3 Sixty Music Bizness

10 Strategies for Success in the Music Business by Dave Kusek is the Founder and CEO of Music Power Network and Vice President at Berklee College of Music

2010-12-06T12:24:00.000-06:00

Here are 10 recommendations for strategies that can lead to success in music, and in life. Take them with a grain of salt. With this new decade comes the promise of digital music, the power of the entrepreneur and the tools to connect with an audience and deliver the goods. Here are 10 Strategies for Success in Music from Music Power Network.

1. Living a life in music is a privilege. Earn it.

There is very little more satisfying then spending time making music. If you make this your life's work, then you can be truly joyful. However, the chances of being successful are extremely low and the only people who are going to get there are going to have to work hard and earn the right to be a musician. Respect the privilege of being free enough to have this choice (if you do) and honor the opportunity.

2. No one is in charge of your muse but you. Be happy and positive.

People can be their own worst enemy. Countless times I have heard artists tell me the reasons why their career is not working out. Most of the time they are putting blocks in their way and pointing fingers at people and things that are holding them back. Stop whining and blaming other people and make the conscious decision that you are going to be successful and that things are going to work out in your favor. You are creating your own reality every day, so make it a good one and excel.

3. Practice, practice, practice - then go for it. Over prepare.

You can never be ready enough for opportunity. Your live shows can always be better, your songs can be more amazing, and your playing can only improve. As the CEO of your own musician business, you can learn how to run the company more effectively, reach out to more fans and be an more effective social media marketer. Don't hold yourself back by not being ready. Be a professional.

4. If you suck, you will never make it. Find a way to be great.

Lets face it, it is really hard to be amazing. Some people have the natural talent and you can see it in the first 5 seconds of meeting them. They are truly blessed. The rest of us have to find our niche, our passion, our calling and then reach for it. Ask people around you for feedback. Find what you are good at and focus on that. Get other people to help you. If you don't stand out and rise above the pack, you will struggle forever. Be amazing.

5. Learn how to breathe and keep your focus. Stay calm.

There is nothing more pleasant than working with someone who knows who they are and what their goal is. Remember the old adages of thinking before you speak, and taking a deep breath before you lay into someone. Most of us have a lot going on in our lives and we can all benefit from staying focused on our goals and remaining calm in most situations. Learn yoga, exercise, run, meditate, sit still, breathe, learn who you are.

6. Don't take yourself too seriously, no one else does. Have fun.

I am amazed at how many people spend so much time looking backwards and trying to understand what people think of them. This is worrying about the past and not embracing the future. Reviews are important, but don't run to them or let them ruin your day. Not everyone is going to like you, but more people will if you are having a good time.

7. No matter how difficult things get, move forward. Don’t give up.

The only thing that will help your career take off is forward momentum. That is how you are going to reach your goals. A lot of people are stuck in their own mud. Take action, make a move and then see what happens. Don't spend time procrastinating or worrying about how hard it is, just do something positive to advance your cause. You will feel much better by acting instead of waiting or worrying.

8. Find a way to make money. Start small and grow. Avoid being in debt.

This is probably the most important strategy of them all and why so many artists have gotten into trouble in the past by taking label advances. All that is, is a big loan. Get some kind of cash flow happening right away, no matter how small. Sell merch, play for the door, license your songs, play sessions, teach, write, start your musician business. The biggest mistake you can make is to borrow a lot of money and then spend it on things that don't matter.

9. Be unique and true to your vision. Say something.

The people that we remember are the ones that are unique, exciting, special, provocative, fascinating, original, inventive, interesting. Music is a basic form of communication. The really successful artists have something to say and work on delivering their message. Your chances of success go up exponentially if you have a unique position and message and create a following of fans who really listen to you because you have something important to say.

10. Work and play with people you like every day. Collaborate Often.

Music is a tribal experience. You cannot make great music alone. Surround yourself with talented people, write together, play together, try new things. Bounce inspiration off of each other and learn. Listen to each other and let the music weave it's way around you. Find a producer, songwriting partner, other musicians and dive in together. The whole is greater than the sum of its parts.

Wonderful things are waiting to happen to you.

The DIY Guide to Submitting Your Songs to Anyone in the Music Industry by Cliff Goldmacher

2010-12-06T12:04:00.000-06:00

So you’ve written a great song, made a fabulous demo and now you’ll live happily ever after, right? Well, kind of. There’s no doubt that being a great songwriter and having beautifully recorded versions of your songs is an admirable goal in and of itself. However, if you’re interested in having your songs see the light of day, your work is really just beginning. While organizations like Tunecore do a beautiful job of helping you get your music out in the world, it’s still entirely up to you to make sure your songs get in the right music industry hands. Until the people who can actually do something with your song (i.e., record labels, producers, managers and publishers) have heard it, it might as well not exist. I know this sounds obvious but I think you’d be amazed at the number of songwriters out there who have great song demos that very few, if any, music business people have ever heard. Creating the music is one thing but getting your music out in the world requires an entirely different set of skills. The skills I’m going to focus on are networking, professionalism, persistence, persistence (yes, I know I wrote it twice), courtesy and patience.

Networking

Like any business, it’s not only what you know but also who you know that gets you ahead. What this means in the music world is getting yourself out there to open mics, writer’s nights and any industry events you can find. For those of you in music cities like New York, Nashville and Los Angeles, there is an almost endless stream of opportunities. For everyone else, you might have to look a little harder or travel from time to time to one of the cities I just mentioned. I think it’s a universal truth that this kind of stuff isn’t always that much fun but, especially when you’re starting out, it’s essential. Let’s put it this way: All things being equal, if you’ve met someone from a record label or publishing company in a social setting and assuming you’ve had a nice exchange, there’s a much greater likelihood that they’ll not only remember you when you call but will make more of an effort to help you out if they can. The point is that the more you’re out there, the more people you’ll meet and the greater the chance it will pay dividends down the road. I’d also recommend remembering a few basic social skills while you’re at it, like not immediately launching into your 10-minute, spoken-word bio. It’s a much better idea to find out a little something about the person you’re talking to by remembering to ask a few questions as well.

