Artist Development, Vol. 5

I'm sure everyone far and wide has heard about the twitter announcement Jazmine Sullivan has put out (and since deleted) about her experience in the music industry and her current decision to take a step back from making music. (Link Here for details of what she tweeted)

After a heated Taco Tuesday discussion with Mr. Notes, Designer Jenny P, Sankeyz, Akapela Jonz, and myself...these are some of the key points of our conversation.

• She was not marketed correctly. Her label/management were trying to market her as a pop star -- but she doesn't have that look, or sound, at all.
• She's like a present day Casandra Wilson -- she could have the soul market in the palm of her hands right now killing the game.
• If [Mr. Notes] was her producer and we had the budget for it, we'd do her next album with the dap-tones but swap out the bass player for Pino Palladino. We'd have Roy Hargroove arrange the horn section on it, and have her cut a song with George Benson or Robert Glassper featuring somebody random with a vocal range like a Rob Thomas or an Adle.
• Missy would be no-where near the project -- her sound (writing and production) has become dated.
• It would be big, but right in here lane. It would be lo-fi drum and bass jazz soul, and it would be titled "MY Genre ??" ...it would be a way to say to the game you can't box in talent the same way you do these jack-n-a-box cookie cutter ass artist.

So many great ideas for her to have the game on lock; poor management and sour record deals leave artist with only one option when they've reached a tipping point -- quit.

Just listen to this rendition of "Midnight" by Jazmine Sullivan and you'll see what we're talking about.

A Music Business Model for Failure: Suing your consumer

This is horrible. I read this article a couple weeks ago when I was in arrowhead on vacation...just never got around to actually finishing writing about it.

When will record companies realize they can't expect to sustain by suing their consumer?

Remember the mantra, "the customers always right?" It's never been more true than in this instance with the sale music. Adjust policies and approach. Obviously suing your consumer won't work because putting ridiculously high settlements that they can't afford will land them in jail or prison. If you send them all to jail/prison...who's left to actually buy music?

I don't know why labels are desperately holding on to the old paradigm of sustainability. They are X'ing themselves out of existence.

Recording companies are manipulating the legal coverage of the copyright laws. People who are download music aren't claiming creative rights, they arent re-selling (some anyway), nor declaring sole ownership -- please forgive the exaggeration. The point I'm trying to make is this: file sharing is among the highest and most effective forms of marketing -- I chose marketing over promotion since labels may feel that they are loosing money, then tack file sharing in the marketing column and consider it an investment.

In the article I'm referring to (link here) the record companies are suing a teenager for approximately $750 per song he downloaded. With that logic, thats like being sued by snuggie for $1000 because I stole a 5 dollar snuggie from target, took it to the beach and shared.

You know what copyright infringement lawsuit should be filed? How about soulja boy putting his music on limewire and labeling it as one of 50 cents hit songs-which he actually stated he did during a radio interview.

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.

Enjoy!

Wake Up and Dream with Akapela Jonz

There's no sustainability for musicians by selling music

One of the first conversations I ever had with Tamika Cosen (circa 2007/2008), before she came on board as Publicity Strategist for AG One, was about the direction of music industry -- how selling music wasn't going to be a standard. We were at Florentines -- in downtown Fullerton -- and in the midst of all the commotion from dancing bodies to a crowded bar, we were sitting behind DJ Roial 1's booth and started talking about how record labels who expect to sustain financially in the next 5 years cannot continue to be reliant on revenue generated from music sales. I told TC that within 5 years iTunes would no longer charge per song download. It would become membership based and for a set fee you'll be able to download X amount of music a month, and so on and so forth with the algorithm.

Approximately 3 years from the day we had the conversation I am writing today to admit that I was wrong. And here's why:

I recently saw a commercial on TV for Rhapsody that said they are now offering unlimited downloads and streaming of music directly to your phone, iPod, computer, etc. for a pretty reasonable monthly fee. I was wrong, iTunes slept on it. Either they missed this new trend or are in the process developing a more efficient means of "selling" music. But this goes to show that the huge decline in music sales is ultimately forcing a change for monetizing music. 

It used to cost, or require, a huge budget to make good music. The advancements of technology; mobile/home studios have made it very easy to create a quality record without a major label budget. Which some may argue depreciates the value of recorded music. However, that and the convenience of being able to download music free (legally, and illegally) via the Internet makes it hard to recoup money invested, let alone sustain a career on record sales alone. The quick fix that labels have taken as of recent is to implement a new type of record deal: The 360 Deal.

