“VIBES TO TOUCH”
I read a controversial yet sweet poem to a crowd of Brooklynites just a few nights ago on Saturday, September 10th at an open mic called VIBES TO TOUCH held at the TBD lounge in Greenpoint, Brooklyn. Although the hosts, Wiseguy and Gaston Thomas, introduced me as a Performing Artist / House Singer because that’s what I am, I’ve never recited one of my poems before – which for me, was exploring new territory.
|House Singer & Spoken Word Artist, Jasmine Clemente|
The first spoken word poet to go up was, Versatile, who shared a dark, urban tale in a poetic fashion, expressing raw emotion with passion and pain. Then, immediately after her performance is when I was called to the stage. (Well, not a real stage; it was the center of the lounge area complete with a tall, evergreen floor plant) All eyes were on me as I began to read the first few lines of my poem about Children. I knew there had to be a few parents in the room. (It was a grown & sexy crowd) And since I had gained everyone’s attention by having complete silence in the room, I knew the audience hung onto my every word until I left them with a cliff hanger – perhaps for them to either fly away a new perspective on how we view our children, or fall back into the reality they might’ve known prior to hearing my words. The purpose of my piece was to inspire people even more than they already are by our precious little jewels who hold the future in their hands.
In addition to the many other poets who were featured after me, there was also an acoustic guitar singer named, Joshua Torrez, who rocked a great performance, especially after singing, “It’s A Man’s World”, by James Brown. He got everyone’s attention after rocking that jam, not to mention the females who jumped out of their seats while singing along, “But it would be nothing, nothing, without a woman or a girl.” Of course! I clapped and whistled!
|Art Work Created by Michelle Merin|
Art work was also displayed all over the lounge, adding an extra flare of creative zest to the scene. Above is a picture of one of my favorite features of the night which was created by Michelle Merin. If you look closely, beside the bird is a message embedded inside of the heart: LOOK STRAIGHT. NOT DOWN AND NEVER BACK.
by JASMINE CLEMENTE
NEW YORK (Reuters) – BMG Rights Management said on Monday it would pay around $300 million to buy Bug Music, a Los Angeles song publisher whose catalog includes hits such as “What a Wonderful World” and “Under The Boardwalk.”
BMG Rights reached the deal with Bug Music’s owner, private equity firm Spectrum Equity Investors. The deal values Bug Music at around $300 million, according to two people familiar with the process.
With a catalog of more than 250,000 songs the auction for Bug Music had attracted interest from a range of bidders including “American Idol” creator Simon Fuller, Ole Music and Sony/ATV, a joint venture between Sony Corp and the estate of late pop star Michael Jackson.
BMG Rights is a joint venture of giant German media company Bertelsmann and private equity firm KKR. The deal is expected to close in October.
Even as global recorded music sales have tumbled in recent years, song catalogs have kept or increased their value because they can earn revenue from a wider variety of licensing sources than record sales.
Fund managers and investors like pension funds and private equity firms have been attracted by song publishers’ relatively stable cash flows.
Earlier this year, Russian-born billionaire Len Blavatnik paid $3.3 billion to take control of Warner Music Group, whose assets include the music publisher Warner/Chappell.
Blavatnik is now among contenders for EMI Music’s recording and publishing assets with final bids due by the end of this month, according to several sources.
BMG Rights and Sony/ATV are also known to be interested in EMI, but are more focused on EMI’s publishing catalog.
(Reporting by Yinka Adegoke; Editing by Lisa Von Ahn and Maureen Bavdek)
Making your way through the maze of a musical career is a complicated endeavor to say the least. It’s doubly so given that you’ll have to make not only the musical decisions but also the critical business decisions along the way. I heard an expression a few years ago that really stuck with me as it outlines the reality of the choices we have to make time and time again. That expression is simply “good, fast, cheap: pick any two.”
By Cliff Goldmacher
If you’re willing to invest money, you can move more quickly towards the end goal of musical success — good and fast but not cheap — but what I find more encouraging is that if you don’t have the money, you can still achieve “good” by slowing down and being resourceful — good and cheap but not fast. That leaves the one combination that we need to guard against — fast and cheap but not good.