Professionalism

Did I mention we’re talking about the music business? This means it’s in your best interest to be professional about how you approach people in the industry. When reaching out to someone in the music industry, call or email first. Make this first contact short and to the point. In other words, let them know why you’re calling/emailing (e.g., to schedule a meeting, to see if they’re accepting CDs, to ask whether you can submit an mp3, etc.). This is not the time to have a long discussion. If you’ve been referred by someone they know (see “networking” above), mention this as well. Also, while it’s great to be excited and even confident about your material, it rarely pays to tell someone that you’ve got a “great” song or you’re an “amazing” songwriter. Let your music speak for itself. Once you’ve gotten approval to do so, then submit your song or bring it to the meeting. It really doesn’t make sense to send out CDs or mp3s without first getting approval, as they usually end up at the bottom of a pile or, even worse, the person who hasn’t asked for it considers it an intrusion. Don’t kill the messenger here; I’m simply saying that the odds are that if someone isn’t expecting your material, there’s a good chance it won’t get heard.

By the way, if you’ve never seen the office of an a&r rep or music publisher, I’m here to tell you that it’s wall-to-wall CDs. We’re talking hundreds and hundreds if not thousands of them. Make sure that your CD is clearly labeled with a few simple elements: your name and contact information (phone and email), the name of the song or songs and possibly — if it’s a song for an artist — the name of the person you’re pitching it to. Also, make certain that every part of the package is labeled. This means putting your information on the CD and on the CD sleeve or jewel case. Make sure that if the CD itself gets separated from the case, the information is the CD, too. Also, if you’re using a jewel case, make sure there’s information on the spine. Remember the part where I said there are thousands of CDs in these folks’ offices? When your CD ends up on a shelf with all the others, the spine of the CD will be the only way for them to identify it.

Finally, I can think of no good reason why any submission should be more than three songs. If you’re pitching a song to an artist, they’re not hoping for a “bonus track.” If you’re pitching to a publisher, three songs is a good way to show them you’ve got more than one good song without overdoing it. If they want more, believe me, they’ll ask. It all comes down to putting yourself in the position of the industry person. If they’ve got a desk full of CDs to listen to and have to choose between a CD with two songs on it or one with 19 songs, which one do you think they’ll pick?

Persistence

Let’s say you’re fortunate enough to reach someone by either phone or email and they’ve agreed to let you mail in a CD or email them an mp3. Here’s what you should expect: Nothing. In other words, it’s extremely rare that you’ll hear anything back quickly after you submit it. As a matter of fact, you should put in your calendar to follow up two or three weeks after you’ve submitted something. This follow-up should be even shorter than your initial contact. Email is probably best for this. A simple email saying you wanted to make sure they’d received your submission is enough. Also, don’t be surprised if the response you get back (if you’re lucky enough to get one) says they haven’t gotten it and would you mind resending it. Resending material is something that you should expect to do. Following up every two to three weeks (unless you’re asked not to) is perfectly acceptable if you’re polite and to the point. I’m not a cynic and I don’t believe that anyone has an agenda to ignore submitted material. I’m a realist and the sheer number of submissions makes it almost impossible for anyone to stay on top of things. Anything you can do to help remind someone is in your best interest and generally appreciated.

Courtesy

I think it’s important to realize that no one in the industry owes you anything. This may sound harsh but it’s an important point. You may very well have great songs and it would be in the best interest of the industry professional you’re pursuing to listen to them, but there are a lot of great songs out there and only a limited number of opportunities for them. If your song isn’t listened to right away or even if it’s lost or ignored, don’t take it personally. I’m a songwriter myself so I know exactly how important your songs are to you. It’s not easy to submit them for judgment and tougher still to wait around hoping someone will actually listen. However, you’ll only do yourself a disservice by being rude or impatient with someone and heaven help you if you get a reputation in the industry for being difficult or unpleasant.

Patience

Given that there are so many artists, songwriters and songs out there vying for a limited number of spots, it all comes down to patience — patience with yourself as you improve your musical skills and patience with the industry people you’re soliciting as they make their way through all of the material in line ahead of you. My recommendation is to have as many irons in the fire as you possibly can at all times so that you’re not waiting for any one thing to happen or not to happen, as is so often the case. The more people you get to know, the more opportunities you explore and the more submissions you make, the less likely you are to get discouraged and the more likely you are to start having success.

6 Songwriting Tips To Spice Up Your Boring Songs

2010-08-02T12:36:00.001-05:00

There are things you can do to ensure that your song keeps listeners hooked. Here are some of the regular suspects that keep listeners from connecting positively with your song. Some of the factors relate to song structure, while others relate to the final presentation:

1. Chord Progression with Too Many Chords. A chord progression takes the listener on a journey, and too many chords is like trying to see too many landmarks on that journey. Your brain just can’t process it all. If you find that you’re using 16, 17 or more chords in your song, try to scale back.

2. Chord Progressions that Don’t Offer Resolution. A chord progression is a bit like breathing in the sense that a breath inward causes a “tension” that is resolved with a breath outward. Success is when there is a balance of tension (breathing inward) and release (breathing outward). Good chord progressions offer the sonic version of the same thing. Chord progressions will have moments of tension (dominant chords, suspensions, etc.) and then release (tonic chords or other harmonic resolutions). Check your chord progressions to be sure that moments of creative license are balanced with a good dose of predictable resolution.

3. Instrumentations That are Boring. If your song structure is strong, but you then present the song with a mindless strumming guitar from beginning to end, you could be short-changing your song’s effectiveness. Look for ways to involve other instruments. It’s amazing what simply adding a few french horn notes, a flute solo, or using a different chording instrument can do to the success of your song.

