Road 2 A Deal

Business Plans

noreply@blogger.com (Dion "Sh8kes" Williamson) — Thu, 03 May 2012 15:22:00 +0000

James L. Walker Jr. is an attorney that serves as managing partner of Walker and Associates, LLP, which is a leading entertainment firm. His practices consist of entertainment, litigation, business, intellectual property and corporate law. Walker also has an extensive resume with big name clients ranging from Bobby Jones, Jamie Fox, Bill Duke and many others.

Organizing thoughts and ideas for a business, or how to structure a business defines what a business plan is. “The business plan is about results and about making your business prosper (Walker, 2008).” The business plan is broken up into different categories that each plays a certain role. When these categories are put into play, they should reflect off a list of goals and priorities that were written out. It’s also key to decide on a business model for the plan. According to James L. Walker Jr., the business plan should reflect the following attributes; credibility, objectivity, clarity, reasonableness, sufficient evidence, consistency, objectivity, clarity, reasonableness, sufficient evidence, consistency, awareness of success factors, key risks, vulnerabilities, venture planning, and sound business analysis and judgment.

According to Walker, sections in the business plan should include: executive summary, table of contents, venture product, target market and competition, company description and venture organization, venture management, venture operations, venture financing, and appendices and exhibits. A major part of a business plan is its budget, starting with registering the business, advances, costs, wages and salaries, office space, etc. There should always be an eye and ear out for competition in the chosen field. Questions that should be asked are: Who is the top company? What are the different departments of the company and how do they function?

Russell Simmons is a one oh hip-hops pioneers. Being the third richest figure in the hip-hop industry, Simmons has been able to develop quite a brand for himself dealing with music (Def Jam), his clothing line and his philanthropic works. Russell Simmons has also made a name for himself with his writings, Def Comedy Jam, BET, HBO and Broadway.

Russell Simmons is another great businessman who gives incredible insight on the value of business plans. “The idea doesn’t begin or end with a business plan for me (any good business plan will always change and evolve) (Simmons, 2007)." Instead of having your business plan come across as a pitch, make sure it’s a piece of property that’s worth some money and something that you own.

Importance Of a Good Team

noreply@blogger.com (Dion "Sh8kes" Williamson) — Thu, 19 Apr 2012 15:39:00 +0000

The importance of a good team comes with many attributes. Many of those attributes are the driving forces of success and/or failures of careers. Trust, building a solid work ethic, great support system, positive energy, encouragement, patience and understanding are just a few attributes of having a good team. Along with these attributes comes one of the most important, Relationships. Building relationships in and outside a team causes more doors to open, which then turns into bigger situations for a team.

Trust is a vital key in the importance of a good team. The only way to build trust is through interaction that is quite frequent. Trust also builds integrity, and when these things are shown, the team can then say they trust others, and call themselves trustworthy. A person trusts a group when he or she believes that group members make good-faith efforts to stick to their commitments, are honest in their negotiations, and don't take advantage of one another even when the opportunity presents itself (Degrosky).

Having a solid work ethic goes a long way with a team, even from the small jobs to the big jobs. In a team there’s no little task and no little recognition. The importance of a good team entails many aspects because without the support and loyalty of a team it becomes very difficult to build and keep a company in good standing. Being surrounded by positive energy always brings out the best in a team. The mood of one person can change the mood of everyone. Now lets talk about encouragement, I think that encouragement is one of the many keys that unlock the door of success. Without encouraging words, a shoulder to lean on, someone to talk to and depend on its hard to keep ones sanity in the world of entrepreneurship. The gift of patience and understanding keeps the positive energy around. There is no need for bickering and fighting within a team it, creates too much turmoil. It is always good to have that patience and understanding that will keep the team smooth sailing.

Trends: Hip Hop and Marijuana

noreply@blogger.com (Dion "Sh8kes" Williamson) — Thu, 29 Mar 2012 03:04:00 +0000

Adapting to a trend to stay relevant is what some hip-hop artist does now days. To find something that works for you is key. This can sometimes cause a lot of tension between fans and an artist. Especially when a certain audience is use to a certain style and sound from an artist. For instance, hip-hop artist Lil Wayne tells his reasoning on why he decided to switch trends while also being able to keep some of his dedicated fan base.