In this article, we’ll look at all three of these scenarios and see how they play out daily in the music industry.
Good & Fast (Not Cheap)
“Good, fast and not cheap” is best illustrated in the approach taken by the big record labels and publishing companies. When making albums for their artists, labels use the best studios, the most talented session musicians and employ whole marketing and promotion departments to spread the word about their artists. This has the effect of bringing their music to the eyes and ears of the public in relatively short order but it comes at a huge price — a price that the artists, themselves, often spend years paying back before they see any real financial success of their own.
When it comes to the major publishers, they invest significant capital in high-quality demos for their writers and hire song-pluggers whose sole purpose is to get the songs in their catalog recorded. The end result is that these companies get their songs recorded much more often than the independent writers out there trying to go it alone. But, again, songwriters who are signed to these companies — like the artists above — have to wait until many of these expenses are recouped before they see any income from their songwriting successes.
Good & Cheap (Not Fast)
Fortunately, for the majority of us, there is a more accessible option. While “good, cheap but not fast” requires patience (an asset in short supply for most of us eager to have musical success), the dividends can be rewarding on both a spiritual and financial level. Independent artists who finance their projects themselves, call in favors, wait for off-hours in studios or even take the significant time necessary to learn to the art of recording often end up with beautiful sounding projects at a fraction of the cost of their major label counterparts. The trade-off is the time (lots of it) it takes to put a project like this together and the additional hours of work (more than you can imagine) required to get the news out about their release. The rewards are great, however. Ownership of the master recording and creative freedom are just two of the many rewards waiting for those who are willing to make the effort. Go to to hear what some friends and I were able to do on a shoestring budget over a period of about five years.
As songwriters, we face a similar struggle. Without the budgets for full-band recordings of every song we write, we’re forced to be creative in order to put together a catalog of high-quality demos of our songs that we can then pitch ourselves. Whether we have to barter for studio time and session musicians, learn to become experienced engineers/producers/session musicians in our own right or simply create great-sounding guitar/vocals or piano/vocals instead of going the full-band route, the goal is the same. That goal — quality recordings for less money — can lead to a catalog of songs where significant upside awaits. For example, by acting as your own publisher and owning your own master recordings, you’ll be free to pitch your songs for placement in film and TV and receive double the income when you eventually do have success. And, speaking of pitching your songs, there are countless resources to help get our songs out there for those of us willing to look. One that comes to mind right away is . The thing to remember, however, is that all of this takes time and that’s the tradeoff that most of us have to make.
Fast & Cheap (Not Good)
“Fast, cheap and not good” is where things can get a bit ugly. As long as there have been established methods of how to get ahead in the music business, there have been people willing to cut corners in an attempt to get ahead more quickly. Buying a bunch of recording equipment before you know how to use it in an attempt to save money on your album project generally results in a sub-par recording that will do much more harm than good to your sound and reputation as an artist.
Similarly, choosing the lowest bidder who advertises full-band demos for songwriters often leaves you with a demo that is not only low quality but also instantly brands you as an amateur in the eyes of the industry professionals you play it for, an impression, by the way, that is very difficult to reverse once it’s been made. Also, spending less money on a demo that is unusable is the same thing as throwing that money away. All this to say, when in doubt, take your time and do things correctly even if it means more time, money or both. As I’ve said before, as long as you’re not planning on having a career in music for this week only, it pays to take your time. Fast and cheap is, without a doubt, the combination that has the most potential for disappointment or worse. And, often, doing things this way actually leads to more money being spent, which leads me to another one of my favorite expressions, “Cheap can be expensive.”
I understand that it’s a constant struggle to do what’s best for your music while trying to manage your patience and your budget. That being said, simply paying attention to what you’re doing and keeping your eye on the big picture will serve you well as you continue to figure it all out.
Cliff Goldmacher is a songwriter, producer, session musician, engineer, author and owner of recording studios in Nashville, TN and Sonoma, CA. Cliff’s site, , is full of resources for the aspiring songwriter and his company, , provides songwriters outside of Nashville with virtual access to Nashville’s best session musicians and singers for their songwriting demos.
