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| Doc J's Music Insider Guide: ADVICE FROM MAJORS TO INDIES! - Part 2 |
| Written by Administrator | Published Tue, 20 April 2010 |
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XXL, Advice to artists, Bun B, Juvenile, Talib Kweli, B-Real, Kurupt, Fat Joe, Nelly, Pusha T |
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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
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Doc J's Music Insider Guide: ADVICE FROM MAJORS TO INDIES! - Part 1
A Profound Rationalization of Jesse Gissen’s April 2010 XXL article. This month XXL journalist, Jesse Gissen (who also shares my first name), briefly tou
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Every Playa! Worldwide's Doc J reviews: SLASH - SLASH
4.5 Stars out of 6: Above-Average Album, a good CD that while still containing a few flaws, it surprisingly has a lot of quality material and replay value.
While claiming to be a Hip-Hop collector and aficionado, Rock music is something I enjoy as well. While I’m not an avid Rock lis
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Every Playa! Worldwide's exclusive interview with Toronto's TOMMY G
Tommy G has to be the hardest working lyricist from Toronto, Canada’s burgeoning rap scene today. He is so on fire right now with his over 10 000 recorded songs! You easily notice that he has the confidence and energy it takes to pull these feats off
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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 then needs to dig deep into the business aspect of music. At the forefront, it’s going to take a lot of reading and research – similar to how school was. The only difference is you’ll now be learning the lessons and standards to make it and be taken seriously in the music industry…
“Always know your numbers.” – Bun B
I advise my own artists this as well, as you ALWAYS need to know your own statistics, especially if you’re indie. Realistically, the larger companies you are trying to gain attention from, already have done their research and know your numbers. In this day and age, all that’s needed seriously is your artist name, real name, location, song title, and age – and I have enough to do a pretty effective background check - into your song ownership, publishing, sales/tax records, and often your traffic/criminal records. When you begin your promotional campaigns for radio and magazines, the biggest mistake I see foolish artists do is simply stating “I sold A LOT of CDs”; or worse yet, they completely lie about numbers. Companies want EXACT totals, if only, to prove that you are honest and organized enough to keep count – because they know they can check it later. Regarding journalist, literally anything you “claim” before, can be held against you later. If something you said (or lied about) doesn’t match up when the real documented stats come out…you’re going to be doing irreversible damage. Finally, knowing your numbers will help you out financially too. Once you start working professionally, you’ll learn that everything is signed off on a budget system. Without reporting your accurate numbers, you won’t be able to form reports to get more money. With many aspects nowadays costing less (recording is cheaper, the employing of unknown producers for cheaper beats, collaborations are often done on a favor-for-a-favor scheme, people doing their own printing and stationary work, and filming videos being cheaper) – artists no longer need to sell gold (500,000 or more), to still recoup costs and make profits. Conversely, you should keep track of all expenses as well, because expenses add up quickly, and while a project looks like a profit – it could really be a financial loss.
“Pay attention to all sides of the business.” – Juvenile
If you want to make some profit from your music, you are entering what is called the “Music Business”. That term involves two important words = “Music” + “Business”. If you aren’t competent in both, you cannot expect to be successful. I learned at my first music conference (back in 1999) that getting success in music takes – 15% talent and 85% business legalities. The way this industry is set up is a system of standards and legal procedures. A majority of artists that fail are unwilling to learn the business (and these procedures). The biggest flaw of indie-artists starting out is that they strongly believe that if their music is GREAT, that’s all they need to, get discovered and someone else will handle the business side for them. What they don’t understand is the prospect of your “profit” comes from music is controlled by the business side – so if you refuse to understand it, you’re refusing the different ways to make profit. Even if you’re lucky enough to get a label situation, without knowing the business, you can get screwed by contracts – and while you get fame from your artwork, you are financing someone’s dream (and bank account). Juvenile states that, “Looking at my stint at Cash Money…I learned things don’t always work out the way you dream them, others will profit more off you than yourself, but that’s how life & the business is.” Likewise, managers and agents make their living from doing things that artists aren’t willing (or educated enough) to do – and they substantially charge YOU for it. Last month, I’ve personally advised one of my database artists to NOT take a management deal – because among other flaws, clauses in the contract demanded $100/weekly to cover all office fees (for photocopies, sending faxes, and to pay for stationary – such as phone service, paper, staples, folders, etc). That’s pretty ridiculous, AND something that my artist could do for himself.