A lot may call it selling out, but Lil Wayne says it’s all about reaching a new audience of fans. This doesn’t always work, and of course some have tried and failed, but it seems to be working for him. Going from the gangster image, to putting out a rock album, now to skateboarding; all have seemed to work for Lil Wayne, and work well at that.

Adapting to trends also comes with the decline of music sales. Hip-hop needs to be able to survive. With records sales diving through the floor, selling merchandise and an image is what’s next. This comes with endorsements, acting roles, or even like Lil Wayne, switching up the image. There are even times when critics think that a lot of the flashy jewelry and cars are just for the boasting, when in reality, sometimes its deeper than that. Musicians in other genres have to walk a fine line of art and commerce so they don't offend their fan base. However, in hip-hop, the number of endorsements you score is part of your marketing plan. This also separates the underground from the commercial music, hoping that when one switches over from underground to mainstream, the fan bas isn’t lost.

Starting a new trend is just as powerful as adapting to new trends. Though smoking marijuana isn’t a new thing, it sells in the music industry. For those artists such as Wiz Khalifa and Snoop Dogg, smoking marijuana is one of the best things they could’ve put in the spotlight when reaching their fans. That demographic is one of the biggest audiences ever. You don’t even have to like their music to listen to it or purchase it. To know that they smoke Marijuana is enough to attract you to them. Hip hop and marijuana influences many people. As stated before, just because of his marijuana smoke, Wiz Khalifa has one of the largest fan bases in hip hop, mostly males. He sticks by his brand by making music, "weed heads" can relate to, vibe to, and enjoy. Though smoking is bad, hip hop and marijuana isn't always a negative thing.

Piracy

noreply@blogger.com (Dion "Sh8kes" Williamson) — Wed, 21 Mar 2012 01:25:00 +0000

Piracy is one thing that managers of artists are really concerned about. Most of this happens over the internet; the medium that helps build a fan base, but also helps break the pockets of management teams and record labels. “Music piracy has become an important issue since the turn of the century. As the Internet has grown, sales of counterfeit CDs through online auctions, web sites, spam, and other channels have increased significantly (Bocij, 2006, p. 5).” The Mp3 format plays a big role in this being that the format can distribute files easily because it’s compressed. This allows songs, and even whole albums to be downloaded all in a matter of a few minutes. Being that the Internet has grown tremendously, software can be pirated in more and easier ways.

“Music must be set at a level that will recover the initial cost development, fund further development, and allow research into new products. Once the company’s investment has been recovered, the price can be lowered a little (Bocij, 2006, p. 148).” But because of piracy, the artist, the management, and the label the artist may be under loses money from sells of the music. “This jeopardizes any further development of the program and obstructs the introduction of new products (Bocij, 2006, p. 148).” With piracy going on, it produces a cycle that drives the prices of the music up, in some cases. This doesn’t necessarily mean that since the price of the project has been driven that the artist and his/her employees get to see that money. It’s an even bigger risk to take, banking on new generated sells from the project, and the decrease of piracy.

Dealing with management – artist relationship and piracy, is a big deal. If the artist makes no money then the manager makes no money. Michael “Blue” Williams said it best in his interview with vibe.com “there’s people out there writing checks, and there’s people out there finding checks, and I’m the one who finds them (Williams, 2006).” With the field of artist management, finding money is a huge task, especially if piracy affects album sales.

Licensing

noreply@blogger.com (Dion "Sh8kes" Williamson) — Mon, 19 Mar 2012 20:02:00 +0000

There are thousands of quotes lingering around created by great inventors, theorist and even ordinary people that mention the love of money. Taking the time out to intensively look for a quote that would best represent money and the music/entertainment industry was very easy, although not one suited the issue of royalties very well. Artists share many things in common amongst one another the greatest of these is money, some who have earned more than others.

As a young manager to an independent upcoming artist I value the opportunity to gain knowledge about the industry. I often ask myself; "Is it really fair the way money is issued between the artist (creator of the product) and the record company, manager, licensing company etc.?" Saying all of that brings to light the very controversial court case that started in 2010 Forefront Law Groups website states FBT Productions v. Aftermath Records which is rapper Eminem’s former production group who is fighting on the percentage of royalties given to the artist for digital sales.