You can download a FREE sample of Cliff’s eBook “The Songwriter’s Guide To Recording Professional Demos” by going to .
This answer is based on an article I wrote called ‘How To Get Your CD On (and Back Off!) The Shelves.’ The complete article can be found in the marketing section of the site. You’ll also find an interview with Eric Levin, who runs the independent retail coalition AIMS, as well as the successful Atlanta-based retailer Criminal Records. You may want to check that interview out as well for more on consignment and other options to get your CD in stores.
Finding The Right Retailer
To quote George W. Bush, “It’s hard work” getting your record into stores. For starters, independent retailers are taking a beating from the mass merchants. These ‘Big Box’ chains often offer sale pricing on new artist releases (as low as $7.99!) that independents simply cannot match (more on this subject here: http://www.pitchforkmedia.com/news/06-02/23.shtml). CD sales are slowing, and the mom and pops that have not augmented their CD sales with DVDs, t-shirts, or other tchotchkes are having a really hard time. This, of course, all trickles down to you: independents are taking less of a chance on local talent. Save yourself some time, effort, and money by focusing your efforts on stores that tend to do well with your style of music. I don’t know if you’ve seen High Fidelity (recommended, if you haven’t), but the last thing you want to be doing if your band sounds like Belle and Sebastian is hassle a record store that is run by Jack Black. If the store is nearby, drop in, check out the vibe, see what’s playing when you walk in, talk to the manager, and ask what the best selling records are that week. A lot of indies have email newsletters (Other Music in NYC has a great newsletter, so does Criminal Records in Atlanta) that will give you a good understanding of their demographic and what they are good at selling. Before you do anything, be sure that you set your sites on a store that attracts the type of folks that might like your music.
What Retailers Look For From You
The record industry is truly a symbiotic industry. For a project to be successful, all the marketing elements have to compliment one another, from touring, press, radio, Internet, all the way down to retail – the last stop on the line between marketing and the consumer. This is fundamentally true for big artists and independent artists alike. However, labels and major distributors often use the ‘push through’ marketing strategy at retail: flooding retailers with CDs, discounts, and using large co-op budgets for price and positioning. They spend less time on artist development and actually turning people onto the music before they get to the store. This rarely works anymore for labels and distributors, and will certainly not work for an independent artist who doesn’t have the luxury of a co-op budget. Before you get your CD to the retailer, you need to have the other parts humming. If all your other marketing elements are in place, you’ll have an easier time convincing the manager or buyer to take your CD, and more importantly, you’ll have an easier time selling the disc, which will make the retailer want to buy form you again.
Marketing Elements That Affect Retail
Any successful marketing that you can point out to the store buyer is important, and will make a difference in their decision of if, and how many, records they take from you. But there are some marketing tactics you can use that make a bigger impact than others.
• Touring There is no better way to get yourself visibility and develop a word-of-mouth ‘campaign’ then to get out there and play. On a local level, consistent gigs prove to the retailer that you are a serious band and have a fairly good following of potential record buyers. On a national level, it makes good sense for the local indie to carry your record in advance of a gig, with the hopes that folks from the gig will be so into your music that they’ll stop by the store to grab your disc.
• Press – Print and Online Another thing that retailers look for is a press story. It’s great if someone gives you a positive gig review in the local weekly, but sometimes it’s even better if you’re reviewed online. One great example is the band Clap Your Hands Say Yeah, who blew up at traditional retail, without a label or distribution deal, after a number of blog postings and a positive review on Pitchforkmedia.com (check out the NPR story on them here: http://www.npr.org/templates/story/story.php?storyId=5023133).
• Radio Personally, I have mixed thoughts about radio promotion (for developing artists) and the connection to retail, especially given the limited resources that independent musicians have. While I think it’s never a bad idea for an artist to play an in-studio performance if presented with the opportunity, I think the immediate connection to retail is less than good press or solid tour dates. There are arguments to be made that getting college radio play helps to build your base, which may be true, but I have never seen this affect retail. One band I worked with at Ryko was getting constant play on a major college station in Atlanta, GA (WRAS), and while there’s a great indie store in Atlanta (Criminal Records) the consumers never made the retail connection. There are certainly a lot of other marketing efforts that did not connect in Atlanta, but with the one that did, I saw little results.