“Notice supply & demand, and understand the importance of being a businessman.” – Talib Kweli
One of the biggest factors to a business model is supply and demand. The rarity of how much of something is supplied + the more that the people want it = the amount of profit that can be made from it. This ideal can be applied and seen in Hip-Hop even. Every movement in Rap (conscious, gangsta, party, southern crunk, hyphy, pop, hipster, etc) have each had their profitable runs, but as the “supply” and/or “demand for them” changed (as they always do), so did their popularity. Kweli’s own type of music, “conscious Hip-Hop”, can be directly compared to vinyl records. Back in the day, vinyl was an important element of the culture and a necessity to be considered a professional musician. With the change of technology though, the vinyl industry is nearly dead, and it’s assumed that the only people that care about it now are either specialty collectors or geeks. Currently, the people that are buying rap music aren’t really checking for conscious music – but it must be remembered that the “supply and demand” for it can change again. Noticing these trends of supply and demand is one of the first skills that can help transform a rap artist into a better businessman.
“Be patient and understand the unspoken rules of the business.” – Sean Price
The unspoken rule that Sean Price aka Ruck is referring to is “everyone in music has to pay their dues”. Similar to how an infant must learn to walk before they can run…you cannot be a “star” (and make insane demands) before you have paid your dues and earned some experience. Overnight successes are rare and are often assumed easy (if you ask the artist themselves – they’ll tell you a much different story of their struggles before stardom too), so I know a little better than to believe in miracles. In this industry, everyone has to start at the very bottom of the pyramid and work their way up. All of our current idols had to work hard before the fame. Rappers had to promote other bigger rappers, do open mics and battles, and do measly 5-10 minute sets to open for other artiss….DJs had to spend months of learning their craft in their bedroom, carry crates for other djs, do tiny house parties, and often work for free. Sean Price jokes, “I had no deal, so I had to know my place…I went from selling drugs to going on the road with Buckshot and them. In a week’s time, I would 4-5 shows with Buck to earn my stripes, and he’d only slap me with like $100 and a pair of Timbs…but you can’t put a price on the experience, respect, and everything that I learned.”
“Know your history and pay attention in your surroundings.” – B-Real (of Cypress Hill)
The trends in Hip-Hop change often, media sources (like MTV) can stop liking a style, etc. Being able to adapt to the change can keep your music popular. Remember though, just because something isn’t popular in the mainstream, doesn’t mean it’s not popular to your core fanbase. Try to look at what your musical peers are doing – look at the pros & cons of it, without hating. Try to figure out what makes it popular, and apply it (in moderation) to your creation process. None of us are psychic (though I wish), but being able to determine what modern music is missing or guessing what the next cycle will be – can extend the life of a career. B-Real adds, “We were students of the game…So much shit coming out today doesn’t really have staying power, and everybody’s making the same music…Even if MTV or radio doesn’t perpetuate your sound, to have longevity you’ve got to make timeless music.” Luckily, there are tons of new ways to profit from your music, other than the radio and video format now. So my suggestion is to read, pay attention, and learn – before the game (and opportunities) pass you by.
“Be up on current musical style and trends.” – Kurupt (of Tha Dogg Pound)
This suggestion relates back to the timelessness of music, and what you are trying to talk about to your fans. Some concepts are fads that fade, and only make sense in your time period. Fans enjoy music about current events, but as writers it’s our responsibility to be creative & descriptive with it, so it isn’t forgettable. This is both good and bad though because you don’t want to get into the habit of using gimmicks either. If a rapper tried to make references to Jordan, Mike Tyson, Reaganomics, high-top fades, and beepers in a modern rap song it wouldn’t be very successful. Likewise, if you made song filled with auto-tune only referring to grills, Tiger Woods, Obama, and iPads – I highly doubt it’ll be remembered in 10 years either. This is what sets apart the music from legends like Michael Jackson or 2Pac. Their music, concepts, and references mean just as much today as they did 10-20 years ago, and doesn’t sound dated.
“Be motivated to record like 2Pac” – Fat Joe
Regardless of the reason (technology, the economy, the fans, or our lifestyles) – the music industry works a lot faster these days. Music gets spread quickly; things get played out faster; and both the radio stations & labels move right on to the next money-maker. The only way to succeed at these speeds is having a great work ethic and persistence. I kinda wished that Fat Joe would use some of his own advice, lol, but he makes a very good observation. I’m sure there are more artists that practice this – but in my 28 years, only three have received public acclaim for the “one-a-day” method. Reportedly Prince, 2Pac, & Scarface all have explained to media sources, that instead of working on multiple projects at once and suffering burn-out, they would concentrate on one beat and write one FULL song per day. 2Pac only started using this technique for the last year-and-a-half of his life – but with close to 540 songs written and recorded in the 18 months before his death, it’s evident why so much “new” material from him exists. “Look at Lil Wayne…2Pac did it like that…Wayne works like a slave…muthafuckas are living in that studio now…The whole industry is falling down and Wayne is making money. We was much lazier back in the day. Rakim was the hottest nigga out in the late-80’s and would drop one album every 4-5 years, and then chill, relax in the sun – and that was normal”, describes Fat Joe.
