Here's how artist manager StevenVictor became one of the most successful and fascinating industry leaders today. 💯
For a streetwear fan on a Saturday in New York, there was no better place to be than here, outside a SoHo pop-up shop celebrating the latest collaboration from
“You know what a GT2 is? A GT2 RS Porsche — it’s a race car,” Victor says, animatedly but distractedly. “I have one, but people don’t really drive them on the street. They drive them on the racetrack.” In 2010, Clipse’s former manager, Anthony Gonzalez, went to jail on drug charges; Malice found religion and quit rapping ; the duo broke up; and Pusha ventured out as a solo act, following the mixtape formula to establish himself on his own. Soon after, West called and asked Pusha to come out to Hawaii to work on his next album, which would become. That spawned a working relationship that would lead to Pusha signing with G.O.O.D.
Through Victor’s relationship with music supervisor Scott Vener and others, the song was synched in trailers for theand a documentary on the UFC. Then Arby’s called and asked to use a snippet in its 2014 advertising campaign, “We Have the Meats” — and because Pusha and Victor controlled the composition, they’ve been getting paid every six months ever since.
That led to the formation of Victor Victor Worldwide, his partnership with UMG that became one of the first deals in what is known as The Center, the collection of labels, executives and partnerships that works within the core of UMG, rather than solely with any of its affiliated labels, and reports directly to Grainge. When Victor signs an artist, he can bring that act to any label within Universal, effectively creating an internal bidding war for the right to release the artist’s recordings.
“For me, it was a bad deal on paper because it was me going from working in The Center, where I have all this flexibility and report to the chairman of Universal, to reporting to a label head,” Victor says. “So I started having second thoughts about it. But what kept coming back [to me] was, ‘If you want to be a label head, this is a step in that right direction’ — sort of like two steps back to take three steps forward.
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