Firstly, below briefly summarizes the case at hand; According to Forefront Law Group, The Supreme Court recently declined to hear a Universal Music Group appeal in its years-running fight with Eminem’s former production group. “The decision could have substantial monetary implications for the industry and older artists. In late 2010, in a somewhat strained decision, the Ninth Circuit court held in FBT Productions, LLC. v. Aftermath Records, 621 F.3d 958 (2010), that permanent downloads via Apple’s iTunes and other digital download purveyors constitutes a license for the purposes of calculation of royalties under a particular music distribution agreement (2011).” The facts of are listed as on The Forefront Law Groups website;

1. 1. “FBT Productions signed rapper Eminem to an exclusive agreement in 1995.

2. 2. FBT Production entered into a deal with Aftermath Records three years later that guaranteed:

a. a. FBT would receive between 12% and 20% of the adjusted retail price of all “full price records sold in the United States through normal retail channels”

b. b. FBT would receive 50% of Aftermath’s net revenues on masters licensed for the manufacture and sale of records.

c. 3. Five years later as the digital music revolution began to take firm hold, Aftermath’s parent signed a deal with Apple that enable the Eminem masters to be sold through Apple iTunes store as permanent downloads.

d. 4. In 2003 FBT and Aftermath entered into a new agreement that terminated the one stated above. This agreement increased royalty rates and included many of the terms from the prior agreement. The court notes an addition to the agreement: it provided that “Sales of Albums by way of permanent download shall be treated as Net Sales for purposes of escalations.”

e. 5. Three years following Aftermath sold Eminem records through iTunes (and similar channels) and Aftermath paid, and FBT accepted royalties at the lower license rate on such sales (2011).”

In one’s opinion, FBT productions had an opportunity to work and collaborate with a great music icon (Eminem), which could be debatable for agreement. Bottom line is, that in those years of his initial career his music sold with good numbers, as he started to mature within the industry so did technology. With digital sales being the boom of the century, it increases the money chain for artists and music companies. Forefront Law Groups Website summarizes that the case’s big controversy is over the percentage of digital sales being the same as US normal retail channel sales that are Net Sales; this is to prevent the consumption of receiving more money. The agreement was changed and resulted in receiving royalties at a lower rate. “This will not be as beneficial to artists of the 2000s but it may be for the music of the artists in the past.” In ones opinion, an agreement should not be changed or rewritten because the company can receive more money. However, it would be the best of interest to make another agreement to benefit the artist in these times of technology and new ways to create revenue from sales. It is important to keep money in the hands of the creative one not remove.

Infringement

noreply@blogger.com (Dion "Sh8kes" Williamson) — Mon, 20 Feb 2012 02:22:00 +0000

All three of the podcasts listened to, touched on some great topics some topics in where the subject could have a negative effect on a music management company while others showed there could be a positive effect. I believe the key to a great and successful artist is creativity. Being original and creative will definitely be worth all of the hard work and effort put into whatever product that an artist is producing. Copyright infringement is the first topic that stood out to me. It is indeed one of the many negative aspects that are in the music industry. There some cases in which the artist does not realize that they may be breaking the law of copyright infringement while other artists know and still blatantly disobey the law. This issue continues to appear in the music industry, this affects the character of an artist, financial stability, support of fans and business opportunities. As a music management company there is a big responsibility of protection and teaching that has to be given to the artist to avoid major happenings such as copyright infringement.

In the podcast with Dave Archuletta, Executive Director of Joe Goode Performance Group, he talks about taking offers that are unexpected and not what is particularly wanted. He explains the motive of hard work, maintaining past work relationships and getting your foot in the door. “Opportunities that you are willing and open to go for can possibly take you to your success; it’s just up to you to realize that it’s an opportunity,” said Archuletta. This theory or work ethic applies to every profession. Music Management can be quite hard to succeed in, your artist and genre might have to do certain performances with different styles of music in different atmospheres, which could either hurt or help an artist but most importantly bring awareness to the individual and his or her craft.

http://legalgeekery.com/2011/07/22/podcast-episode-27-a-veritable-zoo-of-copyright-trolls-and-monkeys/

http://attackofthekillerkeyboard.blogspot.com/2011/12/episode-18-last-of-copyright.html

http://www.artofhustle.com/2011/10/podcast-episode-005-executive-director-dave-archuletta/