Maximizing the Relationship
Once you’ve go your marketing in place and have convinced the buyer to sell some of your discs on consignment (which is the standard way indies will sell your CD), the next step is to work on ways to get folks to: A) know that your record is there, and B) buy it.
• Point of Purchase Items (POP) Most indie stores are great about working with you to increase your visibility in their store. Point of purchase items are an obvious way to let folks know the store is carrying your record. Some effective ways to promote your record in store include:
A) Tour posters. If your playing a gig nearby, a tour poster with your club date on it let’s folks know your playing nearby, and that the store is carrying your record. Space is always an issue with posters, be sure to make them relatively small (11x 17 is plenty big).
B) In-store copies. While there may be listening posts at the store, more than likely you’ll have to pay to get your record in them (there are sometimes discretionary spots available at some stores). By sending a couple of in-store copies of your record to a manager or buyer that digs your band is a great way to some added visibility.
C) In-Store Performance. If an in-store performance is promoted properly, there is no better way to sell records of your band on the spot. Conversely, in-stores that are promoted poorly could be embarrassing disasters. Be sure to schedule your in-store at a time of day when folks are around, say 6PM on a Friday as a best-case example. Indies may also help you promote the gig through an ad in the local weekly.
D) Placement and Bin Card. This is really important and frequently overlooked. I don’t know about you, but I tend to lose my mind when I walk into a record store and forget the reason I originally stopped in. Be sure to speak with the buyer or manager to either create a bin card with your band’s name, or suggest that you make one yourself. You need all the visibility you can get, and if someone is in there looking for your CD, you want to make it as easy as possible for someone to find it. Being filed in with the general artist A-Z is the kiss of death.
E) Competitive pricing. Be sure to price your CD low! Again, you are likely going to be working out a consignment deal with the retailer, and you don’t want your CD in there over $10.
You know that making the right music industry contacts is a key factor in developing a successful music career. The problem is, most musicians really don’t know ‘who’ the most valuable music industry contacts are, where to find them, how to actually transform a ‘first contact’ into a meaningful relationship, what it really means to have the ‘right music industry connections’, etc.
If I gave you my complete list of music industry contacts (key industry people I have established important relationships with), do you think it would help you develop a successful music career? … NO! Why? Because a mere ‘contact’ is not worth anything. Music industry contacts need to become meaningful music industry connections. Meaningful connections are developed by building good relationships… More on this later…
However, even if you have good relationships with the right people, this won’t help you until and unless you work on having the right things in place which enables your industry contacts to feel confident enough to work with you. You can see more about this specific topic in a free video on how to become a professional musician.
So, who are the music industry people you should be contacting? … And when you get through to someone, what do you say to him/her? How can you make these important people pay attention to you if you don’t yet have a ‘name’ in the music business?
Let’s explore the first question “Who are the music industry people you should be contacting?” To answer this, you need to ask a series of other questions such as:
• Who are some music industry contacts who have great influence and power?
• Who are the music industry contacts who have the greatest number of key relationships with other music industry professionals and companies?
• Among the most important music industry contacts, who are the easiest to locate in your local area?
• Who are the most accessible music industry contacts?
• Who are the music industry people who you can help to solve THEIR problems and/or help them to reach their goals?
Is there a single “type” of music industry contact person or (company) who fits ALL the above criteria? The answer is ‘Yes’. And if you do not have music industry connections, this ‘type of contact’ may be your best place to begin… So, who is this type of person or company? Record label executives? A&R people? Producers? Publishers? Managers? Entertainment Lawyers? Famous bands? No… The answer may surprise you… it is “Concert Promoters”.
