Archive for May 23, 2011

Industry Tips & Advice: Erykah Badu – Making it in the music business

Industry Tips & Advice: All About the Music Business : What Do Record Labels Do?

Learn some advice and tips on what record labels do in the music business from our expert in this free video clip.

Expert: Barry Bergman
Bio: Barry Bergman is a veteran manager, music publisher, speaker, consultant, who is the president and founder of the Music Managers Forum in the United States.
Filmmaker: Paul Muller

Industry Tips & Advice: Music Business – Selling Hip Hop/Rap Beats

Music Business – The biz within the biz of selling beats

Industry Tips & Advice: Frank Zappa explains the decline of the music business

Frank Zappa explains the decline and fall of the music business and comes to a surprising conclusion that the older generation was better for pushing new wave music that they didn’t understand than the supposedly younger/hipper music executives.

Industry Tips & Advice: The Music Game-Music Business Video pt. 2

Music business advice from Lil Jon, Too Short, Gangsta Boo, Ashanti, Cash Money, hella DJs, Entertainment Lawyer Emmett McAuliffe, radio station program directors.

Industry Tips & Advice: Krayzie Bone Grills Brian Shafton Owner Of RBC Records

Watch Krayzie Bone grill Brian Shafton, Owner/Partner of RBC records. They discuss everything from how new artists can break into the music biz and Conquer The Industry to why today’s mainstream music is so watered down.

Industry Tips & Advice: Jazzy Jeff: Music Business Mathamatics @ ACM

Jazzy Jeff on the reality of making money in the Music Business

Industry Tips & Advice: John Kellogg, Esq. Speaks on Music Business Ethics

Dr. Rick Wright of Clear Channel WPHR Power 106.9 FM talks with John Kellogg, Esq. Re: Music Business Ethics, 12-16-07

Industry Tips & Advice: Ethics in the Music Business by Keith Hatschek

The title of this article is not a misprint.

The legendary gonzo journalist Hunter S. Thompson wrote, “the music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There’s also a negative side.”

Thompson was accurately portraying a small slice of the music industry, one in which incentives are seemingly provided for doing “bad” onto others. That incentive, in almost every case, is quick money. Contrary to Thompson’s colorful description, as a 35-year industry veteran, I’m pleased to say that 98% of my experience in the business has been with professional, ethical colleagues and companies. They realize that in the long-term, treating others with a modicum of respect and consideration will bring in more positive benefits than taking every opportunity to stick it to your neighbor (we’ll get to the other 2% near the end of this article).

Here are a few reasons why ethics, fair play and common sense will get you further in the music industry than lying, cheating or stealing in an attempt to make it to the top.

It’s a Small Industry

Compared to the computer industry, the defense industry, or even the alcohol industry, the music industry is a small market. U.S. record sales in 2005 amounted to roughly $12 billion in retail value. By comparison, packaged alcohol sales represent roughly $80 billion while the current U.S. defense budget is $439 billion.

Due to the relatively small nature of the music industry, people tend to collaborate often on various projects and the old saying, “Burn me once, shame on you; burn me twice, shame on me,” really does apply.

Here’s a hypothetical example. Let’s say you are helping to manage a local band and that the all ages show you just wrapped up provided for the band to receive 50% of the door charge of $5.00. 100 people paid to attend the show and as the club owner is counting out the band’s share, his cell phone rings and he hands you what he thinks is half of the night’s revenue, $250. As he talks, you realize that there is an extra $50 bill. You are holding $300.

Welcome to the world of ethical dilemmas!

What you do at that moment may determine not only how much money the band goes home with that night, but also whether or not you, and the band, will be welcome back at that club or at other clubs in the region. So although it might seem like you are “getting away” with something by pocketing the extra $50, you are probably doing more long-term damage to your reputation than the money is worth.

Why Your Reputation is So Important
Ultimately, no matter how talented you might be as a performer, manager, technician or composer, the values you employ in your daily activities will either make people view you as a trusted resource or as someone who is unreliable, or worse, dishonest.