EMI

noreply@blogger.com (Dion "Sh8kes" Williamson) — Thu, 19 Jan 2012 21:49:00 +0000

Artist and Managers

noreply@blogger.com (Dion "Sh8kes" Williamson) — Fri, 06 Jan 2012 18:21:00 +0000

Through many class discussions while attending Full Sail University, what an artist manager should and needs to do would spark many conversations in a lot of my classes. A lot of the opinions given by my classmates and I would be the same, but when they would differ, they would differ in a tremendous way. Not until getting into Product and Artist Management is when I received a better understanding of what artist managers do

No manager wants to work with any artist that doesn’t have standards and goals. Wen dealing with new talent, research should be conducted on the artist. Popularity, style, attitude are just a few things to look for when researching. What to look for in an artist includes talent, desire, belief in self, commitment, integrity, sense of values, and professionalism. Now there are many things that could be added to this list, but Prof. Kate Harting helped sum an extra long list into a list that seemed more professional for the field of artist management. An artist manager should also know what to look for and how to work with the talent. Knowing what the artist has to offer is also a key in what a manager should look for. One of the most important things, though some people get it confused is that the artist should work ten times harder than the manager. Though it is the managers’ job to do those daily lists of things, the artist should forever show drive for his/her career.

Not only should the manager look for certain things in an artist, but the manager should also have something to offer as well. Just like those key things to look for in an artist, some of those same attributes should be considered when an artist is seeking new management. A manager should always be consistent in the ongoing task of everyday management duties, precise with decision making and in every move made, innovative and always suggesting and developing new ideas to help brand process and further its success, professional on every level, even around connects they are most comfortable with, in order to show partners and/or opponents that you are worthy of respect, and there should be loyalty because without it the other four attributes wont have a chance.

Skaz Digga

noreply@blogger.com (Dion "Sh8kes" Williamson) — Sat, 10 Dec 2011 19:44:00 +0000

Skaz Digga of the Butter Team started out as a small time Dj, spinning at local house parties and doing mix tapes. As time progressed and his name grew, Skaz began to spin at major clubs around the triangle area where he’s from (Raleigh, Durham, Chapel Hill). As his status became more dominant and his role as a DJ began to ring bells, Skaz was the go-to guy for all the major parties to come in North Carolina.

“Realizing that he had more abilities than Djing, Co- Founding a chapter of a production company called Nasty Fruit with Mr. D.O.L.O. (AKA) Desmond Alston quickly became the next feat in the process of Skaz becoming a Dynamic producer adding to his Djing ability (Hype, 2010).” This is when the first major negotiating of his career took place. While talking with Skaz, he assured me that sticking to your craft and knowing what you’re good at is the first thing you go into a negotiation with; have a well planned out BATNA. “The group was called Full Circle in which he was the DJ and Mr. D.O.L.O was the rapper, even though the both did all the elements of Hip Hop (Hype, 2010).” With that being said, Skaz made it clear to me that his craft was DJing, that’s what he’s good at, and that’s what he had to offer. He didn’t go into this business with the plan on negotiating to be the rapper.

After creating an extensive resume over the years and establishing new businesses in the North Carolina market, in 2000 Skaz was introduced to hip-hop legend, Big Daddy Kane, through a mutual friend. Through affiliation with fellow DJs, outshining most of his peers, “Kane decided to approach Skaz about becoming his DJ on the road and rocking with him. The union of Big Daddy Kane and Skaz began as he is still Big Daddy Kane’s DJ currently, they perform 10 to 11 months a year.”

Using his BATNA and through affiliation, growing over the years, Skaz has had the privilege to work with many mainstream and underground artist. “Helping local artist with development and producing them well before they became major recording artist helped the studio Skaz owns evolve into a Major Studio for Raleigh and Durham Hip Hop Music Culture (Hype, 2010).”

Being able to grow as a DJ and evolve into a producer and engineer, Skaz has been able to accomplish a lot of great things. He’s the official Dj for McDonalds in the region, he does the Essence Music Festival, he Djs for the CIAA, along wit many more exciting things. These things didn’t come from him just waiting on things to happen, but he learned to talk, negotiate and get what he wants. As time went on Skaz and his partner Antwoinne McLendon was approached about providing the musical Soundtrack and doing the SCORE for a Documentary called (Welcome To Durham). All the music was produced, recorded and mastered at Flavor Fruit Studios by The Neck Breakas production team, the Music was also owned by Flavor Fruit Ent. The Soundtrack and DVD for Welcome To Durham can be purchased in any F.Y.E.