Serious concert promoters have massive power and influence in the music industry. They are the real entrepreneurs of the music business. They deal with thousands of very important music industry people every year such as: well known bands, record labels, artist management, tour managers, entertainment lawyers, production companies, merchandising departments, the venues, booking agents, radio stations, the press, and more.
If you live near an urban area, you won’t have any trouble finding concert promoters who live and work locally (use Google). Unlike most other important music industry contacts, promoters are generally accessible and will be willing to talk to anyone who has ‘something real’ to offer them (that’s where you come in).
Generally speaking, concert promoters take on more risk than any other person or entity in the entire music industry. All promoters lose large sums of money every year (because some concerts lose money). The successful promoters make (and keep) more money than they lose throughout the year (because they promote other concerts which make a lot of money).
What every promoter wants is a bigger and stronger team of people to help ensure that the concerts/tours they promote make more money! Obviously, it’s expensive to employ a large team of experienced people. However, you can join their team (at least on a part time basis) if you are willing to volunteer, intern, or earn a small salary. You may not yet know anything about promoting tours, but some promotion companies would be eager to train you if it isn’t expensive for them to do so.
Think about it from their perspective. If you were a big time promoter taking on huge risks, wouldn’t you want another person to work for you, for free or for a very low salary? Of course the answer is ‘yes’, even if that person could only work part time.
Many musicians who want a music career are told to intern for a record label. The conventional wisdom is that when you do this, you will learn a lot about the music business. The reality is, most of these interns never get into a position where they can truly learn much at all as an intern. However working for a promoter, your ability to learn how the music industry REALLY works (at least on the touring and promotional side) goes way up because your level of access to what is going on ‘behind the scenes’ goes way up! In addition, the number of music industry contacts you can make are 200 times more than what you would likely make working at a record label. And compared to record labels, there is a lot less competition for internships or jobs with a promoter.
As excited as you may now feel, knowing that you CAN actually do this…. there is a catch… a big one. In order to have any real chance of pursuing this opportunity and using these music industry contacts to help launch your music career, you must work on having the right things in place which enable your music industry connections to feel confident enough to work with you. The truth is, nothing in this article will help you until and unless you do take this critical step. You can see more about this specific topic in a free video on how to become a professional musician. see more at www.tomhess.net
At some point during the evening, in bars across the land, two things happens: the lights go down and the music goes up.
Lowering the lights signals the real beginning of night-time fun: with dimmed lights and alcohol beginning to work its magic the business of loosening up after the day’s exertions can truly begin.
But turning the music up so loud that people are forced to shout at each other doesn’t have quite the same beneficial effect on social interactions. Because everyone is shouting, the bar becomes even noisier and soon people start to give up trying to communicate and focus on their drinking, meaning more trips to the bar, and more regrets in the morning.
Of course this is exactly what bar owners are hoping for. People sitting around quietly nursing their drinks for hours are no good for profits. Talkers aren’t the best drinkers. At least that is the received wisdom in the industry. And this received wisdom turns out to be accurate according to field studies conducted in French bars by and colleagues.
One study by Gueguen et al. (2004) found that higher sound levels lead to people drinking more. In a new study published in Alcoholism: Clinical & Experimental Research, visited a bar in the west of France to confirm their previous finding in a naturalistic setting. Here, they observed customers’ drinking habits across three Saturday nights, in two different bars in the city.
The level of the music was randomly manipulated to create the conditions of a true experiment. It was either at its usual volume of 72dB or turned up to 88dB. For comparison: 72db is like the sound of traffic on a busy street while 88db is like standing next to a lawnmower.
Sure enough when the music went up the beers went down, faster. On average bar-goers took 14.5 minutes to finish a 250ml (8 oz) glass of draught beer when the music was at its normal level. But this came down to just 11.5 minutes when the music was turned up. As a result, on average, during their time in the bar each participant ordered one more drink in the loud music condition than in the normal music condition.
The observers even measured the number of gulps taken to finish each drink – the level of the music was found to have no effect on this. So the faster drinking was as a result of more gulps rather than bigger gulps.
Drinking instead of talking?
