Artist Integrity Vol. 2

Prov 28:6 better is the poor who walks in integrity than he who is crooked and rich.

What's good young world? So I'm watching the Mo'Nique show the other night, bored out of my brain, and this cat Roscoe Dash is one of her guests. He's the cat that sings the "All the way turnt up" song. Anyhow, I'm listening to him answer the questions Mo'Nique is feeding him and this cat can barely put together an entire sentence (BUT HE'S GOT A RECORD DEAL!? lol).

He gets up to perform and you can't understand what he's saying... aaaaaaaand what little you can catch is either about some skeet skeet, swag or weed; but it gets worse. Souljaboy tell'em runs out on stage -- pants on super sag and a long red fox tail hanging from his belt (he really had a fox tail, watch the video lol).

Now don't get me wrong I would never dis what Soulja Boy and his team are trying to do and say it's not music -- because it is. But at what point do you stop and remember your integrity? At what point do you say, "My following is strong, my production is sick -- let me spit something influential, let me spit some truth about life; About my mistakes and how I learned from them" ...so that the kid that's looking up to me instead of his mom or dad doesn't have to re-invent the wheel. At the end of the day would I like to have some extra dough, a nice house and a walk-in humidor(lol)? ..sure. But not at the expense of losing my respect, my integrity and everything I've worked so hard for. I love this game, but on the real its time to start cultivating what we do. I coone for no man -- never have and never will.

So as we perfect our crafts as artist remember this -- a record deal and a large cash advance does not define you. Your fans and your haters don't define you. It's what you accomplish through your love for the people, your self-respect and your integrity for your craft.

What good does it a man/woman to gain the world but loose their soul?


Peace & Love,

-Notes

I'm here Now (live)

Akapela Jonz rocking live at the Commonwealth Lounge performing his new single, "i'm here now"

What Ifs: Oh, the places we could go...

The topic of this blog actually started from a Gchat with a fellow AG One staffer today. As always in the writing process, especially a collaborative process, you will run into differing opinions and new perspectives. The process for me can be fun and a bit grating at times. Fun because your working towards a common goal and together you both can come up with something amazing. However, like any writer, you're sensitive about your work and you believe that it is the best thing to ever flow from your brain, down through your fingertips and onto the computer screen/note pad/etc. So when you realize that the work is being chopped and those sentences you so lovingly strung together are being dismantled, you wince, you cringe and then you just pull an "I'm sensitive about my s***!" a'la Erykah Badu. You get where I'm coming from...

Anyway, the topic at hand was "What Ifs" and the connotation that the phrase carries in common everyday lexicon. To alot of people "What If" is a question that we ask when we're scared, insecure, reluctant and unsure. I'll admit, I'm the first to ask "what if" when taking on a new endeavor and the end result is not a sure thing and could result me looking like an idiot. It's an instant human reaction to hope for the best but brace for the worst and the what ifs give us the chance to weigh the options and outcomes before we fully invest ourselves in an inclement situation. The "what if" is our way out, our excuse to stay safe when really that "what if" could lead to progression beyond our wildest dreams.

I have had the pleasure of being mentored by a man who turned the "what if" into a weapon that prevents that lapse into mediocrity and complacency. His mantra of always asking questions in order to progress has helped me make alot of career and life choices that I would have otherwise pushed to the back burner and let simmer and die. I apply this philosophy of "what if" to the very industry that we are making our mark on today. As creatives in an entertainment industry that is ever changing and caters to consumers who are very skittish about long-term commitment, it is our responsibility to ask the questions that could lead to new frontiers in entertainment. Our audience depends on us asking the "what if" questions and matriculating from those inquiries. I have come to believe that the question of what if should never be one to hold you back, especially in this industry. Every what if may not lead to the desired outcome, but one of those questions leads to another question, which turns into an idea, which evolves into a plan and then becomes a successful solution. In the AG One family we are blessed to have each other to bounce those what if questions off of each other. Every day one of us asks "what if we do this...?" and yes, there are those counter-questions that ask "well, if we do that what if this (insert scary failure scenario here) happens?" Yet, alot of those what ifs have led to great ideas and solutions for us and keeps us moving forward creatively and professionally.