4. Melodies That are Too Flat. Some songs, if the lyric is making an important social or political comment, will do nicely with a flat melody. But if your melody is boring you, it will likely bore the listener as well. Find ways to incorporate leaps into the melodic structure, and do it at moments that support emotion-laden words in your text.

5. Songs That are Too Slow or Too Fast. Experiment with the tempo of your song. You’ll see that tempo has a major impact in the overall effect of your song’s presentation. If it feels that the energy of the song never rises enough to support the lyric, try a faster tempo. If the whole thing sounds energetic but frantic, slow it down just a touch.

6. Songs That are in the Wrong Key. Most singers like to place a song somewhat comfortably within the outer boundaries of their vocal range. But if a lyric is intense, you may be missing an opportunity to support that lyric with the proper intensity in the voice. (Peter Gabriel singing the end of “Supper’s Ready” on their Foxtrot album is a perfect example of how a high tessitura can add to the effectiveness of the voice.

So once you’ve written your song, your job is just beginning. Now you need to ensure that the listener gets the full impact of what you’re tying to communicate to the world.

Music Producers: Tha Bizness Give You Music Advice

2010-08-02T12:28:00.003-05:00

DJ Toomp & Rick Ross Describe Kanye Studio Session

2010-08-02T12:11:00.001-05:00

DJ Toomp Says Kanye West "Good Ass Job" Album Is Incredible from DJ Smallz on Vimeo.

Exclusive: Rodney Jerkins is working on new Michael Jackson album

2010-08-02T12:03:00.001-05:00

The 48 Laws of Power

2010-08-02T11:58:00.001-05:00

The 48 Laws of Power
by Robert Greene and Joost Elffers

Law 1

Never Outshine the Master

Always make those above you feel comfortably superior. In your desire to please or impress them, do not go too far in displaying your talents or you might accomplish the opposite – inspire fear and insecurity. Make your masters appear more brilliant than they are and you will attain the heights of power.

Law 2

Never put too Much Trust in Friends, Learn how to use Enemies

Be wary of friends-they will betray you more quickly, for they are easily aroused to envy. They also become spoiled and tyrannical. But hire a former enemy and he will be more loyal than a friend, because he has more to prove. In fact, you have more to fear from friends than from enemies. If you have no enemies, find a way to make them.

Law 3

Conceal your Intentions

Keep people off-balance and in the dark by never revealing the purpose behind your actions. If they have no clue what you are up to, they cannot prepare a defense. Guide them far enough down the wrong path, envelope them in enough smoke, and by the time they realize your intentions, it will be too late.

Law 4

Always Say Less than Necessary

When you are trying to impress people with words, the more you say, the more common you appear, and the less in control. Even if you are saying something banal, it will seem original if you make it vague, open-ended, and sphinxlike. Powerful people impress and intimidate by saying less. The more you say, the more likely you are to say something foolish.

Law 5

So Much Depends on Reputation – Guard it with your Life

Reputation is the cornerstone of power. Through reputation alone you can intimidate and win; once you slip, however, you are vulnerable, and will be attacked on all sides. Make your reputation unassailable. Always be alert to potential attacks and thwart them before they happen. Meanwhile, learn to destroy your enemies by opening holes in their own reputations. Then stand aside and let public opinion hang them.

Law 6

Court Attention at all Cost

Everything is judged by its appearance; what is unseen counts for nothing. Never let yourself get lost in the crowd, then, or buried in oblivion. Stand out. Be conspicuous, at all cost. Make yourself a magnet of attention by appearing larger, more colorful, more mysterious, than the bland and timid masses.

Law 7

Get others to do the Work for you, but Always Take the Credit

Use the wisdom, knowledge, and legwork of other people to further your own cause. Not only will such assistance save you valuable time and energy, it will give you a godlike aura of efficiency and speed. In the end your helpers will be forgotten and you will be remembered. Never do yourself what others can do for you.

Law 8

Make other People come to you – use Bait if Necessary

When you force the other person to act, you are the one in control. It is always better to make your opponent come to you, abandoning his own plans in the process. Lure him with fabulous gains – then attack. You hold the cards.

Law 9

Win through your Actions, Never through Argument

Any momentary triumph you think gained through argument is really a Pyrrhic victory: The resentment and ill will you stir up is stronger and lasts longer than any momentary change of opinion. It is much more powerful to get others to agree with you through your actions, without saying a word. Demonstrate, do not explicate.

Law 10

Infection: Avoid the Unhappy and Unlucky

You can die from someone else’s misery – emotional states are as infectious as disease. You may feel you are helping the drowning man but you are only precipitating your own disaster. The unfortunate sometimes draw misfortune on themselves; they will also draw it on you. Associate with the happy and fortunate instead.

Law 11

Learn to Keep People Dependent on You

To maintain your independence you must always be needed and wanted. The more you are relied on, the more freedom you have. Make people depend on you for their happiness and prosperity and you have nothing to fear. Never teach them enough so that they can do without you.

Law 12

Use Selective Honesty and Generosity to Disarm your Victim

One sincere and honest move will cover over dozens of dishonest ones. Open-hearted gestures of honesty and generosity bring down the guard of even the most suspicious people. Once your selective honesty opens a hole in their armor, you can deceive and manipulate them at will. A timely gift – a Trojan horse – will serve the same purpose.

Law 13

When Asking for Help, Appeal to People’s Self-Interest,

Never to their Mercy or Gratitude

If you need to turn to an ally for help, do not bother to remind him of your past assistance and good deeds. He will find a way to ignore you. Instead, uncover something in your request, or in your alliance with him, that will benefit him, and emphasize it out of all proportion. He will respond enthusiastically when he sees something to be gained for himself.

