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a16z Podcast

Nas, Grandmaster Caz, Steve Stoute & Ben Horowitz on Paying Hip-Hop’s Pioneers Their Due

57 min episode · 2 min read
·
Grandmaster Caz,Steve Stoute

Episode

57 min

Read time

2 min

Topics

Leadership, Design & UX, Sales & Revenue

AI-Generated Summary

Key Takeaways

  • Foundation Structure: The Paid in Full Foundation operates with zero paid employees — all staff volunteer — and Ben and Felicia Horowitz match every donor contribution at 2.5-to-1, meaning all donated funds flow directly to artists. This model eliminates administrative overhead and maximizes financial impact for recipients like Grandmaster Caz, who received a multi-year grant.
  • Recognition Before Money: When Nas was consulted on the foundation's design, he rejected a pure cash-transfer model modeled after Quincy Jones's Jazz Foundation. His reasoning: hip-hop artists cannot simply receive money without accompanying recognition of their cultural contribution. The solution was pairing financial grants with a formal Grandmaster Award ceremony to restore dignity alongside dollars.
  • Credibility Gap Problem: Early outreach to pioneers failed because recipients assumed the foundation was a scam. Artists who had been systematically ignored by an industry that profited from their work had no framework for believing anyone would help them without an ulterior motive. Executing the first ceremony with Scarface and Rakim broke that skepticism through visible proof.
  • Cultural ROI Imbalance: Hip-hop pioneers generated measurable commercial value far beyond their compensation — Tommy Hilfiger's brand revival came directly from Harlem street style observation, Adidas held only 2% U.S. market share before hip-hop adoption, and Sprite's tagline "Obey Your Thirst" originated from rapper Grand Puba. Brands that built revenue on hip-hop culture returned little financial benefit to the artists who created it.
  • Start With What's Right, Not What's Possible: Ben Horowitz frames the foundation's founding logic as a deliberate inversion of conventional feasibility thinking. Organizations default to asking what is achievable before asking what is correct. Paid in Full began from the ethical premise that honoring a small, identifiable group of living pioneers was simply the right action, which then made execution feel tractable rather than impossible.

What It Covers

Ben Horowitz, Nas, Steve Stoute, and Grandmaster Caz discuss the Paid in Full Foundation, now in its fourth year, which combines financial grants paid over five years with formal recognition ceremonies to honor hip-hop pioneers who built a global cultural movement but received neither adequate credit nor compensation.

Key Questions Answered

  • Foundation Structure: The Paid in Full Foundation operates with zero paid employees — all staff volunteer — and Ben and Felicia Horowitz match every donor contribution at 2.5-to-1, meaning all donated funds flow directly to artists. This model eliminates administrative overhead and maximizes financial impact for recipients like Grandmaster Caz, who received a multi-year grant.
  • Recognition Before Money: When Nas was consulted on the foundation's design, he rejected a pure cash-transfer model modeled after Quincy Jones's Jazz Foundation. His reasoning: hip-hop artists cannot simply receive money without accompanying recognition of their cultural contribution. The solution was pairing financial grants with a formal Grandmaster Award ceremony to restore dignity alongside dollars.
  • Credibility Gap Problem: Early outreach to pioneers failed because recipients assumed the foundation was a scam. Artists who had been systematically ignored by an industry that profited from their work had no framework for believing anyone would help them without an ulterior motive. Executing the first ceremony with Scarface and Rakim broke that skepticism through visible proof.
  • Cultural ROI Imbalance: Hip-hop pioneers generated measurable commercial value far beyond their compensation — Tommy Hilfiger's brand revival came directly from Harlem street style observation, Adidas held only 2% U.S. market share before hip-hop adoption, and Sprite's tagline "Obey Your Thirst" originated from rapper Grand Puba. Brands that built revenue on hip-hop culture returned little financial benefit to the artists who created it.
  • Start With What's Right, Not What's Possible: Ben Horowitz frames the foundation's founding logic as a deliberate inversion of conventional feasibility thinking. Organizations default to asking what is achievable before asking what is correct. Paid in Full began from the ethical premise that honoring a small, identifiable group of living pioneers was simply the right action, which then made execution feel tractable rather than impossible.

Notable Moment

During a Paid in Full event, Dr. Dre — one of hip-hop's most commercially successful figures — asked Nas to personally introduce him to Slick Rick and Kool G Rap, artists he had never met. The foundation created the first room where these generational figures actually connected face to face.

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Episode Transcript

I think in life, it's impossible to do anything great if you start with what's possible. You have to start with what's right. Hip hop's not that big. Like, the guys who made the art form are not that many. And so why can't we honor them? Acknowledging and celebrating and then bringing this group of people together is something that the industry should have done a long time ago. When people see me and they see my passion, this nigga still got it. He's still doing it because I have to. Hip hop don't have Social Security. You have to work. The whole thing about hip hop is about to grow to be better, and I think we are living our lyrics. We're paid in full. I want everybody to know around the world what grandmaster Kaz looks like and to celebrate him and applaud this man for what he's done and celebrate Roxanne and celebrate Melly and the DLC and everybody else who's had these achievements. The thing is the honor. The thing is putting you in the light that you deserve to be in. If you're watching this and love hip hop. Hip hop changed music, fashion, language, and culture, but many of the people who built it never received the recognition or financial rewards that matched their impact. In this episode, Ben Horowitz and I sit down with Nas, Grandmaster Kaz, and Steve Stout to tell the story behind the Paid in Full Foundation and its mission to honor hip hop's pioneers. We discuss why the foundation pairs financial support with recognition, what happens when generations of hip hop artists come together, and why giving these artists their flowers is about more than an award. And Kaz shares what that recognition has meant firsthand, from his place in hip hop history to how Peyton Full helped change his life. So this is the first time this group has gotten together to publicly talk about the Peyton Full Foundation. Guys, welcome to the podcast. Thank you. Yeah. So, Ben, why don't you introduce the foundation, and maybe let's get into the origin story as far back as you wanna go as to how this came to be. Yeah. So Paid in Full is an organization meant to honor the legacy of the people who created one of the most important musical art forms of all time, hip hop, and make sure that they're paid in full financially, spiritually, and culturally. And the idea kind of started with me, Steven Nas. So it always bothered me that I bought, paid in full, the album for $10 and I got, you know, in my career, and people in tech know this, I probably got at least $5,000,000 worth of value out of that record, but there was no way to pay it back, and it needed to be paid back. And so, I had the idea originally, and I called Steve. Steve and I have been friends for many, …

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  • Ben Horowitz, Nas, Steve Stoute, and Grandmaster Caz discuss the Paid in Full Foundation, now in its fourth year, which combines financial grants paid over five years with formal recognition ceremonies to honor hip-hop pioneers who built a global cultural movement but received neither adequate credit nor compensation.
  • by Quincy Jones

    When Nas was consulted on the foundation's design, he rejected a pure cash-transfer model modeled after Quincy Jones's Jazz Foundation.

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