"Should An Artist Sign A 360 Deal?"

Should An Artist Sign A 360º Deal? from Peter Malkin on Vimeo.

A great video courtesy of Musician Coaching via our friends at MicControl. This video touches on a lot of great points that are one of the biggest debates today in the music industry -- The 360 Deal (this link is a post by Randy Z. on 360 deals)

Enjoy!

Artist Development Vol. 4 [video]

"Owen Husney, a manager, talks about today’s lack of artist development by the record companies and the importance of a fan base. If bands want quality guidance from a label they need to have already proved themselves independently."

-The Music Industry Report

Not your ordinary blog

Dear Mr. Akapela Jonz,

I'm so proud of your progress. You've come a long way from freestylin' over old Rawkus Records beat tapes, to putting out your own mixtape, and now approaching the release of your EP. I remember when we used make a beat out of anything -- I'd grab a plastic cup and spork and make a beat, and you'd go in lol. You've always been nice wit it.

I don't think anybody knows just how great the passion you have for music is, but that's why I'm blessed to have been a part of this process. When the world experiences what you have to offer them they will never forget your name, but most importantly they will never forget the cause.

I can not say whats going to happen once this project gets released, but whatever it is never forget what you represent. Remember the pain, struggle, sweat and tears. Remember the faces that doubted you and the smell of deceit. Remember what being hungry and broke because you spent your last dime on studio time felt like, and after all of these things remember how none of it could stop you nor the calling on your life. Continue to stand on the giants shoulders with no fear of heights, or falling down.

I leave you with a quote from my favorite MC "Go for what you Know" - Akapela Jonz


Ya Mans,

Mr. Notes

Don't need a needle, just a hay stack.

I'm often asked, "what do you look for in an artist?" and yesterday for the first time I was asked, "WHERE do you look for artists?" ..which is something I've never given much thought to -- I'm referring to the latter.

I'm blessed in the sense that a lot of times artists come my way by referral...or I stumble upon some talented people while I'm out enjoying an evening with the fam. As far as my search goes...I usually make it know what I'm looking for and hope my networks come through..or I just make a post (sorry if its expired by the time you've read this)

But in regards for what I look for...its a simple answer; just not always easy to find.

Much like baseball, you got to understand that 90% of this game is half mental. You're thinking the math doesn't add up, right? Wrong.

An artist my not have an abundance of talent, but that is what artist development is for. To cultivate, mold, and create complete artists.

What I look for in an artist is simple: Consistency, diligence, work ethic, dedication, and potential. If an artist shows me that they are wanting to grown and learn more about their craft and understand that music is about progression -- personally, professionally, and emotionally -- then I'd say I've found a great candidate.

Its really hard to help someone grow or become the artist thy are capable of being when they are just content with where they are currently.



This blog is also featured on The Beacon

Filling the void

I grew up with the mind set that if I want to see change, I must be the change I see. So with that ingrained in my mind, I initially started off my quest to leave my positive impression on the world through education, but that is a blog for another time. I don't know if many people know about my business ventures and/or my involvement in music...more specifically music business rather than being just an artist.

I created a "record label" called AG One Entertainment, and as I reflect back on that now I'm not sure if the goal for AG One is consistent with the definition, or the role labels are currently playing in an artists career. On some levels I feel like we are a management company because we focus on artist development, branding and helping artist establish stability and sustainability. Labels today are no longer investing the time to mold quality artist, and in my opinion they have turned into distribution companies rather than a record label. That in turn has left the music industry overflowing with one hit wonders that labels invest money into to turn a quick buck off of a trendy hook rather than investing the time to develop an artist that will have the potential to grow and maintain in an industry that is starving for someone with talent to come along and contribute to the revolution that music industry so desperately needs.

I created AG One Entertainment over a three years ago with three main goals in mind. First and foremost we want to re-establish artist development. Its one thing to create a dope record, but when it comes time to perform live you have to be able to outshine what you have recorded because if you don't then there is no point for people to come to a show when they can just listen to the CD on extra loud and get the same experience. What ever happened to artist like Ray Charles, Quincy Jones, Stevie Wonder, Diana Ross, etc....people forget that having talent is a gift, but without the work and dedication; the talent is nothing.

Second, I wanted to provide a home for artists. A collective network in the sense where creative people work with each other to create music. No limitation of genre or types of music, but where people who are passionate about music can get together and create dope music for people to listen to. For people who have something to say through their music, help provide them with an outlet to get their music heard. The industry is a cold business...and I've learned the greatest gift we can give to one another is encouragement, so with that being said I would like to see AG One be a stepping stone for young, hungry, up and coming artists, or even staff members to build upon and become complete artist or well rounded music business individuals...ultimately helping them reach their desired goals.

Finally, and probably most importantly I want to provide the people with quality music. Timeless art. I want to contribute to people falling in love with music all over again.

One day at a time, we'll make it through.

To everyone that has supported me, my music, and AG One Entertainment, I want to take this time to say thank you for your love and support. I would not have made the progress I have without you...its your belief in me that keeps me going and challenges me to strive for bigger and better.


peace and love.