Law 14

Pose as a Friend, Work as a Spy

Knowing about your rival is critical. Use spies to gather valuable information that will keep you a step ahead. Better still: Play the spy yourself. In polite social encounters, learn to probe. Ask indirect questions to get people to reveal their weaknesses and intentions. There is no occasion that is not an opportunity for artful spying.

Law 15

Crush your Enemy Totally

All great leaders since Moses have known that a feared enemy must be crushed completely. (Sometimes they have learned this the hard way.) If one ember is left alight, no matter how dimly it smolders, a fire will eventually break out. More is lost through stopping halfway than through total annihilation: The enemy will recover, and will seek revenge. Crush him, not only in body but in spirit.

Law 16

Use Absence to Increase Respect and Honor

Too much circulation makes the price go down: The more you are seen and heard from, the more common you appear. If you are already established in a group, temporary withdrawal from it will make you more talked about, even more admired. You must learn when to leave. Create value through scarcity.

Law 17

Keep Others in Suspended Terror: Cultivate an Air of Unpredictability

Humans are creatures of habit with an insatiable need to see familiarity in other people’s actions. Your predictability gives them a sense of control. Turn the tables: Be deliberately unpredictable. Behavior that seems to have no consistency or purpose will keep them off-balance, and they will wear themselves out trying to explain your moves. Taken to an extreme, this strategy can intimidate and terrorize.

Law 18

Do Not Build Fortresses to Protect Yourself – Isolation is Dangerous

The world is dangerous and enemies are everywhere – everyone has to protect themselves. A fortress seems the safest. But isolation exposes you to more dangers than it protects you from – it cuts you off from valuable information, it makes you conspicuous and an easy target. Better to circulate among people find allies, mingle. You are shielded from your enemies by the crowd.

Law 19

Know Who You’re Dealing with – Do Not Offend the Wrong Person

There are many different kinds of people in the world, and you can never assume that everyone will react to your strategies in the same way. Deceive or outmaneuver some people and they will spend the rest of their lives seeking revenge. They are wolves in lambs’ clothing. Choose your victims and opponents carefully, then – never offend or deceive the wrong person.

Law 20

Do Not Commit to Anyone

It is the fool who always rushes to take sides. Do not commit to any side or cause but yourself. By maintaining your independence, you become the master of others – playing people against one another, making them pursue you.

Law 21

Play a Sucker to Catch a Sucker – Seem Dumber than your Mark

No one likes feeling stupider than the next persons. The trick, is to make your victims feel smart – and not just smart, but smarter than you are. Once convinced of this, they will never suspect that you may have ulterior motives.

Law 22

Use the Surrender Tactic: Transform Weakness into Power

When you are weaker, never fight for honor’s sake; choose surrender instead. Surrender gives you time to recover, time to torment and irritate your conqueror, time to wait for his power to wane. Do not give him the satisfaction of fighting and defeating you – surrender first. By turning the other check you infuriate and unsettle him. Make surrender a tool of power.

Law 23

Concentrate Your Forces

Conserve your forces and energies by keeping them concentrated at their strongest point. You gain more by finding a rich mine and mining it deeper, than by flitting from one shallow mine to another – intensity defeats extensity every time. When looking for sources of power to elevate you, find the one key patron, the fat cow who will give you milk for a long time to come.

Law 24

Play the Perfect Courtier

The perfect courtier thrives in a world where everything revolves around power and political dexterity. He has mastered the art of indirection; he flatters, yields to superiors, and asserts power over others in the mot oblique and graceful manner. Learn and apply the laws of courtiership and there will be no limit to how far you can rise in the court.

Law 25

Re-Create Yourself

Do not accept the roles that society foists on you. Re-create yourself by forging a new identity, one that commands attention and never bores the audience. Be the master of your own image rather than letting others define if for you. Incorporate dramatic devices into your public gestures and actions – your power will be enhanced and your character will seem larger than life.

Law 26

Keep Your Hands Clean

You must seem a paragon of civility and efficiency: Your hands are never soiled by mistakes and nasty deeds. Maintain such a spotless appearance by using others as scapegoats and cat’s-paws to disguise your involvement.

Law 27

Play on People’s Need to Believe to Create a Cultlike Following

People have an overwhelming desire to believe in something. Become the focal point of such desire by offering them a cause, a new faith to follow. Keep your words vague but full of promise; emphasize enthusiasm over rationality and clear thinking. Give your new disciples rituals to perform, ask them to make sacrifices on your behalf. In the absence of organized religion and grand causes, your new belief system will bring you untold power.

Law 28

Enter Action with Boldness

If you are unsure of a course of action, do not attempt it. Your doubts and hesitations will infect your execution. Timidity is dangerous: Better to enter with boldness. Any mistakes you commit through audacity are easily corrected with more audacity. Everyone admires the bold; no one honors the timid.

Law 29

Plan All the Way to the End

The ending is everything. Plan all the way to it, taking into account all the possible consequences, obstacles, and twists of fortune that might reverse your hard work and give the glory to others. By planning to the end you will not be overwhelmed by circumstances and you will know when to stop. Gently guide fortune and help determine the future by thinking far ahead.

Law 30

Make your Accomplishments Seem Effortless

Your actions must seem natural and executed with ease. All the toil and practice that go into them, and also all the clever tricks, must be concealed. When you act, act effortlessly, as if you could do much more. Avoid the temptation of revealing how hard you work – it only raises questions. Teach no one your tricks or they will be used against you.

Law 31

Control the Options: Get Others to Play with the Cards you Deal

The best deceptions are the ones that seem to give the other person a choice: Your victims feel they are in control, but are actually your puppets. Give people options that come out in your favor whichever one they choose. Force them to make choices between the lesser of two evils, both of which serve your purpose. Put them on the horns of a dilemma: They are gored wherever they turn.