In the music industry, fear is a constant, never fading and always in the background, waiting for a moment's vulnerability. John Mayer has the greatest song on his 2006 Continuum album aptly titled "Vultures." What sounds like a pop song describing the music industry and it's dark side, is really a song about asking questions and letting fear and insecurity settle in. It takes a bold mind and spirit to step outside the norm and do what is least popular or new and unchartered. However, how many of the most successful artists asked that scary what if question and progressed? Plenty! How many are still asking what if and building upon that question, hoping to strike gold, but never losing that curiosity? Too many to count! How many have asked what if and left it at that? Never digging deeper and allowing that what if to grow into a "hell no?" You probably know one of them or are in fact one yourself. I believe that this is the most important time in entertainment to turn the "what if" into a tool of onward and upward movement. Stop sucking on the lollipop of passivity and dollar signs and actually ask questions that lead to innovation. Arnold Randall said it best, "As an artist you must put yourself in the position to go beyond the norm and yet be in the zone at the same time." So, not only as artists but as human beings we must get a little radical, get a little passionate, GET OUT OF THE BOX! We cannot continue to let a "what if" be the the question that holds us back from so many amazing possibilities.



Post By: Tamika

The 360 Deal

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!

The Art of the Album

Where were you the day the art of the album died? Kweli put it in a different way but the question still holds weight. What really happened to the 10-12 songs that explained who an artist really is? When did the ringtones, singles, and downloads take over the money machine that was record label sales. I could go on as far as these questions til i'm blue in the face but "The Album" is no longer sought after like it used to be.

I remember listening to records that my grandparents used to listen to as a young child. Just watching their face light up and their overall reaction made me pay attention to music that I couldn't fully understand. Playing the 45's over and over I found myself liking all the songs on all the records that I listened to. Later I found that the records I was listening to was compiled of songs that were already hits and just placed to a track list. So in essence I was already listening to the "best of" collections (so I don't waste money on these so called greatest hits albums). Though that was just a formula to create a great album for a decade or two, it set the environment for a future. The foreground was based on these principles of solid sound that would lead to an experimental future.

It was around this time (about the 60's and 70's) that artists and bands were driven to create experimental sounds that would make the album a piece of artwork. Many new styles of music that were once considered conventional were abandoned to explore new territories. Though these experiments created the natural rift in generations that happens. By abandoning the rules and venturing into an uncharted territory there were new discoveries that opened new ideas to people and re-shaped the limits of music. Songs became a part of a big picture that took listeners imagination to another reality (with the help of Haight and Ashbury).

Fast fowarding through the 80's and redefining sound of pop and the 90's upgrading hip hop to black card status we are left with the 2000's. Technology that reigns supreme threatened the money machine that is the music BUSINESS (ask yourself why thats in all caps...hhmmm) downloads and other sorts of free music was available. At this point who cares about a phenomenal album (people are trying to fix their hemorraging bank accounts). So Labels found a way to pimp the artists (for lack of a better word...naww, thats what I meant), by signing people for pennies and putting their singles out and giving them a small piece of the pie. When that got stale they went the gimmick route whether it be dances, voice effects, as well as shock value.

Somewhere along the lines people stopped caring about "The Album". Whether they felt only a few songs were good or they just don't feel they have to pay for what they want the masses don't pay attention to detail. Why have we as fans lost interest in what artists do anymore (really, I want to know). Catchy names don't give an album a concept a theme or a sound scape. Being a fan I have been let down by the music I love. But I believe that if history repeats itself we need to take that leap of faith and experiment. Lets abandon the rules once more and make art, devoid of what the right now sound is. Lets make history again people!!!!