Now let me share a real world example with you. Sid was an amazing drummer, able to quickly play any style of music, read charts well, and fit into a variety of ensemble settings. Back in the day when I was working professionally as a recording engineer and producer, I hired Sid a few times to play on recording sessions, but quickly found out that Sid usually arrived late, was often easily distracted, and often complained about how little he was earning on the session to the client! It only took a few sessions before I realized that hiring Sid was a liability.

I replaced Sid as my first call with Casey. He didn’t play quite as well as Sid, but he showed up early for every session, went out of his way to stay focused and engaged in the recording process, and made it a point to politely introduce himself to clients and when appropriate, compliment them on their songwriting or musical ideas. About a year later, Casey had moved to LA and quickly became an in-demand session drummer. All based on his reputation as a reliable, steady player.

What about Sid? He’s no longer a working musician. His poor reputation had quite a bit to do with his change of career.

One Career Ladder Up… and Down
As you climb the career ladder in the music industry, you’ll meet a variety of characters, some good, and some bad. There may be a few persons who may try to take advantage of you or secure what might be seen by someone with more experience as an unfair advantage (remember that other 2%?). They may try to rip you off in a variety of ways. The best defense against getting ripped off is learning about how the business of music works. Regularly visiting this web site and learning from the experts on it will help you protect yourself.

Another reason to consider having a sense of fairness and ethics is that the ladder you ascend on the way up your career is the same one you may take in the phase of your career where your popularity or success may decline. So the very same people you either treated fairly and ethically, or unfairly and unethically, will once again be booking you into a club, considering whether or not to play your song on the radio, or to hire you back as an assistant in their office.

Much like “Sid,” if you burned your bridges ethically or otherwise, you probably don’t stand much of a chance of getting any opportunity to work or play because most people have a long memory for those who didn’t act fairly.

A Secret Weapon
Since the music industry is an exceedingly competitive industry, why wouldn’t someone want to take any advantage possible, ethical or not, to “win” at the music career game? Because fair and ethical behavior is a type of secret weapon. Assuming that you have a basic sense of right and wrong, operating ethically, realizing there will be moral dilemmas you will face in your career, and being able to stand up and take the actions that you feel are best for you but also don’t hurt others needlessly, you will be building up an arsenal of good will among other professionals that you encounter.

And when the day comes, and it will most definitely arrive, that you are in a difficult spot or need a favor from an individual or a company, your track record of ethical behavior may be the deciding factor in getting the help or advice that you need to move ahead.

It’s certain that if you’ve burned people, you won’t get the time of day when the chips are down.

So hand the extra $50 back to the club booker. You’ll be going a long way to building a reputation as someone who can be trusted and is in the business for the long haul.

Doing the right thing isn’t always easy.

But it has short- and long-term benefits that make it worth the investment.



Industry Tips & Advice: Ten Principles for Social Media Marketing Success #2

The second edition of the Social Media Talking Heads Programme.

Social marketing is not new. Think of the Tupperware parties of the 50s. But social media, the technology that has truly enabled local to go global, is new. And you’re too late: it’s already been claimed by the crowd — meaning that marketers have at least one clear challenge: participate, don’t dictate. Online, people talk to people, not to brands

Industry Tips & Advice: 10 Tips on Social Media Marketing

10 Tips on Social Media Marketing Success-Part 1 From: MeettheBossTV
Nov 17, 2010

Social marketing is not new. Think of the Tupperware parties of the 50s. But social media, the technology that has truly enabled local to go global, is new. And you’re too late: it’s already been claimed by the crowd — meaning that marketers have at least one clear challenge: participate, don’t dictate. Online, people talk to people, not to brands.

Alex Hunter, Independent Brand Consultant
Ian Chapman Banks, General Manager, Dell
Julian Persaud, Managing Director, Google
Ji Hee Nam, VP Digital Media, MTV
Paul Soon, Regional Director, XM/JWT

Article: Hip-hop violinist Jeff “Maestro” Hughes to play at Coffee at The Point at the Five Points Jazz Festival in Denver Saturday by Sam DeLeo

Talented. Handsome. And a symphony soloist. At age 10.

