was there any truth to those rumors at all, or was it all speculation?
Hmm... I will not comment on speculation.
Q: Fair enough. Universal Music Group has the No. 1 and No. 2 subsidiaries in the world: you leading Island Def Jam on the East Coast and Interscope, A&M and Geffen leading the way on the West Coast. What are the behind-the-scenes factors that explain the structure and the setup?
I believe in brands. I never wanted to be an Atlantic or Columbia. But I did want to be a Lost Highway, Roadrunner, Island, Def Jam, or Def Soul... you know, I want everyone -- the A&R -- to have the ability to find talent so that even if the act does not fit their label, then maybe it will fit someone else's, under another label. That has always been my belief.
Q: Success in the music industry requires knowing the right people; what other traits play a big factor: age, experience, race, gender, etc.?
I would say, in the end, the bottom line is to be in search of art.
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Q: Have you been proactively reaching out to the tech firms to bundle your music into their computers, for example? [Editor's note: this interview was conducted before Apple began to consider buying Universal Music Group.]
Yes, there is a deal in place with Gateway. I would love to get with Dell.
Q: You were born in Manhattan, grew up in L.A., and went to school in Miami, but your family hails from the Middle East. You've been able to bring racial harmony to North America, so I wanted to ask you: how can the Arab-Israeli conflict be resolved?
Hmm... let their children get involved. We've got a lot of old people running [governmental] policy, they are tainted by mistrust, [so] you need to engage the kids -- they will bear the greatest burden of policies that are being made these days.
Q: Are you a religious man?
Only in the sense that it helps me try to keep some normalcy in this hectic and chaotic world.
Q: Final question: P. Diddy was quoted as saying, "I don't blame 112. I blame Lyor Cohen for not being man enough to call me and ask if they can buy me out. They were cowards about it." Firstly, what is that about and second, do you think artists should bring their disagreements into the media?
I wish him the very, very best, he is an extraordinarily talented guy. I will not comment on my business though.
Q: Thanks for your time, you are a classy guy and we understand why Island Def Jam kicks butt!