Law 32

Play to People’s Fantasies

The truth is often avoided because it is ugly and unpleasant. Never appeal to truth and reality unless you are prepared for the anger that comes for disenchantment. Life is so harsh and distressing that people who can manufacture romance or conjure up fantasy are like oases in the desert: Everyone flocks to them. There is great power in tapping into the fantasies of the masses.

Law 33

Discover Each Man’s Thumbscrew

Everyone has a weakness, a gap in the castle wall. That weakness is usual y an insecurity, an uncontrollable emotion or need; it can also be a small secret pleasure. Either way, once found, it is a thumbscrew you can turn to your advantage.

Law 34

Be Royal in your Own Fashion: Act like a King to be treated like one

The way you carry yourself will often determine how you are treated; In the long run, appearing vulgar or common will make people disrespect you. For a king respects himself and inspires the same sentiment in others. By acting regally and confident of your powers, you make yourself seem destined to wear a crown.

Law 35

Master the Art of Timing

Never seem to be in a hurry – hurrying betrays a lack of control over yourself, and over time. Always seem patient, as if you know that everything will come to you eventually. Become a detective of the right moment; sniff out the spirit of the times, the trends that will carry you to power. Learn to stand back when the time is not yet ripe, and to strike fiercely when it has reached fruition.

Law 36

Disdain Things you cannot have: Ignoring them is the best Revenge

By acknowledging a petty problem you give it existence and credibility. The more attention you pay an enemy, the stronger you make him; and a small mistake is often made worse and more visible when you try to fix it. It is sometimes best to leave things alone. If there is something you want but cannot have, show contempt for it. The less interest you reveal, the more superior you seem.

Law 37

Create Compelling Spectacles

Striking imagery and grand symbolic gestures create the aura of power – everyone responds to them. Stage spectacles for those around you, then full of arresting visuals and radiant symbols that heighten your presence. Dazzled by appearances, no one will notice what you are really doing.

Law 38

Think as you like but Behave like others

If you make a show of going against the times, flaunting your unconventional ideas and unorthodox ways, people will think that you only want attention and that you look down upon them. They will find a way to punish you for making them feel inferior. It is far safer to blend in and nurture the common touch. Share your originality only with tolerant friends and those who are sure to appreciate your uniqueness.

Law 39

Stir up Waters to Catch Fish

Anger and emotion are strategically counterproductive. You must always stay calm and objective. But if you can make your enemies angry while staying calm yourself, you gain a decided advantage. Put your enemies off-balance: Find the chink in their vanity through which you can rattle them and you hold the strings.

Law 40

Despise the Free Lunch

What is offered for free is dangerous – it usually involves either a trick or a hidden obligation. What has worth is worth paying for. By paying your own way you stay clear of gratitude, guilt, and deceit. It is also often wise to pay the full price – there is no cutting corners with excellence. Be lavish with your money and keep it circulating, for generosity is a sign and a magnet for power.

Law 41

Avoid Stepping into a Great Man’s Shoes

What happens first always appears better and more original than what comes after. If you succeed a great man or have a famous parent, you will have to accomplish double their achievements to outshine them. Do not get lost in their shadow, or stuck in a past not of your own making: Establish your own name and identity by changing course. Slay the overbearing father, disparage his legacy, and gain power by shining in your own way.

Law 42

Strike the Shepherd and the Sheep will Scatter

Trouble can often be traced to a single strong individual – the stirrer, the arrogant underling, the poisoned of goodwill. If you allow such people room to operate, others will succumb to their influence. Do not wait for the troubles they cause to multiply, do not try to negotiate with them – they are irredeemable. Neutralize their influence by isolating or banishing them. Strike at the source of the trouble and the sheep will scatter.

Law 43

Work on the Hearts and Minds of Others

Coercion creates a reaction that will eventually work against you. You must seduce others into wanting to move in your direction. A person you have seduced becomes your loyal pawn. And the way to seduce others is to operate on their individual psychologies and weaknesses. Soften up the resistant by working on their emotions, playing on what they hold dear and what they fear. Ignore the hearts and minds of others and they will grow to hate you.

Law 44

Disarm and Infuriate with the Mirror Effect

The mirror reflects reality, but it is also the perfect tool for deception: When you mirror your enemies, doing exactly as they do, they cannot figure out your strategy. The Mirror Effect mocks and humiliates them, making them overreact. By holding up a mirror to their psyches, you seduce them with the illusion that you share their values; by holding up a mirror to their actions, you teach them a lesson. Few can resist the power of Mirror Effect.

Law 45

Preach the Need for Change, but Never Reform too much at Once

Everyone understands the need for change in the abstract, but on the day-to-day level people are creatures of habit. Too much innovation is traumatic, and will lead to revolt. If you are new to a position of power, or an outsider trying to build a power base, make a show of respecting the old way of doing things. If change is necessary, make it feel like a gentle improvement on the past.

Law 46

Never appear too Perfect

Appearing better than others is always dangerous, but most dangerous of all is to appear to have no faults or weaknesses. Envy creates silent enemies. It is smart to occasionally display defects, and admit to harmless vices, in order to deflect envy and appear more human and approachable. Only gods and the dead can seem perfect with impunity.

Law 47

Do not go Past the Mark you Aimed for; In Victory, Learn when to Stop

The moment of victory is often the moment of greatest peril. In the heat of victory, arrogance and overconfidence can push you past the goal you had aimed for, and by going too far, you make more enemies than you defeat. Do not allow success to go to your head. There is no substitute for strategy and careful planning. Set a goal, and when you reach it, stop.

Law 48

Assume Formlessness

By taking a shape, by having a visible plan, you open yourself to attack. Instead of taking a form for your enemy to grasp, keep yourself adaptable and on the move. Accept the fact that nothing is certain and no law is fixed. The best way to protect yourself is to be as fluid and formless as water; never bet on stability or lasting order. Everything changes.