Talk about having to live up to your early promise.

“It was surreal,” Jeff “Maestro” Hughes said recently while recalling his solo violin performance with the Colorado Symphony Orchestra.

“I mean, I was submerged in the classical world; I was really working hard to accomplish this kind of thing, to make those auditions, to get myself in front of the symphony. But it was still unbelievable.”

Hughes, now 26, is one of the headliners at Saturday’s Five Points Jazz Festival, performing at Coffee at The Point at 6 p.m.

He’s performed at Denver Nuggets halftime shows and a Democratic National Convention party for then-presidential candidate Barack Obama. He also played at the 2008 Grammy Awards with the Foo Fighters.

The Denver native credits his mother for his early immersion in music. She enrolled her 3-year-old son in the Denver Talent Education Program, now the Denver School of the Arts, and he “learned to play like all the other 3-year-olds there,” joked Hughes. “Around that time I saw a performance on TV by Itzhak Perlman, and that really made an impression on me, also.”

With Perlman and Isaac Stern as influences, Hughes won a fellowship to study with the National Symphony Orchestra in Washington while still in high school. He then earned a scholarship to the University of Denver’s Lamont School of Music and, like many college students, discovered worlds of new music.

He found voice for his violin amid hip-hop and jazz beats, and his influences stretched from Stephane Grappelli to Jean-Luc Ponty.

“I listened to all sorts of different music so that I could take jazz, hip-hop, classical, funk and blend them together,” said Hughes. “Like jazz musicians, I like to improvise in a song; like a hip-hop MC, I like to freestyle. But the music is also classical in that I take a riff and develop and repeat it until it’s something different than (what) you first heard

Erica Brown & Friends are set to play at Five Points Plaza during the Jazz Festival Saturday. (Alexis Clements, Provided by Erica Brown )introduced.”

If forced to put his music into a genre, Hughes reluctantly agrees to call it “modern electric instrumental music.” In the course of a song, he might perform unaccompanied Bach over a DJ playing a breakbeat, then shift wildly to “War Pigs,” by Black Sabbath, or a Beatles song before returning to the classical riff.

And a jazz festival is the natural home for such a gumbo of music.

In its eighth year, the Five Points Jazz Festival carries on the neighborhood’s rich history with the music. Louis Armstrong, Charlie Parker and Billie Holiday led a roster of greats who played on The Rossonian Hotel’s stage at 27th and Welton streets. Duke Ellington is rumored to have written “Satin Doll” in a house on Curtis Street in Five Points.

But what is often overlooked is that classical music was a first passion for many jazz players.

Like Hughes, Purnell Steen — who performs on the main stage Saturday at 2:30 p.m. — was introduced to classical music at a young age by his mother.

“I had a dream of walking out on the stage at Carnegie Hall, flipping up my coattails and sitting down at the piano to thunderous applause,” said Steen. He enrolled in the music school at the University of Colorado at Boulder in 1959, hoping to become a classical musician.

“I was encouraged to teach instead. I was told ‘Negroes don’t play classical music’ — there were those kinds of forces then,” said Steen. “But you had to be nutty,

If forced to put his music into a genre, Jeff “Maestro” Hughes reluctantly agrees he would call it “modern electric instrumental music.” (Provided by Five Points Jazz Festival)and if you’re a true dedicated musician, you’re nutty. Music is a passion that becomes the driving force in your life, and it can’t be stopped.”

That driving force continues in the annual festival — and in young talents such as Hughes, who take it in new directions.

“I would love to work with the symphony again some time because that’s where my roots are,” he said. “But I just want to keep writing good music, to keep performing, to keep growing.”