Since the volume of the music was randomly manipulated this experiment suggests that louder music causes more drinking, but what it doesn’t tell us is why. Some think that people drink instead of talking while others have argued that they drink more because the music creates greater levels of arousal, which then leads to more drinking.
Evidence from a study carried out in pubs in Glasgow, Scotland by does back up the idea that people do, at least partly, drink because they can’t talk to each other. Perhaps further studies comparing lone drinkers with dyads and bigger groups would confirm or disprove this idea.
Whatever the real reason, or combination of reasons, this kind of study is very persuasive about the causal connection between louder music and more drinking because the experimenters have taken the time to go to a bar, set up the random experimental manipulation and then actually observe people to see what they do in a real live environment.
On top of that, from the point of the view of the participant, I think it would definitely enhance your night-out to find out that you’d been inadvertently furthering psychological science by sinking a few cold ones. Or is that just the researcher (or beer-drinker) in me coming out?
BMI will host a stage filled with rising indie talent along with hip-hop titan at the inaugural Peachtree Music Festival in Midtown Atlanta on October 1, 2011, rain or shine.
The is a one day, two-stage music and arts festival, on eight acres in the Midtown Community of Atlanta, GA (Spring Street & 8th Street, 48 8th Street NW, Atlanta, GA 30305). Sponsored by BMI and W Atlanta Downtown, the festival will include fifteen musicians, artist vendors, fashion vendors, food trucks, a beer garden, sponsor tents, and much more.
1:45 p.m. The Young Rapscallions
8:00 p.m. Freesol
9:30 p.m. DJ Khaled
12:15 p.m. Under the Flood
3:15 p.m. Levi Lowrey
4:15 p.m. Stokeswood
5:45 p.m. The Dirty Guv’nahs
7:15 p.m. Civil Twilight
8:45 p.m. Shiny Toy Guns
10:15 p.m. DGAF: & Corey Enemy
BMI practices a layered approach to , comprising educational, creative and performance opportunities. BMI initiatives include the How I Wrote That Song panel series, BMI Musical Theatre, Sundance Institute Composers, Songwriters and Jazz Composers workshops; monthly and quarterly local showcases highlighting promising new voices; and stages, panels and slots at premier national festivals including South By Southwest, Lollapalooza, Austin City Limits Music Fest, Sundance Film Festival, Bonnaroo Music & Arts Festival, the Key West Songwriters Festival and more. BMI’s magazine profiles legends and format leaders alongside up-and-comers, while offers a cutting-edge suite of online tools, as well as industry news, editorials and career advice. BMI’s seven, genre-specific celebrate songwriters and composers each year, elevating the country’s finest behind-the-scenes creators.
MJ walking on egg-shells. Breaking News: The NBA has fined Michael Jordan $100K for public comments he made about the lock-out and one of the league’s players. In an Aug. 19 interview with The Herald Sun, Australian newspaper, MJ, the Charlotte Bobcats owner, spoke extensively about the need for revenue sharing and mentioned Milwaukee Bucks’ Australian center Andrew Bogut. That violated the league’s policy that bars team owners and employees from discussing the lockout or any players during the work stoppage. The NBA sent out a league-wide memo just before the lockout began on July 1 stating that anyone who broke the rules could be fined up to $1 million. – espn
Jordan, who along with Bucks owner Herb Kohl recently lobbied other owners to support revenue sharing, told The Herald Sun: “We need a lot of financial support throughout the league as well as revenue sharing to keep this business afloat.
“We have stars like Bogut who are entitled to certain type of demands. But for us to be profitable in small markets, we have to be able to win ballgames and build a better basketball team.” – espn
Music News: Odd Future’s Adult Swim Show, Loiter Squad, Continues the Process of Mainstreaming Chaos by Clyde Smith
The announcement that Odd Future‘s show, “Loiter Squad”, will appear in 2012 on the Cartoon Network confirmed last week that however difficult Odd Future seems, even they can be packaged for mainstream consumption. And given that Adult Swim has a lot of indie hip hop cred and Odd Future’s industry supporters like Johnny Knoxville have much jd cred, such a move seems capable of happening without the extensive cries of “sellout” one might have expected.