-Akapela Jonz

Longevity in Music: 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)


(Post by: Brutis Perux)
 

The Easiest Day Was Yesterday

I'm sitting here at Road Side Studio while Mr. Notes is messing around on the keys. We are supposed to be finishing up the song selection for Arnold Randall's art exhibit, "Canvas" next Saturday. Instead we just started reflecting on our year -- and then some.

So I took a little break from finishing this because Akapela Jonz rolled through the lab. While we went to get something to eat at In-n-Out, I brought him into the whole conversation Mr. Notes and I started -- reflecting on this past years music.

A lot of good artists came and went this year, but more importantly a few great artists surfaced. Never has it been more relevant to say that good artists just aren't good enough. You really have to be a great artist to sustain a career, and that in itself doesn't necessarily mean financial stability. I feel bad for the young kids that pursue a music career in hopes of finding riches because their "role models" in the music game talk about how good they're living, or how much money they are making. When in reality they really only see a small percentage of what their record made. You get paid after everyone else gets their cut: Distribution, AR, Producers, Writers, publishing, etc.

Bob Lefsetz said something that really stuck in my head, "If you want to get rich, start shooting hoops...isn't that fascinating, no one thinks they can play in the NBA without a wealth of court time, but people think they can succeed in the music game without paying their dues whatsoever."

What I took from this is that the rock-star lifestyle that was once synonymous with being in the music industry is no longer comprised of musicians -- or maybe it is and those musicians who actually live as such don't talk much about it.

The point I'm trying to make is this. The reason that the rock-star life style is becoming less and less associated with the music industry, and its artists, is because there is less and less money going to the artists. Now on one hand this does phase out the cookie cutter artists, but it still doesn't leave much for those great artists to thrive/survive off of financially.

This is the dilemma we're facing today working in the music industry. Technology has served as a great means to catapult independent artists, who lack the funding to get major level exposure, into millions of peoples play-lists. Now in the same swipe of the sword, music is now that much more accessible for the consumer -- and in most cases free, legally or illegally. People will always gravitate towards the most convenient way to obtain a product, in this case its downloading online. So with the way the current trend is moving, music is ultimately going to be free on all levels; legally. That puts us as artists in a bind because we now have to figure out how to generate income from our product. Yes, I said product..the difference between a career and a hobby is a career generates income --side bar: Any career you chose to pursue, whether it be social sciences, public servant, or artistry for example, it has little to do with natural talent and everything to do with consistency, dedication and work ethic (10,000 hours. I'll expand on this later)--. While this weeds out those who don't learn the importance of being a performing/recording artist, it significantly increases the demands of being a performing artist -- effects which are especially felt by a family.

With any career or business venture -- including art, artists and the music industry -- you need to make money off your product to survive. Its as simple as that. If we aren't making money off our music, we must find new innovative ways to generate income from our product. That's where I intend to create my wave and expect others to ride the trend.

So here we are. Everyday we are presented with challenges or issues that must be solved. Sometimes we solve them, sometimes we don't, but in that moment when you are searching for resolution you can't think of anything more difficult than what you are currently up against. As a new day presents itself and its new challenges, we are quick to learn that yesterday's challenges, although difficult, were in retrospect nothing compared to today's.

BASICALI: The First Album

A solid hip-hop project from local emcee Basicali that @BrutisPerux had a lot to do with back in 2007. I remember Basicali for the good ole days of Plush in Downtown Fullerton. Cliff produced 5 of the records from the original release that are also featured on this 2009 re-release with bonus material.

2. Basicali
4. American Pie
6. West Coast Steals the Show <---a personal favorite of mine.
7. Love In The City
14. It's Over



 

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

Basicali: I Choose You EP

I Choose You EP is a cool little project put together by the local emcee Basicali in partner with Acrylick Clothing. "Second Chance" Was produced by our very own Clifton Ellens!