The Game and Kanye West’s “Eazy” collaboration became an independently released Spotify exclusive through Wack 100’s ingenuity.
The polarizing manager, label owner, and ever-present pop culture figure uploaded the song—released by his independent label 100 ENT—through TuneCore, and blocked it from every DSP but Spotify for 24 hours. He says that without so much as an email, someone at Spotify caught wind of this, and it made headlines as a Spotify exclusive for a day, giving the already anticipated record even more buzz. In the process, he pulled off the impressive feat of independently releasing a Kanye West song with his artist The Game.
Managers and label heads get shit done, and Wack assumes those roles for artists like Game and Blueface. But Wack’s controversial comments, like his recent thoughts on Master P’s finances and Bobby Shmurda’s dancing, have taken precedence in the news cycle, often overshadowing his work. Wack believes the media’s focus on the controversy is par for the course for him, a 43-year-old formerly incarcerated Pacoima, CA native who says he was the first minor in the California State Prison system at just 16. He came home in 1999, learned about the music game through working security for industry figures like Suge Knight, and propelled himself into an increasingly important position in the music industry.
These days, Wack has a lot of plans for independent artists, including an Indie Life app which will amplify unsigned acts and offer them resources, like educational tools about contract splits. Wack is also in the midst of expanding 100 ENT beyond music into film, including an upcoming Larry Hoover project. But Wack won’t be doing these things for long—he says he’s going to be falling back from music in the next two years to focus on ventures like his Ncredible diaper line. He’s also about to drop a 100 Show podcast series, which is geared toward highlighting independent acts. Clubhouse users will be implemented into those live conservations through a partnership with the app.
Wack is a frequent user of Clubhouse, where he’s single-handedly birthed an ecosystem of YouTube pages that screen-record the arguments he has with everyone from 21 Savage to random gang members. The blogosphere thrives off negativity, and his most fiery moments feed that hunger, which fuels a perception that he’s naturally contentious. He’s been condemned by some for moments like his livestreamed argument with former Blueface artist Chrisean, or his taboo opinions of artists like Tupac and Nipsey Hussle.
Beyond the drama, though, Wack says he’s had productive conversations with fellow Clubhouse users about the music game and how to get started in the trucking industry (he owns a successful truck company). He’s also had open forums with members of the LGBTQ community, which he orchestrated because he wants people to be able to “co-exist” respectfully, regardless of identity.
He has a knack for helping to connect worlds. The rap world, especially in his native LA, has become a place where (too many) rappers and the streets seem to be clamoring for what the other side can offer. He, more than most in the entertainment world, embodies the nexus explored in documentaries like Hip-Hop Uncovered.
Wack says coming from Pacoima and surviving the streets and prison informs his outspokenness, noting in our conversation that he “comes from a culture [where] they cast us out a long time ago.” As he explains, “I’m rooted in cancellation.” Speaking over the phone, we talked about how he feels about the controversy, Game’s Drillmatic album, his dealings with Kanye, and more. The interview, lightly edited for clarity, is below.