I have never been a fan of the 360 deal -- not to say they aren't a brilliantly thought out means for both labels and artist to mutually benefit. But artist who are garnering enough attention for labels do want to sign them to a 360 more likely than not don't need the deal. I am not a fan of the 360 deal because of how they are manipulated and leave even the most successful artists struggling at the end of the day. With the hand of the 360 deal in the cookie jar of all streams of income the artist has they have no choice but to tour more (keeping them away from families and studios), rush to finish albums (ultimately hurting the culture of quality musicianship), and leaving our major outlets flooded with singles they hope will chart (because catchy singles generate income, albums don't) ...which ultimately leaves artists in a seemingly treadmill type lifestyle they call a career.

The long haul fix: Branding. 360 deals are an attempt to do this, but I believe there is a better paradigm that will be far more lucrative for artists, musicians and music companies alike. It may or may not mean the end of record labels, or franchising indie labels -- assuming they will be developing talent before artists move onto the major label playing field. I believe that we'll see more similarities in recording artist and professional athletes; think NASCAR racing suits or Soccer club jerseys. More festivals or artist tours sponsored or endorsed by major corporations. Recorded music sales will be replaced with equity garnered from streams and downloads; a reach that large corporations will want to buy into once it becomes a significant amount. 

The validity these theories will depend on how the fans force the hand of major labels. Some of these ideas I've put some into practice and have generated the expected results, others have not -- I'm still perfecting those. For now I'm happily building a nice strong foundation for my castle to rest upon. I still strongly believe music sales will not be a lucrative means of income within the next few years. I'm preparing AG One to sustain independently of that revenue -- what about you...will you survive without it?

Canvas II: A evening of Art, Music, and Culture.

Canvas "Music-Art-Culture" from LiveLoveFilm on Vimeo.

Stealing Is Such An Awful Word...

As the publicity strategist of a small independent music company you will face a ton of day to day challenges while navigating the creative landscape. As the publicity strategist for said small independent music company who is also juggling a day job, you will learn to balance both jobs and the importance of "borrowing" office supplies. I say that as I am sitting at my day job simultaneously doing work and thinking of all that I need to start and finish for the "Wake Up and Dream" campaign. The most important of this marketing campaign is leveraging the assets we have to work in our favor while not boxing ourselves in a corner creatively. In layman's terms that means using whatever free platforms we have in order not to break that bank. Our newest pursuit in this campaign is our Crash the Campus series (commonly known as the CTC series and which you're likely to see videos for in the coming weeks) which is a tour of all the local colleges in the Cal-State and UC systems. A three part blanket campaign which includes airplay on campus radio, noontime campus performances and exclusive singles for each campus, Crash the Campus is a way for Akapela Jonz to not only gain notoriety within the college community, but it is also a great way to start branding Akapela within the local community. Many artists start out doing college campus shows, again it's a great way to create a community groundswell for your music. However in this day and age, consumers (especially college students) want to be engaged, they want a full experience and a compelling reason to pay attention to your brand. You need hit your audience from all sides, coming at them traditionally with elements like live shows and radio play, then engagement through social media platforms such as Twitter, Facebook and BandCamp. The creative engagement (i.e. the exclusive campus singles, limited edition campus stickers) comes through involving your audience in way that makes them feel special and like the artist was thinking of them and that's what keeps people brand loyal long after an artist has evolved into their career.

So, let's talk about the fun I've been having all week with two elements of the campaign: radio submissions and performance scouting. Here's another tip, as the PR point person you will dust off those old elementary school arts and crafts skills. I spent a generous amount of time at Staples (oh yes, I am a proud Staples reward member) this week printing, cutting and packaging the materials for the campus radio submissions. Some schools will ask you for everything under the sun, from an artist bio to a press kit to pictures. Other schools (thanks UCLA!) will make it super easy and just ask for what really matters, the music. Just be prepared to provide whatever they want and make sure you've got some time blocked off and don't forget to befriend the copy clerk at your local printing franchise, cause when she asks if you want to make extra copies and you say no, you're good. Yet inevitably you will cut something too small and need th extra copies she asked you for in the first place (not that this happened to me or anything, lol). Also going on this week is the following up with the schools who we are working with for our campus performances. Get ready for phone tag and making nice with the Student Union office receptionist, you'll need her at some point too.