At least as far back as April, speculation began about an Adult Swim show featuring Odd Future due to a that said the show would be a “mixture of Jackass and Chappelle’s Show.” Supposedly called “Blackass”, the explosion of news on the web caused Tyler, the Creator to tweet an angry rebuttal. Apprently he wasn’t in the loop on that marketing maneuver!
In late May, speculation began again as a pilot for Adult Swim, an ““, was mentioned in passing for an Adult Swim Upfront that . However, that confirmation was overshadowed by Jay-Z’s involvement.
Late last week a circulated widely, quickly appearing on many sites as original reportage, that finally revealed some official details of Loiter Squad, which will debut in 2012:
“Adult Swim announced today it has picked up the live-action series Loiter Squad, a 15 minute live-action show that features sketches, man on the street segments, pranks and music from Odd Future Wolf Gang Kill Them All. The cast, featuring the Los Angeles collective of rappers, artists, and skateboarders, channel their multi-faceted creative talents in this off-the-wall showcase.”
The “Blackass” title suddenly made sense given that “Loiter Squad is being produced by Dickhouse Entertainment — the Hollywood production partnership of Johnny Knoxville, Jeff Tremaine and Spike Jonze who have been the creative power behind hits including Jackass…and Wildboyz.”
Since Jackass is the kind of media on which Odd Future was raised and since a variety of Odd Future-produced videos feature a related sensibility, it sounds like a great fit. And who better to support Odd Future in molding and monetizing their jd antics into an acceptable product than Johnny Knoxville and associates?
We already seem ages away from early speculation as to how Odd Future could make it into the major leagues given their supposed subversiveness. Yet, as I noted when , Christian Clancy, they had already shown a willingness to adjust to the demands of mainstream media in their appearance on Jimmy Fallon. And as one must also recognize, given the history of rappers, graffiti artists, skateboarders and pranksters cashing in, the infrastructure now exists for mainstreaming artists that may once have been considered unacceptable.
I tell people who ask if they should pursue a career in music, “Not if you can imagine doing anything else.” Though the chances of making a living as a musician have increased, the chances of being a major success may be smaller than ever, and the journey even to moderate success is going to be long and often painful. blogs about being an artist, and while she’s a illustrator, her pain is much the same. Original published in her Artist Survival Kit, Keri’s insights hold equally true for musicians:
How to Feel Miserable As An Artist
(or, what not to do, underline and that currently apply)
- Constantly compare yourself to other artists.
- Talk to your family about what you do and expect them to cheer you on.
- Base the success of your entire career on one project.
- Stick with what you know.
- Undervalue your expertise.
- Let money dictate what you do.
- Bow to societal pressures.
- Only do work that your family would love.
- Do whatever the client/customer/gallery owner/patron/investor asks.
- Set unachievable/overwhelming goals. To be accomplished by tomorrow.
Article: The Lucrative Side of Hip-Hop Beef – 10 Rap Feuds That Fueled Sales (6 of 10) by Alexis Garrett Stodghill
50 Cent vs. Cam’ron
In early 2007, 50 Cent and Cam’Ron engaged in a rather entertaining series of beefing viral videos and verbal jabs. These memes became very popular blog fodder, sources of discussion on radio stations, and of course fueled the public’s interest in both rappers to a high degree. It all ended rather humorously with Cam behind what looks to be an average suburban house in his boxers, claiming to be a man of excessive wealth. Of course, 50, who is worth in the hundreds of millions, quickly responded with the quip: “My whirlpool is bigger than Cam’s swimming pool. And he shouldn’t be in front of no camera with daisy dukes on.” Needless to say, this beef helped Cam’Rom and his rather new (and powerless) Dipset crew attain much-needed attention. None of this hurt the September 11, 2007 release of, which went on to sell 1,336,000 copies. In fact, this beef probably really helped.
Winner in this beef: Clearly, it’s 50. Dipset didn’t do anything with the hype Cam’Ron generated, wasting the public sacrifice of their leader’s pride.
Be a yardstick of quality. Some people aren’t used to an environment where excellence is expected.