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2010-05-26T14:11:00.003-05:00

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2010-05-26T14:11:00.001-05:00

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THE HIT LEAGUE TEASER!!!

2010-04-28T13:35:00.001-05:00

SONGWRITING TIPS

2010-03-24T08:54:00.003-06:00

Here are a few simple tips we use to create GREAT songs..

1) Focus on what people can relate to- Usually thats love and relationship issues. We may not all club..or drink and smoke...So find a common ground for the audience you are trying to reach.

2)LISTEN TO MUSIC- There is NO WAY possible you can create something you don't have a clue about.

3)Try to write SOMETHING everyday if you can- Find inspiration from your surroundings and personal experiences. Sometimes a conversation with a friend can spark a great record.

4)Rewrite- Learn to rewrite lyrics if they are not as strong as they should be. Many times in this industry you will be asked to do a rewrite on something you felt was perfect. Check pride and move on.

5) BUY A VOICE RECORDER- Be prepared to record melodies, song titles, concepts and lyrics ANYWHERE!!

6)Relax- Stop over-thinking. A song is a simple conversation written to a melody..backed by music..We speak full songs EVERYDAY!!

7)Try different things- Sometimes we write songs for our favorite artist without realizing.. (Ex. My favorite artist may be Usher..and all the songs I write sound like Usher should be singing it). That is DEFINITELY not the way to be successful in the songwriting game.

8)HOOKS- The hook of the song is the MOST important part of the song. Make sure you hook the listener.

9)First Line- The first line of your song will set the pace of the next 3-5 minutes of your song.. Make it Memorable.

10) Forget the money- Money does not come immediately. Master the small before you attempt to conquer the large.

11) PAY YOUR DUES- Everybody who is anybody in the music industry did this. This includes being turned down,having songs rejected, phone calls not returned, producers not sending tracks,Sitting in the studio countless hours without writing ANYTHING just observing, sometimes not getting a check at all..and so much more. This process separates the weak from the strong. In time if you are paid in full the same people who didn't return your call will be calling you.

KANE BEATZ INTERVIEW

2010-03-22T11:22:00.002-06:00

THE HIT LEAGUE INTERVIEW

2009-12-09T15:35:00.002-06:00

THE HIT LEAGUE December 2009 iStandard Member i.D.

Posted using ShareThis

How to Get Your Beats Placed With Major Labels

2009-12-09T15:20:00.001-06:00

Breaking into the production game is as tough as breaking into the artist game. New producers often have trouble attracting the attention of A&Rs and established artists who, many times, prefer to work with producers that have a track record of previous hits or that they already have a personal or working relationship with.

In dance music, there are opportunities for new producers to get remix specialty work or to put their work out independently. In terms of getting hip hop or R&B production work though, you can try writing A&R departments and asking to submit material but without a track record you’re probably not going to get much response. Contacting publishing companies may yield you slightly better results since they are in the business of looking for new songwriting and producing talent but in today’s increasingly-conservative music biz environment, even they are only looking to do deals with writers with some previous success.

Getting to the point where you will become one of those “go-to” producers will take talent, time, hard work and luck. There’s really no short cut way to get there unless you get really lucky. Producers like the Neptunes and Timbaland paid years of dues, being staff producers under more well-known mentors (Teddy Riley and Jodeci’s Devanté Swing in their respective cases) before they got their shine and that doesn’t even take into account the years of grinding they did before they got to that level.

The best way to start building your producer profile is to try and work on local artists, either unsigned or signed to indie labels in your local areas. Working with artists on this level is easier because you likely have more direct access to them through your local music/artist community (which if you are not a part of it you need to work on becoming.). Also, because these artists are usually working with more limited budgets or don’t have the contacts or leverage to use more-established producers, they are often more willing to work with new or unproven production talent. This might not earn you a lot of money but it will allow you to do a couple of things: get some valuable in-studio experience and build a discography of work people can check out to evaluate your skills.

If there are not existing artists in your area that suit the production you are doing consider finding some talent of your own to develop into artists or becoming the artist yourself. Obviously not all producers are cut out for the artistic side of the game but doing this may give you a double benefit: building your production discography and chops but also developing an artist that could be shopped for a deal or released independently by you.

There are also other ways to more directly get to work with established artists though:

You may also want to consider approaching well-known production companies and signing on as a staff producer. These companies are normally run by well-known producers or managers who specialize in managing producers. The advantage of this is, if they are feeling your work and want to sign you, you will get a lot of studio work with established acts as these companies are already plugged into the labels and have relationships there that get them a lot of work. The potential negatives are that you may do a lot of work for which you won’t get credit or the terms under which they may want to sign you may not be that lucrative financially. It can be frustrating to know you did a hit track that’s all over the radio and the charts but you aren’t seeing any points off of it. If you find yourself at the point where you can sign this kind of a deal with, have an experienced music attorney review the offer and negotiate the best possible terms for you in the contract.

Other ways of trying to get production gigs with major artists involve a lot of networking even if you start building a track record with local artists. Do some research and contact artist managers of artists you would like to work directly. It’s a long shot but it may get you some attention.

Employ guerilla tactics: this is more drastic and only for the very self-confident with a serious salesman streak in them but if you want to get directly at the artists to get them to hear your production work, bum rush them or their managers at music industry conferences or at shows if you live in a major city where tours come through. Always have a boombox or Discman with you and be ready to plays your tracks. Bear in mind though that if your stuff is not blazing, you will be only playing yourself going this route and you also risk harassment charges if you don’t know how to handle yourself in a cool way!

Many times you may not be able to get face-to-face meetings. Mailing your beats leaves you vulnerable to unscrupulous artists and labels taking beats they like and either recreating them or even just taking your CD and throwing it into pro-tools and building their song off your work. There really is no sure-fire way to protect yourself from this happening. Not that this will make you feel better, but I can tell you rumors that a well-known producer had a beat he submitted for one artist jacked and used for another artist on the same label and even he couldn’t do anything about it.