This blog was also featured on The Beacon

I'm only the greatest rapper in your apartment complex!

Another great question that was asked on my formspring: "What all does artist development entail at AG One Entertainment? How do I know that I will be where In short, its developing your sound, image, and preparing you to move onto a major OR prepare you for a release through our label and our publishing."

If you're only in one session then that is typically only a consultation, where we would talk about services offered through us and our partners. Since a consultation occurs after we've either seen you perform live or have heard some of your recorded material, we would give a basic outline as to what market we could see you in and what direction to take your initial/demo project.

There are also instances when we simply just service an artists tracks for a set cost and royalty rate, and that is usually a one time visit type of deal.

As far as knowing you'll be where you need to be is dependent on your career goals, artistry aspirations, work ethic, etc. We have the administrative and creative personnel to provide you with coaching, strategic planning, development, creation, and distribution.

However, to be brutally honest..I can take a horse to water but I can't make it drink. So to answer your question of how will you know are where you need to be is solely contingent on your dedication and personal investment in yourself, your artistry, your development and growth. Just like anything in life, the results you end up with is directly correlated to the to the effort you put in.

360 Deals

What do you think of 360 deals?

Before I dive in, here are a couple articles I read and liked. One from the New York Times, and another commentary piece I just happened to stumble on via Google which I wholeheartedly agree with.

I think I'm going to do this blog a little differently. No rant...I'm gonna just make my key points...maybe expand on some.

Why I think they can be bad:

• Labels are taking a cut off what used to be an artist's sole source of income; especially if the artist was still recouping the label for advances and any other costs that were fronted.
  

• Majors claim their PR, promotion and name association will help break new artists; so they deserve a cut. If you're a dope act, the music will speak for itself. Why not eliminate the middle man and just hire a PR firm and a publicist? This could potentially be the end of the crucial role a label used to play.

• Due to the ignorance of dated label execs running corporate music, they didn't adapt to change. Rather, they attacked the consumer who was downloading music "illegally" instead of learning how to capitalize on the new markets and methods of distribution.

• 360 deals are about branding. They use the image and name of an artist to build a following. This is probably a major contributor to the death of the album and why majors are slowly becoming JUST publishing houses -- finding success with/investing in singles rather than albums.

• 360 deals haven't made better artists, musicians...or music (and probably won't because of poor execution). It benefits the trend; whatever is hot now will get shoved down your throat (currently that is what's over-saturating the market; pushing more and more people away from commercial music seeking something fresh). What this has done is capitalize on people who are adept recording artists...but that doesn't translate to being a performing artists!

Why they could be good:

• 360 deals are supposed to be seeded in artist development.
  

• Majors don't always have the ability to provide 1 on 1 treatment to up-and-coming acts because all/majority of the resources are going to the already established revenue generating acts. This is why so many new/established artists are going indie.
  

• Chance for indie labels (who are actually operating as such and not just as a mini major) to start rising up--music revolution. Re-establish the art of artist development, musicianship, and theory. Bring forth and cultivate that rare "musical genius" that is so far and few between these days. (Anyone with Internet access can download a program and become a beat maker...)
  

• It's a form of progression. Majors realizing that new talent needs to be cultivated, and brought into the light because people are getting tired of the same old thing--simultaneously minimizing risk of investment. No major wants to take a chance on an unproven act, and unproven act just needs an opportunity--it's a compromise.
  

• It relies on artists performing and creating a following because of dope shows and dope music; straying from the dependence of radio play.
  

Although the intent on paper may be to restore the art and culture of being a "professional" musician, performing & recording artist, producer, etc. I do believe the idea and concept are there, and this could be very beneficial to the industry...however, right now to me its execution thus far is seemingly more of desperate attempt to capitalize on locally, regionally and sometimes nationally established artists while not having to fully invest in their development nor take responsibility for producing longevity or establishing their careers.

This is my perspective as not only an artist but as a label owner as well. I do look forward to hearing your feedback--let the discussion begin!

-Randy Z.

Recording Artists vs. Performing Artist Vol. 2

Artist development. Its as simple as that.

Taylor Swift is the epitome of what happens when labels aim to turn the quick buck off an image and/or trend of an artist opposed to investing in the artist and artist development.

Taylor Swift has all the potential in the world to be a great artist. She's a dope writer, she connects with people through her music but she isn't the complete package - yet. Her album won the grammy for album of the year; she won a recording artist award, not a performing artist award. The award wasn't based on how well she performed the album, but rather how well put together it was conceptually, emotionally, musically, etc. Although her performance at the grammys may have tarnished her career in the eyes and ears of people who know and understand music and music theory--that doesn't matter. It doesn't matter because her fans sang along just as off-key as Taylor was, and loved every moment of it. Granted, there is going to come a time when her young audience will grow up and mature --as will their taste in music -- and thus the true test of Taylors sustainability will be dependent on her ability to adapt, change and grow with her audience/fan base.

