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DIARY OF A BROKE N*GGA (FEAT. KENDRICK LAMAR & GIDDY) album cover

ISRC

USUYG1003526

DIARY OF A BROKE N*GGA (FEAT. KENDRICK LAMAR & GIDDY)

Song: DIARY OF A BROKE NIGGA

JAY ROCK
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USUYG1003526 is the International Standard Recording Code (ISRC) for the recording "DIARY OF A BROKE N*GGA (FEAT. KENDRICK LAMAR & GIDDY)" by JAY ROCK. ISRCs are 12-character ISO 3901 identifiers that uniquely tag a specific sound recording — different masters, remixes, and live versions each receive a distinct ISRC. Written by GIDDY, JAY ROCK, KENDRICK LAMAR, and others.

Format

USCountry
UYGRegistrant
10Year (2010)
03526Designation
Country:
ISO 3166-1 alpha-2 country code (US).
Registrant:
3-character code identifying the label or distributor that assigned this ISRC.
Year (2010):
Last two digits of the reference year (2010). Years < 50 are 21st century.
Designation:
Unique 5-digit code assigned by the registrant for this specific recording.

Credit Chain

ISRCDIARY OF A BROKE N*GGA (FEAT. KENDRICK LAMAR & GIDDY)
IPIGIDDY

People also ask

What is the ISRC for "DIARY OF A BROKE N*GGA (FEAT. KENDRICK LAMAR & GIDDY)" by JAY ROCK?
The ISRC for "DIARY OF A BROKE N*GGA (FEAT. KENDRICK LAMAR & GIDDY)" by JAY ROCK is USUYG1003526.
Who wrote "DIARY OF A BROKE N*GGA (FEAT. KENDRICK LAMAR & GIDDY)"?
"DIARY OF A BROKE N*GGA (FEAT. KENDRICK LAMAR & GIDDY)" was written by GIDDY, JAY ROCK, KENDRICK LAMAR, CHRISTIAN HENRI KALLA.
What is an ISRC and what does it tell you?
An ISRC (International Standard Recording Code) is a 12-character ISO 3901 identifier that uniquely tags a specific sound recording. The first two characters are the country code, the next three are the registrant (label or distributor), the next two are the year, and the last five are a unique recording number.

What is ISRC USUYG1003526?

USUYG1003526 is an International Standard Recording Code (ISRC) that uniquely identifies the recording "DIARY OF A BROKE N*GGA (FEAT. KENDRICK LAMAR & GIDDY)" by JAY ROCK. ISRCs are 12-character alphanumeric codes defined by ISO 3901, used globally by streaming platforms, record labels, and rights organizations to track plays and distribute royalties.

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