Until you get to the point where you’re a well-known producer, you’re going to have to submit beats if you want to get work and there’s a chance your work could be jacked. If a beat you submit ends up getting used without your permission, you may want to consider hiring an attorney and taking legal action but this can be a costly and drawn-out procedure which may not be worth your money and time if the infringing record isn’t a major seller or you don’t have proper documentation and proof that you are the original author of the music in question. The "poor man's copyright" is a myth. You better register your songs/beats properly with the Copyright Office to fully protect your work.

SUPER PRODUCER FATBOI INTERVIEW

2009-12-01T22:37:00.000-06:00

UPCOMING RELASES FOR DECEMBER

2009-11-30T10:56:00.004-06:00

upcoming releases for 12/01/09

Bravery Island/Def Jam
Iraheta, Allison 19/Jive/JLG
Juvenile Atlantic
Kelly, R. Jive/JLG
Monica J/RMG
___________________________________________________________________________
12/08/09
Brown, Chris Jive/JLG
Buffet, Jimmy Mailboat
Clipse Columbia
Glee Cast Vol.2 Columbia Soundtrack
Gucci Mane Asylum
Snoop Dogg Priority/EMI
Thirty Seconds To Mars Virgin
Timbaland Blackground/Interscope
We The Kings S-Curve
__________________________________________________________________________
12/15/09
Keys, Alicia J/RMG
Thicke, Robin Interscope
___________________________________________________________________________
12/21/09
Blige, Mary J. Geffen 0
Dave Matthews Band (Live 3 CD/1 DVD)RCA/RMG
Eminem (Deluxe)Shady/Aftermath/Interscope
Lil WayneCash Money/Universal Motown
Usher LaFace/JLG
Young MoneyCash Money/Universal Motown

Producer Points

2009-11-23T11:59:00.001-06:00

Producer points are the percentage of royalties a producer gets for working on an album. The easiest way to look at points is to consider one point to be equal to one percent. Points can be awarded in a few different ways:

Points on the entire album (for instance, the producer gets 3 points on the whole record, meaning they get 3% of the royalties).
Points on particular songs on the album (so, if the the producer gets 2 points on 5 songs on an album that has 12 songs, they get 5/12 of 2% of the royalties for the album).
Sometimes, points are paid based on the dealer pricer for the album, and sometimes they are paid on the retail price.

Keep in mind that points are not awarded to all producers, and that the number of album points actually given can vary greatly, from one point to up to five points or more, depending on the producer. Sometimes, deals are structured so that the points a producer receives increases as the album meets certain sales thresholds. You should always get any deal regarding points in writing before you begin the recording process.

ZAYTOVEN INTERVIEW

2009-11-20T10:24:00.000-06:00

In The Studio w/Polow Da Don

2009-11-18T15:17:00.000-06:00

DAMON DASH TALKS ROCAFELLA & FUTURE

2009-11-18T08:31:00.000-06:00

TOP 20 ALBUM SALES 11/16

2009-11-16T14:31:00.000-06:00

1 CARRIE UNDERWOOD 19/ARISTA NASHVILLE 61,804
PLAY ON
2 BON JOVI ISLAND/IDJMG 51,003
THE CIRCLE
3 MICHAEL JACKSON EPIC 50,042
THIS IS IT
4 NOW THAT'S WHAT I CALL MUSIC SONY MUSIC 39,410
NOW 32
5 MILEY CYRUS HOLLYWOOD 31,232
TIME OF OUR LIVES
6 TAYLOR SWIFT BIG MACHINE 27,144
FEARLESS
7 ANDREA BOCELLI DECCA 26,524
MY CHRISTMAS
8 LADY ANTEBELLUM CAPITOL NASHVILLE 25,621
LADY ANTEBELLUM
9 TIM MCGRAW CURB 24,041
SOUTHERN VOICE
10 ZAC BROWN BAND ATLANTIC 20,761
FOUNDATION
11 TWILIGHT SAGA: NEW MOON CHOP SHOP/ATLANTIC 18,744
SOUNDTRACK
12 MICHAEL BUBLE REPRISE 16,520
CRAZY LOVE
13 MICHAEL JACKSON EPIC 13,091
NUMBER ONES
14 GLEE CAST COLUMBIA 13,063
GLEE, VOL. 1
15 JASON ALDEAN BROKEN BOW 12,503
WIDE OPEN
16 MIRANDA LAMBERT COLUMBIA NASHVILLE 12,475
REVOLUTION
17 CREED WIND-UP 12,332
FULL CIRCLE
18 DARIUS RUCKER CAPITOL NASHVILLE 10,652
LEARN TO LIVE
19 JAY-Z ROC NATION/ATLANTIC 10,412
BLUEPRINT 3
20 FLYLEAD A&M/OCTONE 10,346
MEMENTO MORI

