Doc J's Music Insider Guide: ADVICE FROM MAJORS TO INDIES!

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Tags	XXL, Advice to artists, Freeway, Rakim, Missy Elliot, Killer Mike, Big Boi, Nu North, Noreaga

Doc J's exclusive interview with AListRadio.net's next big DJ, A-Smooth as he shares tips, experiences & gets personal!

It’s Tuesday, June 8th…This is Doc J, representing Hear My Voice Ent, and I’m in the building with DJ A-Smooth, and we bringing you this audio interview straight from EP WORLDWIDE…Every Playa! Worldw

Doc J's Music Insider Guide: ADVICE FROM MAJORS TO INDIES! - Part 2
SUGGESTIONS ABOUT THE BUSINESS SIDE. Whattup kiddos? During the last segment I covered advice from major label artists speaking on the type of mentality an artist should strive for, when trying to be successful. Once you get your mind right, an artist t

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While being employed at and working with figures from various major-labels such as Sony & So So Def, I’ve started like many of you - having to create a name and brand for myself through the local and indie ranks since I started 11 years ago. Regarding the debate of Majors vs. Indie, I’ve always tried to stay neutral and unbiased – mainly because I’ve worked with both sides – and would hate to piss anyone off, lol. Still, one thing I stand strongly behind is the education of younger artists, and teaching them how to be more self-sufficient. Two of my biggest inspirations are consultants like Wendy Day & TJ Chapman – both supporters of learning the business so there is less dependency on a manager and label. In my company’s database, I realistically advice over 210+ unsigned artists, and I’d like to consider myself fortunate enough to see the advantages of both sides. Therefore, what I will be doing here is taking the same quotes that Mr. Gissen received from notable major-label artists - dissecting the lesson of each, and applying it to the independent artist starting out.

The first segment of this article will deal with advice from major label artists regarding the personality & mentality that an upcoming indie artist needs to have to be successful….

Honestly, if you want to make a splash in your local scene – every event you go to can really be an opportunity to shine. Open mics, conferences, house parties, battles, club after-parties, etc. Especially with the popularity of video sharing sites like YouTube – one simple little event that gets recorded can become a worldwide spectacle – be it good or bad for you. Speaking as a writer myself, you need to have your newest material memorized and prepared always – just in case. Freeway reminisces, “Because I battle, I used to send a lot of people packing…but it’s dangerous, because somebody could have taken my spot…So I just had to be on point, like, all the time. No matter where we were, I had to be ready to go.”

“Confidence & swagger is key…if you aren’t your own biggest fan, you’ve already losing.” – Plies

Haha, I can already see half of my readers claiming that they are the best rappers alive now. This isn’t a license to be cocky, but the modern mainstream appeal is that you NEED to be very confident in your own music. Whether major or indie, you are trying to always demonstrate you’re the best…so don’t be afraid to show-and-prove it. Always having genuine passion in what you do is the fastest way to make many others relate to you more. Now I wouldn’t advise lying or using a cheesy gimmick, but letting your self-assurance and attitude show a little in your music and interviews can allow critics to get a closer look at your personality – which helps in establishing yourself faster.

“The listeners are, and always have been of the most extreme importance.” – Rakim

To be successful in music, an artist needs to build a relationship with listeners. Back in the day, there’s a work ethic that went into making you stand out to a fan, and be liked. Rakim states, “The major difference between 1987 and 2010 is the way we tried to be original…we all tried to be different, and it was sin to borrow/bite off of somebody or even sound like them, and we worked endlessly at it…It was the utmost respect that we gave to the listeners, but now artists EXPECT the fans to have the utmost respect for them.” There are still artists that care, but Rakim’s point is valid, because back then, most artists always had the want to know what the fans thought of his music, and we listened to some of their opinions. Nowadays, both the artist and label work hand-in-hand in trying to force-feed music to fans, until they do like it, regardless of what’s the overall opinion.

“There’s room for everything and everyone…if you’re creative.” – Missy Elliott

Many rappers that are different from the pop culture cliché, often reach a moment where they feel the need to either give up or quit being different. Both of these choices are logically the wrong way to go, and these urges must be fought. Before any fame mainstream, to be successful in the independent scene, an artist has to accept criticism, learn from it, and still have the mentality that it’s ok that everyone might not be a fan. Missy adds, “It’s always been harder for female MCs…but yes, there’s room for every kind of rap. All you can do is…do you.” I agree with her, as probably the best lesson that I’ve learned in 11 years of experience is that there is a market for everything – the most abstract shit you can think of. From Asian anime, to beanie babies, to raw oysters, to nipple rings, to gay porn, and ANYTHING else you can think of – while everyone isn’t a fan, they each are still multi-billion dollar industries. As funny as that sounds, this has to be encouraging to rap artists to be themselves, and strive to make their own brand of Hip-Hop.