Management...

noreply@blogger.com (Dion "Sh8kes" Williamson) — Tue, 08 Nov 2011 02:21:00 +0000

Music management comes with a lot of important roles, especially when managing an artist. Authors Paul Allen, H. Lee Hetherington, and Walt F. J. Goodridge go in depth by breaking down the different responsibilities in managing a successful music artist. There are no specific rules on how to go about getting into this business, it’s more of how much you know and if you can handle huge tasks, loosing lots of sleep and selling a person, other than an object. “Managers direct all aspects of an artist's career, including record company issues, publishing, touring, marketing, publicity, business management, film and sound track work, sponsorships,

endorsements, and other opportunities. Some managers secure recording and/or publishing contracts and are involved in the negotiations, either handling it themselves or, in most cases, working with the artist's attorney” (Carter).

There’s no specific level of education required to get into this business. Usually when artist are beginning to make their first appearance on the music scene, its usually a friend or family member doing the management. Sometimes this may not be a good thing; this is said because, not all the time, family members or friends have the right and sufficient amount of knowledge to carry out this task. Sometimes there are those exceptions when people just have a God given talent and know what to do in certain situations dealing with career choices. There are also those artist who look for the managers with the experience, drive and knowledge to carry out such huge responsibilities. When the opportunity presents itself, there may be music conferences, panels and award shows in which artist, labels, managers and other prominent music people will attend where one can network and build relationships to hold on to for future references.

Though there’s no specific level of education needed to begin a career in artist management, to succeed you should have “a well-rounded understanding of how the entire music industry works, and allies within its ranks. Generally, managers have one or two particular strengths, such as touring, publicity, publishing, recording, or legal backgrounds, and they then surround themselves with a team that has strengths where their own knowledge is weakest” (Carter).

“As we consider principles of management it is important to understand that the goals of artist management are different from those of other segments of the music business” (Allen, 2007, p. 1). According to Paul Allen in his book Artist Management for the Music Business he points out ten things that will help managers in the career of managing an artist. These ten things are principle of management for the artist, preparing to manage, the artist: preparing to be managed, the artist management contract, planning, the artist as business, income, conducting business for the artist, the artist career plan, and finally coaching, leadership and financial advice. Now within these ten categories there are quite a few sub-categories within them. These are quite a few things to talk about dealing with management, but to sum it all up Allen says to be creative, informed and connected. “Today’s artist manager must be willing to encourage their artist to take calculated risks and to support their clients when they do. This doesn’t mean take chances with an artist career. Rather they involve the artist in promotional ideas that get the artist outside of their comfort zone and open up opportunities to help them reach their goals” (Allen, 2007, p. 5).

Management

noreply@blogger.com (Dion "Sh8kes" Williamson) — Thu, 27 Oct 2011 00:50:00 +0000

Competition is fierce in the music industry, all genres. More of a struggle for an artist who doesn’t have the backing, or someone to help oversee his/her career, than it is for an established manager to break into the industry. Now when it comes to a point where there are two individuals working towards the same common goal, with an added source of help, the competition then takes a different turn. “Artist managers are persistent. Persistence in this environment is a quiet determination without being pushy. Remember that to be effective, the manager must navigate around gatekeepers, and an overly aggressive style can be offensive to some of those whose help is needed on behalf of the manager’s artists (Paul, 2011, p. 10).”

There are more artists out there than there are mangers. My goal as a manager is to work with a certain number of individuals, which then gives me the time to pay more attention to my artists’ brand and image, other than having to deal with a thousand headaches. There are many different management companies that have way too many artists, way too many projects, and at the end of the day they cant execute every obstacle; moves then become premature. On the same note, there are management companies that do a tremendous job with their artist; building brands, images and creating a community of fans. How I plan to break the mold and stand out from other managers and management companies is by having a more business-personal relationship. Meaning that I will be more than just a manger. I plan on being a mentor, a confident, friend; but still know that business is business. I also plan to have a brand that creates a legacy for my artists. Image is everything, and I will not back an image in the media that’s not portrayed in the music. The hip-hop genre is evolving, and I plan to evolve with it.