“Hip-Hop is ever-evolving, changing, and unpredictable.” – Nelly
Nelly can speak on this topic on MANY different levels. First off, who would have ever thought a rapper from far-off St. Louis would be mainstream?; but he was able to overcome his geological location and convert his country slang into worldwide success. Later, his fame led to him into being able to benefit from gaining unpredictable advertisements, product ownerships, and movie roles. Now most recently, he quietly witnessed his latest album, the 2008 “Brass Knuckles” sell barely 230,000 total units, when his debut sold nearly 10,000,000 copies. Fundamentally, even indie artists need to realize that what’s hot one year, won’t necessarily be hot a few years from now. Rap popularity has shown us through the years that they will always side with and support the newest, youngest trend. Therefore, any success you gain should be respected by you and not taken for granted. Additionally, similar to Nelly’s example, be sure to use any success you gain to get you more opportunities for profit. Don’t be afraid to dabble into other markets and businesses. This way – when you’re no longer considered “the trend”, you’ll still have business options. Also, going hand-in-hand with Kurupt’s advice earlier – since Hip-Hop is changing so much, it’s necessary for an artist to always be studying what’s the newest in trends, technology, and style so they don’t fall behind.
“Don’t be unhappy with having to be underground or independent.” – Pusha T (from the Clipse)
The same way that trends, technology, and supply-and-demand all change – so does business situations for every artist. Sometimes they improve, sometimes they don’t…but that doesn’t mean that artist can no longer be successful. The common problem is a lot of artists think negatively about being independent and want to advance to mainstream as fast as possible – when respectfully, if they already have a solid fanbase, many indie artists make more money than signed artists. In reality, a label situation expands and exposes an artist with regional promotion, marketing, and advertising – so if you are looking for mainstream fame, a label is necessary. Luckily though, fame is not the same as financial success. “Malice and I got in the game at a time when major labels were at an all-time high. The generation before me was different though – as independents thrived (Suave House, No Limit, Cash Money, etc)…Now with the economy like it is, it’s going back to the independent hustle, and we’re ok with that”, describes Pusha T. As shown, even artists on majors no longer have the negative viewpoint or fear of going back to independence. Like I’ve stated many times, everything works in a cycle. All the skills a new artists learns during his indie grind (utilizing underground mixtapes, self-promotion, building a street team, etc)…are the same skills that will help him later in his career too. The idea is to stay positive, no matter what situation you are in, and prove that you can get success, without having to depend on a label.
“At all costs, avoid a 360 deal!” - Big Boi (of Outkast)
For those that don’t know, a “360 deal” in layman’s terms, is 360-degrees of business marketing and management, within a record deal, that has become more prevalent in the 2000’s. Basically, your label will promote you (and your music) as a marquee star, and offer you portioned budgets for other private ventures you may have – but then they contractually get the larger majority percentage of profits made from these ventures outside of music. This includes: record sales, collaboration publishing, airplay royalties, touring, clothing sales, product advertising, etc. Big Boi even warns, “Don’t do it in this day and age…You can’t do that to yourself cuz that’s some pimp shit...Telling a rapper – you look here young brother, We going to get a piece of everything.”
“Have patience & don’t ever skip steps…because your rush will be hustling backwards.” – Doc J
To close things off, I’ve added my own little advice that I probably have told (or yelled at) EACH artist in my service database at least twice – DON’T hustle backwards! After you remove all the hype and mystique from this music industry – it’s really just a machine with simple systematic steps to do business. The steps of business are paramount, and if followed, anyone can do this. The hard part though is having the motivation & resources to learning exactly what those steps are. While I won’t argue how talented (or not) some famous rappers are, the one truth is that they have ALL learned and followed the same steps. I may DISLIKE their music, but I do respect them for following directions and meeting standards. If you do not know the standards, lose your pride, and just ASK what is requested of you. The rappers that are too hard-headed (or scared) to ask, are the ones that fail. Plus, a majority of indie artists want fame and riches so bad, that they lose their patience and begin skipping steps. These include: forgetting to get clean, instrumental, & acapella versions of a recorded track; sending out songs without copyrights; releasing music that has an uncleared sample; not getting solicitation when sending music to a radio or label; trying to release an album without doing a promo single or advertisement, etc. Not only will these mistakes set your career back, but some could ultimately get you sued too. It’s feels like any “work” a rapper does on music, they claim it’s hustling or grinding. Remember though, if you are skipping steps, your hustle (and progress) is going backwards – or worse, nowhere. |
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Best Female Rappers Alive - Part 2 (New Skool) |
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First and foremost we have to pay homage to all the great women that have been leaders and ground breakers in the industry; from writers, MCs, producers, stylists and many more. They opened up
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