Various venues along Welton Street. Activities begin at noon, performances at 1 p.m. Free;

1 p.m.: Curtis Fuller Sextet, Main Stage

Ronneka Cox & Tenia Nelson, Pianorama at Crossroads

Five Points Jazz Festival Heritage Orchestra (youth band), Cervantes’ Other Side

2 p.m.: Adam Bodine Trio, Coffee at The Point

Conjuntos Colores Salsa Latin Jazz Band, Five Points Plaza

2:30 p.m.: Purnell Steen and Le Jazz Machine, Main Stage

Gayle Leali and Jesse Dawkins, Pianorama at Crossroads

3 p.m.: Five Points Jazz Festival Combo (youth band), Cervantes’ Other Side

4 p.m.: Five Points Jazz Festival Tribute Awards, Main Stage

Andalus Jazz Express, Coffee at The Point

Freddy Rodriquez and the Jazz Connection, Five Points Plaza

Billy Wallace and Bobby Greene, Pianorama at Crossroads

4:45 p.m.: Wende Harston and the Hank Troy Quartet, Main Stage

5:30 p.m.: Neil Bridge & Steven Denny, Pianorama at Crossroads

6 p.m. Maestro Hughes, Coffee at The Point

Erica Brown & Friends, Five Points Plaza

6:30 p.m. Bob Montgomery and the Al Hermann Quintet, Main Stage



Article: Diddy renames self, Permanately kills Hip-Hop phrase by Andrew Unterberger

Well, guys, it’s been a good run. From NBA player Gilbert Arenas saying his “swag was phenomenal” after hitting a game-winning shot in 2007, to Soulja Boy chronicling his morning ritual of hopping out the bed and turning his swag on in 2009 to VCU men’s hoops celebrating their Sweet Sixteen victory via Lil B’s “swag” mantra earlier this year, we’ve gotten about as much mileage out of “swag” as a culture as could be expected. But now, invariably, the term has run its course—as proven by a video tweeted by the Artist Formerly Known as Diddy late last night:

From his hotel room with a number of friends (where they were apparently watching The Game and eating every type of soul food in existence), Diddy makes the announcement that after being sick for a week, he is officially back—and with a new name. His buds don’t do a great job of building up suspense as to what the new name is going to be, since after every single thing Diddy says, they echo “SWAG!,” like a loyal church congregation. But indeed, ’tis “Swag” the new Diddy moniker, and he’s even set up a new Twitter account to reflect this (from @iamdiddy to @iamswag—self-explanatory enough), though he says that unlike with previous name changes, this one will be for a week only.

There comes a time with every major pop culture catchphrase where you just know that its course has been run, and watching this video, which uses the term about a hundred times too many, it’s pretty clear that the end of “Swag” is now upon us. Hope you enjoy your week, P. Diddy Sean “Puffy” Swag Combs Daddy, because there are going to be some very angry rappers upset that you’ve permanently ruined their go-to phrase at the end of it.



Article: Hip-Hop Rumors: 40 Glocc & Menace Gang Fight After Chain Snatching? by illseed


I tried to get a grasp of what was going on with this via my Twitter Fam, but nobody cared or thought it as just too negative. Well, the word is they showed up at the same place, 40 Glocc managed to snatch Menace’s chain and paid the price. This shows some kind of incredible fracas. WOW.

After the fight, 40 Glocc tweeted the following message and pic:


To these guys, I offer:

“Same Gang”


“Self Destruction”

I guess somebody has to die before we admit this is going too far?



Article: Jeremiah Tucker: Tyler gives hip hop true controversy, not Common by Joe Hadsall

JOPLIN, Mo. — Tyler, the Creator: “Goblin” Rating: C

I’m so happy rap is controversial again because at least it means it’s not dead. Fox News is objecting to Common, an uncommonly milquetoast rapper who has appeared on “Seasme Street” and GAP commercials, reading poetry at the White House, and the 20-year-old rapper Tyler, the Creator just released the most notoriously offensive album of the year, igniting all manner of debates about offensive art.

When I first wrote (favorably) about Tyler here it was sometime last year after I’d listened to “Bastard,” the album he released online that first brought him and his hip-hop collective Odd Future wider notice. But recently, with the media avalanche in anticipation of his first studio-released album “Goblin” out last week, Tyler has been nigh inescapable for anyone who follows music in print or online, but he’s not a household name.

