Somewhere between a month and six weeks after “Bank Rolls” began climbing the charts last April, 300 Entertainment knocked on rapper Tate Kobang ’s door. Although wary, his concerns melted away after meeting Selim Boubab and Todd Moscowitz. “When we figured out who it was,” he announces, “it was like, man, maybe we should fuck with these guys.”
The single’s success brought 300 to the table, but Kobang’s style and Baltimore rawness made the deal irresistible. “This is an untapped market,” boasts the player. “It’s some new shit, so why wouldn’t you want that wave before it picks up?”
Tate Kobang made certain the deal, centering around a single with a two- album option, was scrutinized before making his decision. Beyond that, faith played a critical role in making his choice. “I prayed on it, man. That’s the most I can do.”
Despite the label’s muscle, Kobang claims his music would have placed him in front of high-level collaborators regardless. “It’s the music,” he announces, referencing calls from Swizz Beats and Nelly. “I don’t need no gimmicks, no image, none of that bullshit. I’ve just got good-ass music.”
“Let it be known you’re not going to get pushed over.”
Although he’s the contract’s sole signee, the young star discusses the deal in terms of “we”––Kobang wants to pass along the torch of good fortune. “I got out, so now I’m trying to lend a hand,” he professes. “That’s what we’re here for. Life is about progression and trying to move forward.”
Never forget, he advises, to hold strong with potential labels and insist upon your worth. “Let it be known you’re not going to get pushed over,” he insists. “You’re not just going to let them do anything with you. At the end of the day, you need them but they need you more.”
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