If her label --ideally her A&R, since this is supposed to be their role...or used to be their role when that position did what it was intended to do-- invests in cultivating her and developing her as a complete performing and recording artist, Taylor Swift will be a dominate force in the music industry. Supposedly Taylor is in charge of her own career and calls the shots, well even professional athletes have coaches! She needs a vocal coach, or a newer/better vocal coach.

If not, I mean she is still a dope song writer and could probably make lucrative career off of that alone, and she'll still be able to tell her grandchildren that she won the grammy for best album of the year in 2010.

Deee oooo doubbbbbleee geee

WHAT'S GOOD FAM?

So I was on the book-of-face the other day and stumbled across an interesting question. The question was "why is snoop dog still relevant after all these years?" It sounds crazy, but its actually a good question. After a couple minutes of hard pondering (on the porcelain throne) it hit me! Its his ability to reinvent himself, entice you, make you want to listen and most importantly sell you a life style. Whether your in Long Beach, California, sporting chucks and khakis, or in a Yankee fitted and some uptowns in Brooklyn, New York, everybody knows or has a favorite snoop song. No disrespect to Uncle Snoopy, but his nursery-rhyme rhyme scheme plays a major part of it, too. I don't care what it is, if it is simple enough for a toddler to get, then its more than likely gonna be a hit.

My whole purpose in blogging this is to plant a couple questions in your brain's:

1. What does the "invented you" look like? What would your image look like/what would you want people to perceive from your artistry?
2. What is so special about that person you wish to be that's gonna make people want to listen to you? No body takes the time to sit down and listen to music anymore. We listen as we live. On the go.
3. Are you making music that puts you on the path of longevity or on the path to be gone in 60 seconds?
4. When its all said and done how will you sell yourself? You have to know who you are going to market yourself to, and where you are going to be the most marketable.

If you haven't asked yourself these questions...well my friends, get to it! Cause time is tickin' and opportunity could be passing us by.

And remember..

1, 2, 3, and to the 4........... (I think you know the rest)

Recording Artist vs. Performing Artists Vol. 1

Many people don't understand the difference between a recording artist and a performing artist, let alone recognize that the two are not correlated. There is a difference between being a recording artist and being a performing artist; title says it all. Very few have mastered both realms, and those who have are legends.

What young artist need to understand, and I stress this to my artists all the time, they need to have something that isn't on the CD or the album. They need to have something that is going to keep fans wanting to see them live in concert over and over again. If a fan goes to see an artist live and their concert sounds exactly like what they heard on album...what’s the point of going to the concert when there is nothing special about the show. You’re just paying to hear the album extra loud.

Artist Integrity Vol. 1

At what point is making a sacrifice considered selling out?

It seems that a majority of the recording artists, writers, musicians and producers that I’ve worked with in the music industry all have their own project that they are trying to get off the ground. While that is in the works, they all seem to be working behind the scenes on other artists projects just to fund their own… myself included.

I find myself to be very picky with whom I work with; reluctant even. Some really dope opportunities have presented themselves, but I didn’t necessarily choose to pursue them. My hesitation might have been with the image that particular artist was trying to portray or even the content/context of their music in general.

As I’ve gotten older and more business savvy in the game, I find myself picking up jobs that I might not have necessarily picked up a few years ago. However, these jobs are career moves. They are gigs that have the potential to further my networking on a major scale or even catapult me into different genres. More importantly, these gigs are providing me with a steady stream of income and sustainability so I may continue to pursue my own career as a writer/performing artist. As it stands now, I long for the day that I can finish my own project and be on the performing artist circuit once again.

Anyway, keeping with career moves vs. passion moves…I think the most notable artist to “sellout” in recent years would have to be Common. Now, don’t get it twisted…Common is one of my idols and biggest influences in my writing. But the Common who wrote, “I Used To Love H.E.R.” would not have done a “Peace, Love and Gap” campaign nor would he have been on a record with the Jonas Brothers.

Obviously, we all know Commons biggest passion project (musically speaking that is) was “Electric Circus,” which I feel was some of his dopest work. It might have over shot his target audience, but his fans still appreciated it regardless. Even his past three albums, which brought him to super stardom, would not have been possible if he hadn’t done the Gap placement. That brought him into a whole new genre and put him in front of a larger demographic other than hip hop heads. It brought sustainability into his career as an artist. His music isn’t as raw and gritty, and he doesn’t come off as that hungry emcee but he still has quality music; he still has a message, a theme, and substance.

Now, without Common making career moves and taking the Gap placement, would he have had the number one album in the country? Would the same amount of people who listened to the music or bought the album, heard what he had to say? Taking it a step deeper, would a quarter of the people who had never heard of Common until “Be” or “Finding Forever” researched his career and have their world opened to a higher quality of hip hop music?

A big fear I have is being viewed as a “sellout,” despite what I do I’m pretty sure there will be those who think I am a “sellout”. There are things I am very unhappy with in the music industry and I feel I can be part of a catalyst for change. However, in order to move up in ranks and obtain a sustainable career there will be gigs or jobs I take in order to put me in better position to initiate the change I want to see
.




blog may also be seen at: The Beacon