Stay tuned for our progress with the CTC series and videos of Akapela in the studio gearing up for the Wake Up and Dream release on October 5th. We've got a ton of stuff going on, including the sticker designs which are sure to be amazing. Now if you'll excuse me, we just got a shipment of office supplies in at work and I brought my big purse today. Until next time!!



Post By: Tamika Cosen

Confidence (On top of the world) - YLA (produced by @BrutisPerux & @Sankeyz)

I have to say, this is pretty dope. The latest collaboration with AG One and and the very talented people of Youth Leadership America.

And So It Begins...(Wake Up and Dream)

The journey of a thousand miles begins with one step...or something profound like that. That's how this blog series should start out, saying something deep and meaningful as I begin to chart the making and completion of Akapela Jonz's "Wake Up and Dream" EP, which is slated for an October 5th release. However, while there are going to be alot of moments when we get deep, we get philosophical and downright, dare I say it,professional. This blog series, complete with companion vlogs from Mr. Jonz himself, is going to take you from a marekting concept to execution to reality. So much has to go into the building of an album. As I am learning, it is not just slapping a bunch of tracks onto a cd and calling it your album. Music listeners have gotten so particular in the last five years, an artist cannot just serve up a full album with a pretty cd booklet anymore (remember drooling over the cd booklet and being excited when they printed the lyrics on the inside? Was that just me?). Consumers want to be entertained and not just the afterthought or the dollar sign. Most importantly, they don't want to be taken for granted. Albeit, no one does, but consumers, especially music consumers, want to feel like they are getting a full experience, they want to be involved completely (see Kelly Rowland letting fans name her next album). As I am beginning to figure it out, the marketing plan, whether you're an established artist or not, needs to be simple and complex at the same time. The concept needs to be brandmined (thanks R.C.) down so completely, it's almost laughable that you didn't think of it yourself.

"Wake Up and Dream" is as literal as it sounds. Stop sleeping on your potential and get out there and not only dare to dream, but dare to chase that dream, put it in a chokehold and firmly make it your reality. It is my (and that of our illustrious Arnold Randall) responsibility to make sure that our audience is strategically getting that message in way that resonates and creates a top of the mind awareness as Akapela Jonz continues to grow. So stay tuned as we build a campaign from the ground up, hit walls, count our wins and flex our creative muscles. October 5th will be here before you know it and you don't want to miss a single second of what is sure to be an entertaining journey.



Post by: Tamika Cosen

The Search for an Artist.

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 on facebook, twitter, craigslist, etc.

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.

Filling the void: Why I created a music company

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; they are buying-in to artist who already have a solid fanbase and body of work. Labels have turned into distribution/brand management companies rather than developing talent like record labels in the past did. That in turn has left major labels pushing singles "with the most commercial potential" for a ROI rather than investing the development of 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. That's where indie labels come into play, much like the rise of La Face, Cash Money and Bad Boy records. 

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 great record, but it doesn't always translate to being Festival Ready -- namely, knowing how to engage with an audience, and create a great fan experience at a show. 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. No limitation from 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;  including my staff. A place to build upon and become complete artist or well rounded music business individuals, ultimately helping people 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.

AG One: How I Named my Company

I was recently asked on my FormSpring about how I came up with the name AG One.

Here was my answer:
I am a strong believer in poeple living up to or accepting a role that is given to them or expected of them.

So with that in mind I took the A and G from the word Avant-Garde. I truly believe in our creative and administrative staff whole heartedly. I demand a lot of them; dedication, versatility, integrity, and innovation to name a few. They have risen to every challenge, and many times have exceed what was asked of them. So in a way the name was chosen as a focal point, knowing what we're striving for and keeping us on task for such. The "One" came from a chant I had written years ago for my fraternity:

One Goal, One Vision
One Idea, One Mission
One Love, One Strong
Brotherhood is life long.

I really liked the concept and solidarity of what "One" meant, but really it was personal significance to me. So I adapted it to how as a team we will address the issues we see in the music industry as one solid unit. Through our work and dedication we will produce the changes we want to see; because its one thing to talk, but it means much more to take action. So having the "One" in the name helps remind us of that.

so in a nutshell, that's pretty much how AG One came about.