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Revisiting the 2006 Andre 3000 Interview

Back in 2006, during the early days of Breakin’ Records as an online record pool, the legendarily respected Urban journalist Charlie Braxton very graciously provided Breakin-Records.com with an exclusive interview with Outkast’s Andre 3000.

You mean that you had an exclusive interview with THE Andre 3000 of Outkast? That was the year of Idlewild, and Andre must have done hundreds of interviews that year. Or, Mr Braxton must have given that interview to any number of the Internet’s premier magazine websites.

No; If I recall, Andre 3000 only allowed about four full interviews in 2006. Four…

Reportedly, large website magazines were fuming, intensely. I also had to threaten a particular Hip-Hop forum to take down their copied-and-pasted rendition of the interview.

Mr. Braxton’s latest book is And the Earth Cried Blood: Poems by Charlie R. Braxton.

Why Breakin' Records Record Pool Has Been Left Dormant.

At this time, there’s not much new to introduce.

Breakin-Records.com started in 2005.

The site was one of the pioneers of online record pools, quickly growing to approximately 1,500 professional DJ members. I was able to push out roughly 60 new tracks per day to DJs, featuring music from both major and independent labels.

As the sole operator of the service—and a struggling nightclub DJ in Atlanta—I found myself in over my head. The site needed improvements, but I had little web development experience at the time. It was frustrating because I had big plans but lacked the knowledge and resources to enact those lofty designs.

Still, I’m grateful for the people I met and the experiences I gained along the way.

One of my ambitions was to make online record pools free for DJs while also not charging independent labels. To this day, no one has pulled that off. Record pools either charge DJs for subscriptions or make independent record labels foot the bill.

Charging DJs limits the reach of both the labels and the pool, as many DJs—especially those on tighter budgets—find subscription costs unappealing.

Conversely, when record labels have to pay to distribute their music through a DJ record pool, it restricts participation, reducing the variety of music available to DJs. Either approach weakens the record pool’s overall appeal.

Without going too deep into ideas I’ve long abandoned, making that vision a reality would have required my undivided attention—something I wasn’t prepared to commit to. It also would have depended on significant support from major record labels, which is a losing game.

So, after a few years of running the online record pool, I moved on—especially since the site wasn’t making much money. I then launched what was likely the largest email blast service in the music industry, at the time. It took some effort, but I eventually made it work.

Albeit, I quickly grew tired of dealing with broke clowns who wanted the world for free. I helped break some artists who are now household names. One particular DJ sold around $40,000 worth of mixtapes through the service. I met more interesting people, had some wild adventures, and—frankly—that was enough time spent dealing with entitled, selectively broke people.

So, why has this site returned?

I like making websites. It’s probably that simple.

Also, I waited over 20 years for the BreakinRecords.com domain.

In 2005, I had to settle for Breakin-Records.com, (with a hyphen) because BreakinRecords.com was already taken by a record label—one whose music I actually like. Eventually, the domain was abandoned and passed between different domain squatters who wanted anywhere from $1,200 to $3,000 for it.

Over time, I no longer had a strong purpose for owning the better domain, but I still checked on it occasionally. After a 20-year wait, I was grateful to God when it finally became available. :)

Why did I stop DJing nightclubs after decades? Why did I leave the music industry behind?

Because I love Jesus—and most modern Hip-Hop puts me to sleep.

The music industry is a wicked game. Nightclubs are dirty and bring nothing of real value to society. Record labels keep recycling the same cycle of violence, drugs, and decadence.

I refuse to be part of that filth. Pretending otherwise would make me a double-minded coward.