So in the interest of public service, here’s what you need to know about Tyler, the Creator in order to decide if he’s the right replacement for Justin Bieber in your teenager’s heart.

• He’s a smart kid, a savant at music production, graphic design and Internet marketing, as well as an above average rapper

• His lyrics are misogynistic and homophobic with heavy doses of hyperbolic violence and bravado.There are numerous references to rape, including one notorious line about raping a pregnant woman so he can brag about having a threesome. All this vileness is padded with an incessant stream of profanity. Tyler works very hard to earn that parental advisory sticker.

• He also writes confessional lyrics about having suicidal thoughts, his loneliness, being misunderstood and his absentee father, often undercutting them with self-consciously deprecating lines about being “emo.”

I think that’s everything. Oh, wait:

• He also uses the word “swag” a lot.

On “Goblin,” Tyler’s deliberately shocking sentiments compliment his more reserved moments of self-reflection or, more accurately, self-absorption. Like “Bastard,” the conceit that ties the album together is an ongoing conversation Tyler has with his “therapist,” who is played by Tyler with his voice digitally pitched to a lower register.

Unlike anything I can recall hearing, “Goblin” puts you inside the headspace of a sulky teenage boy with all its attendant nihilism and overblown angst. The problem is that it’s an often repellent place to be for 74 minutes.

If I were still a teen boy, I can imagine loving this album — especially “Radicals,” a triumphant and anarchic 7-minute track that rests at the intersection of punk and hip hop. Over a snarling beat with entropic synth swirls, Tyler screams the album’s mission statement, which is, minus the cursing, “kill people, burn stuff, forget school.”

In the song’s quieter passages, Tyler explains he’s not telling kids to commit crimes, but rather encouraging them to do whatever they want and to stand for whatever they believe in and that he is an “expletive unicorn.” But for me, a decade on from being 19, this bluntness just elicits an eye roll, although I like the unicorn bit.

Similarly, I don’t get much of a thrill from listening to long passages about violating women. I understand there is a thrill to being transgressive — it’s central to the teen experience — but nothing in these violent fantasies are interesting enough to make me revisit them for pleasure. (I’m thinking especially of “Transylvania” and the incredibly dumb fellatio track with the unprintable name.)

At other times it’s less the offensiveness, and the sheer exhausting claustrophobia of being trapped in a monotonous slog through Tyler’s psychodramas. But when Tyler strikes that balance between inventiveness and nastiness, it’s thrilling.

The first singles “Yonkers” and “Sandwitches” are among my favorite songs of the year simply because the beat knocks and they’re among the few moments on “Goblin” where Tyler gets out of his own way. “She,” featuring Odd Future’s R&B crooner Frank Ocean, is catchy enough that it makes you grapple with the macabre misogyny of vintage Eminem that caps it.

“Analog,” “Her” and the opener “Goblin” are also worth engaging. But I doubt I’ll revisit much else on “Goblin.”

One of my favorite bits of music criticism is from the comedian Hannibal Buress, who said this about gangsta rap: “Gangsta rappers always talk about shooting people and killing but they still stick to the song structure like perfectly. Like, ‘Yeah, I will talk about killing more, but that was the 16th bar and we got to go to the chorus now. I want to be a marketable murderer.’”

That insight cuts to the deliberate artifice of a lot of rap, and while not much on “Goblin” adheres to a traditional pop structure, the album’s controversial subject matter has certainly garnered it an avalanche of publicity for an indie rap album. I suspect in the future Tyler will be confident enough to rely more on his obvious skills as a musician and rapper and less on trolling gimmicks to build his fan base.



Industry Tips & Advice: SVP of Island Def Jam Records talks Sales Strategy

SVP of Island Def Jam Records talks Sales Strategy From: MeettheBossTV
Feb 1, 2010

How do you react to a rapidly changing marketplace? Christian Jorg, SVP for Island Def Jam Records tells us how the music industry will profit from change, and why new media is the best friend a sales team could have. … (more info) (less info) View comments, related videos, and more