You don’t get played at Power 106 70 times a week by accident. It’s more than a viral sensation at this point. It’s great to have a viral hit that does OK on SoundCloud, but there’s a 30 to 50 page marketing and radio plan we’ve been following alongside with management. It’s really extended the life and the reach of the track.It’s a shining example of what independent labels can do. Wack has really had a plan about different quadrants, East Coast to West Coast, Latin, Electronic, there’s more plans for the song beyond where we are now that he has in his mind to keep expanding the audience. … I didn’t think that was gonna happen, let alone happen as fast as it did. And me and P were able to work that out, it was a smooth transition.”ĮOne’s Taylor describes the co-sign as a “miracle. But Cardi actually reached out and showed interest. Wack says the Cardi remix came together because “Cardi B personally was interested, and my relationship with her management - Pierre “P” Thomas at Quality Control - came together.
He followed my lead, so I really respected that.” “He just allowed me to do so because he could’ve shut that down. “The features were business moves on our side,” Wack tells Variety.
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and Desiigner show up on unofficial versions) - for which the manager takes full credit. Wack attributes the success of Blueface to three things: the “Thotiana” dance, Blueface’s viral appearances (he’d draw fans to places like Belmont High School creating a ripple effect of FOMO where bystanders wanted to know who this Blueface kid was) and the features - Cardi B and YG (Nicki Minaj, Young M.A. “I found him because he was different and he wasn’t like all the rest,” he says. Haters be damned, the Los Angeles native delivers his brand of zero-Fs-given attitude, pretty boy swag, voice crackling, intentional or unintentional off-beat flows, and signature “yea aight” - which is exactly why Wack 100, The Game’s long-time manager, signed him to Cash Money West. Critics commented that Blueface’s MC skills sounded like “fingernails dragged across a chalkboard” with one going so far as to label him “the end of rap.” More recently, Joe Budden of Spotify’s “Joe Budden Podcast” and a star of VH1’s “Love & Hip-Hop” declared his “hate” for the song “Thotiana.” “A pop-based audience of 15-year-old girls love ‘Thotiana.’ It’s the bridge between both worlds.”īut it’s hardly the kind of record one would predict for crossover success. “These kind of records transcend radio,” he says. It’s distinctive.”Īlan Grunblatt, eOne’s President of Urban Music, goes one further.
Just his general aura and personality comes through on the track.
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“For guys, it’s a statement about sexuality, and similarly for women, it’s about being free and being sexy - that’s at the primary level.” (Worth noting: the song takes its name for the slang acronym Thot, or “that ho over there.”) Taylor continues: “People talk about Blueface’s distinctive flow, that’s connecting, too. Taylor suggests that the song has a wide appeal. “It became much more of a moment than we even anticipated when we first started looking at it last year.” “Day one, there wasn’t a plan to crossover the song to mainstream or pop radio, but the success dictated that,” says Chris Taylor, eOne’s Global President of Music.
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