As a manager, funding for an artist is critical; planning also plays a critical role in the ability to have adequate funding. Forty to fifty percent of all business ventures fail in the first five years due to inadequate funding, therefore there should be different streams of revenue for the business; don’t work for the money, but make the money work for you. Opportunity cost should also be taken into consideration when operating a business of this nature. “The manager of an artist in the music business forecasts the need for members of the artists, and plans for the time when services will become an expense to the operating budget for the artist. The manager also draws away any other necessary resources together, creates a logical structure for the organization of those resources, develops a career plan, and executes it.”

American Marketing Association

noreply@blogger.com (Dion "Sh8kes" Williamson) — Tue, 18 Oct 2011 18:43:00 +0000

According to the American Marketing Association, “In recent years, music industry sales have declined in the United States by an average of 7% per year, after peaking in 1999. Much of this sales decline has been attributed to the widespread use of illegal file-sharing sites, such as Napster, Grokster, and LimeWire.” ITunes along with many other file sharing websites that are legal, music can be downloaded at a price to where the music isn’t pirated illegally.

Digital piracy has become a major problem in the entertainment industry; it undercuts the growth of an artist financially, causing album sales to drop, and piracy also affects the life of record companies.

The very best thing that has happened to the entertainment industry is also the thing that threatens it, and that’s the Internet. “Music piracy has become an important issue since the turn of the century. As the Internet has grown, sales of counterfeit CDs through online auctions, web sites, spam, and other channels have increased significantly (Bocij, 2006, p. 5).” Through the Internet, Mp3 files play a major role in the illegal downloading of material. With Mp3 files, songs and even whole albums can be downloaded all in a matter of a few minutes. Being that the Internet has grown tremendously, software can be pirated in more and easier ways.

Dealing with artist management, with piracy going on, it produces a cycle that drives the prices of the music up, in some cases. This doesn’t necessarily mean that since the price of the project has been driven that the artist and his/her employees get to see that money. It’s an even bigger risk to take, banking on new generated sells from the project, and the decrease of piracy. Dealing with management – artist relationship and piracy, is a big deal. If the artist makes no money then the manager makes no money.

Make A Difference

noreply@blogger.com (Dion "Sh8kes" Williamson) — Thu, 29 Sep 2011 17:40:00 +0000

Kevin Liles is a very prominent figure in the entertainment industry; not only for the great things he has accomplished within the entertainment industry, but also for the positive image he has created and maintained in the community. Kevin Liles has many roles that he plays, but one role that is most important to him is his role in the community. His organizations are as follows: Make It Happen Foundation, Kevin Liles For a Better Baltimore Foundation and Ogilvy & Mather. In addition with the following organizations, Kevin Liles participates in philanthropic work with: New Yorkers For Children, The SEED Foundation, Junior Achievement, Hip-Hop Summit and UJA Federation of New York.

With the many foundations and organizations Kevil Liles participates in, the “Make It Happen Foundation” is the one that I will put emphasis on. “The Make It Happen

Foundation provides opportunities and access for young people to become products of their experiences and not merely products of their environment. Through internship partners and mentor programs, the foundation provides life-changing opportunities for under serviced youth.” Kevin Liles and his wife to provide an environment for young people to realize their full potential started the foundation, taking into consideration their ability to “Make It Happen.” Kevin Lies believes that it’s the responsibility of those that are ahead and who are living testimonies to provide a stepping stool and to create a platform for the new generation. Those young people, who have dreams of becoming doctors, lawyers, executives etc., will be granted the opportunity to experience such things through this foundation.

The image and work Kevin Liles does has a major role in the field I will be continuing to do work in. Not only has his work with Def Jam made him a remarkable businessman, doubling their revenue to $400 million under his watch, but also his compassion with the community work says a lot about him. He’s also an artist manager, the path I plan to take. Not only will I mimic the work of Kevin Liles dealing with his work in the industry, but I would also love to be an example to my community and also in the entertainment community.

More people like Kevin Liles in the entertainment industry will say a lot. The way he markets his foundations through social media, universities, and in the entertainment industry says a lot about his will to do better and to help others do better. On this road to a deal, I will continue to re-gas by following and noting Kevin Liles’ moves.