“Being popular in the South and relatively unknown elsewhere can be a challenge.” – Killer Mike

I think the lessons that can be taken from Killer Mike is artists HAVE to have perseverance in working through challenges, and some situations are completely out of your control. In his case, Killer Mike won a Grammy in 2002 for Outkast’s “Whole World”, and a year later dropped his debut album. While there were a few southern legends (2 Live Crew, 8Ball & MJG, Geto Boys, UGK, Outkast, etc) - the time period of 2002-2004 ushered in southern music onto the Billboard charts. Any “new” artists (like Killer Mike) during this crossover movement had to directly deal with the drama of disapproval from the two larger coasts. While he was a Grammy-winner and star in the south, when he toured to New York and California he got a lot of hate JUST because he was from the South. Killer Mike remembers, “It was hard for us to be dominant when we toured back then…For me, when I had to rock New York the crowds often booed and were hostile…When I went out to L.A. they were even further removed from the South than New York was…So it wasn’t really fair, but you had to deal with it, and rap your ass off”. Did this mean Killer Mike was any less talented? = NO…but it was a situation that he could not change, and had to accept it. The average person wouldn’t be able to deal with circumstances like this, but to have success, especially if you are trying to pioneer something new you have to be persistent, keep working hard, and consistently be positive even when you face negatives – no matter if things aren’t fair.

“Understand the new roles you inherit with increased visibility.” – Lil Mama

Much like the trends in rap, your role in music business can change drastically too. As you learn new tools, have more experiences, and work with others you quickly make a name for yourself and expose your strengths and weaknesses. One year you can be “good” at one thing, but getting a college degree and working in another area could lead to a different job that you are better at. Personally speaking - I started as a published poet and a rapper, who got tired of DJs charging so much for mixtape spots, so I invested in equipment and became a DJ, and got a college education in commercial music business & trademark/copyright law. I enjoy writing/rapping a lot more, but my success in DJing and advising artists has been A LOT more profitable for me than rapping – so you kinda have to understand and accept the role you are better at. Looking back at her own career direction, “I knew before that sex sells, and that’s easy...but I have two younger sisters at home, always watching and listening, so I keep that in mind…so I didn’t go that route as other females….I did the music thing, opened doors to being a spokesperson, doing TV, and talent judging…That’s what I’m currently succeeding at now, so I’m going to enjoy it”, explains Lil Mama.

“Don’t let a fellow rapper’s co-sign go to your head.” – Raekwon (of the Wu-Tang Clan)

It’s inevitable that your achievements when starting out will eventually garner you some acceptance from the industry, and hopefully a few co-signs. Co-signs are great because they show you that your work & effort is amounting to something, and others believe in your talent. The problem is when a new artist begins getting his co-signs, many times – he already feels the “fame” and gets gassed up. You’d be surprised how many artists have tried to CHARGE me for interviews, features, or even drops, just because he’s being supported by such-and-such DJ now – when two months earlier he was begging me for some promotion. Often times, this is the same artist that doesn’t even own a copyright yet – so it’s sad to see it go to his head this early in his career. In my opinion, a co-sign should be worn as a medal (for your effort thus far), not as a weapon (in trying to get future opportunities). Raekwon puts it best, “Congratulations from others is good but it can make you lose your focus…Don’t get too souped up and think you that nigga – that’s when you will fall on your face.” I suggest you logically look at the very artist that’s giving you the co-sign, and try to gauge to what length they believe you – because many times, this same guy that will co-sign you, will still not collaborate or promote you. So you need to consider the strength of the “co-sign”. Sit back and take a long look at your connections, and decide who has given you the most guidance.

To build a buzz and fanbase, all artists begin at the independent level, often doing hundreds of free shows, handing out free music, and working endlessly paying their dues. Unfortunately, when they do succeed and earn money, these activities sometimes go out the window. Some artists get rich, and then feel “owed” for everything they do. Perfect example happened to me recently - an unnamed, southern white rapper, was begging me three months ago for a spot on my mixtapes, for an interview, and to review his mixtape. While he mentioned that he was going out on the road to tour, I PROMISED to do so as soon as he got back. In that time, he was signed to Interscope Records, and upon getting home and calling – when we were talking about the specifics of when I would interview him, he requested $150 payment for it. Actions like this not only are insane, but it also makes the artist totally dependent on money. NORE explains, “People get used to making money without having to do nothing, and the artists don’t really ever understand the business structure…Later in their career, they can’t do things by themselves, and forgot how to get out there and hustle to KEEP fans…They then need a label, instead of the label needing them.” I agree with NORE 100%, and you even see it happening right now, when you watch one artist complain about and leave one label, and then immediately run to another to just sign another “bad” record deal.

“Don’t wait for others to help…Do it yourself, while also being yourself.” – Big Boi (of Outkast)

Whether mainstream or indie, the media is always guilty of making assumptions, spreading lies, and starting rumors. Do yourself the favor though and don’t do anything to feed the rumors. With the lack of unique artists, you see it happen a lot nowadays – you have the new hot crew putting out hit records, and all the members have the same cadence, deliver, or styles of punchlines; leading people to believe that one person wrote for everyone else. Even if it’s true or not, it looks that way, and that’s enough to feed a lie. New artists almost need to start having the motivation all the way at the indie level, to do things for themselves, without needing someone else – but that’s not happening a lot. With so many shortcuts and the lack of education, by the time they reach the mainstream level, an artist builds a dependency on their manager and label, and they become useless alone. “Think before you make that leap…You don’t need labels. They’re just marketing banks these days anyways. If you’re smart and able to get funding from elsewhere, you can stay indie and still be successful…That’s definitely where I’m headed, at the end of my contract – Free agency!” explains Big Boi.