Glorilla Becomes Embroiled in a Spat with Hitkidd Over Contract

Contract disputes in the music industry are as old as the note ‘Do.’ When it comes to art and commerce, the classic idea of earning money for one’s efforts in the business of music never tires.

For Glorilla and Hitkidd, the rapper and producer, respectively, have a disagreement over the rights to the song, “FNF.” They both claim that the publishing and master recording of the song were supposed to be divided up justly. This didn't happen.

Hitkidd admitted that in the meeting over the property rights to “FNF,” the information “flew over [his] head.” A classic example of what has plagued artists (especially melaninated ones) over the decades.

When the artist and the producer cannot agree on terms it truly shows the blues elements of the game. The songs are meant to be enjoyed by the individual as well as the masses and the people who make the music ought to be compensated appropriately.

Glorilla felt as if she had been subjected to “jealousy” on Hitkidd’s part. She really meant envy. To her, he wished to hate on her for her virtues.

Hitkidd maintains that he was above board with everything that has transpired. In the meeting over the residuals, he didn’t have his manager present. Though his representative was absent, Hitkidd still entertained the idea of how to split the profits of the song.

The difference in opinion between the record producer and the artists has proven again the bad blood between them. It’s not the time to blame the love of money, however. This is a misunderstanding of the explicit contract and implicit contract that is struck between both camps.

For Hitkidd to detail how he wanted the deal to go his way and that Glorilla was never supposed to be cut out from the picture shows a modicum of respect for the artist. But Glorilla feels some type of way because she isn't seeing the money going her way.

That’s the blues part of this. All of the rhetoric is substantial but it comes down to notes and beats. The music is what the people want to hear. And the artists and the production figures ought to be able to agree.

Philosophically, the thought of ensuring that everyone gets what they deserve out of making a song is what drives the business of music. Glorilla and Hitkidd have a lot of growing up to do and ought to study the game closer.

With ties to Collective Music Group (CMG), Yo Gotti has the business acumen and links to the boss, JAY-Z. She should be taking lessons from these men who have established multi-million-dollar businesses. If she is able to glean a bit of wisdom and mother’s wit from the figures, she might not find herself in a position where she’s on the defensive about her own song.

Hitkidd ought to read into the game as well. For him to not have the sense to include his management team in a matter over contracts signals immaturity. He ought to recognize the facts of the industry. It’s all about the money. The spirit to create something from nothing is beautiful. The fact that individuals listen to songs at work, play, in intimate moments, and at solemn and celebratory events alike, it is important to know that artists are motivated to produce more work.

Once the two musical artists bandage up the wounds caused by this contractual battle, they may work again and produce another hit record. When they finally see that the whole point is to make money and to make that money requires excellent minds for making music, then we will see a renaissance in the way musicians interact with each other.