Image

noreply@blogger.com (Dion "Sh8kes" Williamson) — Thu, 08 Sep 2011 04:17:00 +0000

Artist development involves molding an artist into a star and helping the artist create a quality sound that is commercially viable. This goes hand in hand with creating the image of an artist. Creating an image doesn’t necessarily mean the outward appearance and what the world see’s. The artist must know who they are as a person first, and then as the artist; because there are two distinct differences, even though the artists is “one” person at the end of the day. Creating an image plays a big part on what the world see’s, i.e. viewers and listeners of his/her music. “The two things artists need to gain fans are (viewers and listeners) and frequency of reach.

The best way for a new or independent artist to gain frequency and loyalty from their fans is to know who they are, what they stand for and project that thru their music, look, design, and anything else that goes out into the public eye (Webb, 2009).” This is just the outward appearance that stems off of what will be built from the inside out.

Sticking with the image is also a key thing in gaining fans and creating a valuable image. Build an image that one can protect and stick with that image one would want the public to see and remember. Self-expression is just another term for image. Pay attention to things around you and take heed to those things; commercials, articles, news relates things, and then apply them to the way you may carry yourself. In musicbizacademy.com there were a few things that caught my attention and that I think will help in creating an image for an artist. These things are: people don't get an impression from you; they get an impression from the image you project; educate yourself so that you can dictate your own style; create a point of view and direction by uncovering your imaging themes; and illustrate your themes and direction in the way you dress, accessorize, and act.

Find Your Lane

noreply@blogger.com (Dion "Sh8kes" Williamson) — Wed, 31 Aug 2011 02:20:00 +0000

On this road to a deal, finding a lane the artist fits in is a key component to his/her career. Dealing with hip-hop, there are various lanes an artist can go down; street lane, LL lane, dance lane, conscious lane, and pop lane. Once that lane has been found, you then stick to it and begin recording quality music that fits this lane. While traveling this lane, finding what’s comfortable and what one is good at makes it easier for this lane to be traveled. Staying in this lane is also a very important thing because no one wants to go 100 percent in a certain direction, or perceived to go in a certain direction, then all of a sudden switching from dance to a more conscious lane. You then have confused those who choose or are trying to follow.

When this lane has been found, appeal to those that are fascinated to this lane. Wiz Khalifa is one of the smartest rappers with the biggest impact on those who smoke marijuana. From day one with his entrance to the underground until now, he has appealed to those who smoke marijuana and has remained dedicated to the lane he chose to go down.

Finding a lane also plays an impact on ones reputation. Your reputation is something that should be guarded with your life. “Reputation is the cornerstone of power. Through reputation alone one can intimidate and win; once it slips, however you are vulnerable, and will be attacked on all sides, make your reputation unassailable (Greene, 2000).” When building a reputation as an artist, your timeline plays a major role in this. Going down a lane and sticking to the lane while building a reputation that compliments it makes it easier for an artist to have the certain credibility one needs, and should have to be known as a loyal and honest artist.

Test Post

noreply@blogger.com (Dion "Sh8kes" Williamson) — Thu, 11 Aug 2011 14:43:00 +0000

On the road to a deal, Mark Steele finds himself walked over by many of his close counterparts that included mostly family; learning that, in some situations, family and business doesn’t mix. This problem really dealt with the management aspect of his soon to be “big” career. As time went on, a very close friend steps in, and without realizing, began to take over in the area where Mark felt as if he was lacking, management. Things then began to look up, shows were being booked, tracks were being laid and a project was beginning to take form. Not only did these things begin to happen, but also Mark appointed his friend to a high position in his organization, the leader. This friend was Dion “Sh8kes” Williamson. Dion “Sh8kes” Williamson has a reputation that precedes him, not only as a scholar in school, but a guy with street credibility. He has the power to lead and a very high influence value that plays closely with honesty and loyalty.

Now that we’ve gotten that out of the way, with the two of us putting our brains together, we developed a plan. On the road to a deal, we’ve made plenty of mistakes, and ran into many roadblocks, but never have we once been knocked off the highway. Following leaders such as Kevin Liles, we’ve learned to refuel, rotate the tires, and keep the oil changed. We are the engines and its up to us to keep up the maintenance. As we travel along this road, we take footage of everything we do. From shows, meetings, studio sessions and until we lay our heads down, we document everything. Not just to show the good side of things, but to eventually let the world know what it takes and how it really is to grind on this road to a deal.