REAL LIFE BALLER- PHIL IVEY

2009-11-16T09:09:00.000-06:00

50 CENTS- BEFORE I SELF DESTRUCT TRACK LIST

2009-11-13T15:10:00.002-06:00

01. (00:02:54) 50 Cent - The Invitation (Prod. By Ty Fuffe)
02. (00:03:44) 50 Cent - Then Days Went By (Prod.By Lab Ox)
03. (00:03:46) 50 Cent - Death To My Enemies (Prod.By Dr. Dre And Mark Batson)
04. (00:03:39) 50 Cent - So Disrespectful (Prod. By Tha Bizness)
05. (00:04:45) 50 Cent Ft. Eminem - Psycho (Prod. By Dr. Dre)
06. (00:03:18) 50 Cent - Hold Me Down (Prod. By Team Ready And J Keys)
07. (00:03:44) 50 Cent - Crime Wave (Prod. By Team Demo)
08. (00:04:07) 50 Cent - Stretch (Prod. By Rick Rock)
09. (00:03:01) 50 Cent - Strong Enough (Prod. By Nascent And QB Da Problem)
10. (00:02:59) 50 Cent Ft. Lloyd Banks - Get It Hot (Prod. By Black Key AKA Mickey Davis)
11. (00:03:14) 50 Cent - Gangsta's Delight (Prod. By Havoc)
12. (00:03:34) 50 Cent - I Got Swag (Prod. By Dual Output)
13. (00:03:32) 50 Cent Ft. Ne-Yo - Baby By Me (Prod.By Polow Da Don)
14. (00:03:26) 50 Cent - Do You Think About Me (Prod. By Rocwilder)
15. (00:03:04) 50 Cent - OK, You're Right (Prod. By Dr. Dre And Mark Batson)
16. (00:04:19) 50 Cent Ft. R.Kelly - Could've Been You (Prod. By DJ Khalil)
17. (00:04:23) 50 Cent - Flight 187 (iTunes Bonus Track)

PRODUCER FATBOI ON HOW TO GET YOUR BEAT HEARD

2009-11-13T11:12:00.000-06:00

PRODUCER FATBOI'S ADVICE ON MAKING A BEAT from Purple Label PR on Vimeo.

Rihanna - Russian Roulette (30 Sec. Music Video Preview)

2009-11-12T11:14:00.000-06:00

Robin Thicke & Jay-Z - Studio Session

2009-11-11T15:00:00.002-06:00

Omarion Feat. Gucci Mane – I Get It In

2009-11-10T09:29:00.002-06:00

TOP 50 ALBUM SALES 11/09

2009-11-09T21:59:00.003-06:00

1 CARRIE UNDERWOOD 19/ARISTA NASHVILLE 211,036
PLAY ON
2 MICHAEL JACKSON EPIC 86,892
THIS IS IT
3 NOW THAT'S WHAT I CALL MUSIC SONY MUSIC 86,503
NOW 32
4 ANDREA BOCELLI DECCA 60,426
MY CHRISTMAS
5 GLEE CAST COLUMBIA 51,256
GLEE, VOL. 1
6 TIM MCGRAW CURB 30,122
SOUTHERN VOICE
7 TWILIGHT SAGA: NEW MOON CHOP SHOP/ATLANTIC 26,509
SOUNDTRACK
8 TAYLOR SWIFT BIG MACHINE 25,158
FEARLESS
9 MILEY CYRUS HOLLYWOOD 25,137
TIME OF OUR LIVES
10 CREED WIND-UP 23,395
FULL CIRCLE
11 MICHAEL JACKSON EPIC 22,751
NUMBER ONES
12 MICHAEL BUBLE REPRISE 20,474
CRAZY LOVE
13 FOO FIGHTERS ROSWELL/RCA/RMG 19,649
GREATEST HITS
14 ROD STEWART J RECORDS/RMG 19,629
SOULBOOK
15 ZAC BROWN BAND ATLANTIC 17,758
FOUNDATION
16 JAY-Z ROC NATION/ATLANTIC 17,169
BLUEPRINT 3
17 WEEZER DGC/INTERSCOPE 16,981
RADITUDE
18 BLACK EYED PEAS INTERSCOPE 15,459
E.N.D. (ENERGY NEVER DIES)
19 LADY ANTEBELLUM CAPITOL NASHVILLE 14,711
LADY ANTEBELLUM
20 LADY GAGA INTERSCOPE 13,988
FAME
21 STING DEUTSCHE GRAMMOPHON 13,447
IF ON A WINTER'S NIGHT
22 JASON ALDEAN BROKEN BOW 12,887
WIDE OPEN
23 TRANS-SIBERIAN ORCHESTRA LAVA/ATLANTIC 12,506
NIGHT CASTLE
24 MIRANDA LAMBERT COLUMBIA NASHVILLE 12,302
REVOLUTION
25 HANNAH MONTANA: THE MOVIE WALT DISNEY 11,943
SOUNDTRACK
26 OWL CITY UNIVERSAL REPUBLIC 11,190
OCEAN EYES
27 TOBY KEITH SHOW DOG 11,141
AMERICAN RIDE
28 JOSH GROBAN REPRISE 10,472
NOEL
29 BREAKING BENJAMIN HOLLYWOOD 9,958
DEAR AGONY
30 MICHAEL JACKSON EPIC 9,079
ESSENTIAL
31 SELENA GOMEZ & THE SCENE HOLLYWOOD 9,015
KISS & TELL
32 LUKE BRYAN CAPITOL NASHVILLE 8,829
DOIN' MY THING
33 CHICKENFOOT REDLINE 8,789
CHICKENFOOT
34 SLAYER COLUMBIA 8,748
WORLD PAINTED BLOOD
35 TAYLOR SWIFT BIG MACHINE 8,608
TAYLOR SWIFT
36 KINGS OF LEON RCA/RMG 8,242
ONLY BY THE NIGHT
37 BEBE & CECE WINANS MALACO 8,031
STILL
38 MARIAH CAREY ISLAND/IDJMG 7,762
MEMOIRS OF AN IMPERFECT ANGEL
39 AMERIE DEF JAM/IDJ 7,703
IN LOVE & WAR
40 WHITNEY HOUSTON ARISTA/RMG 7,312
I LOOK TO YOU
41 NICKELBACK ROADRUNNER 7,270
DARK HORSE
42 ALICE IN CHAINS VIRGIN 6,973
BLACK GIVES WAY TO BLUE
43 DARIUS RUCKER CAPITOL NASHVILLE 6,717
LEARN TO LIVE
44 DRAKE CASH MONEY/UNIV MOTOWN 6,523
SO FAR GONE
45 PARAMORE FUELED BY RAMEN 6,512
BRAND NEW EYES
46 JACK JOHNSON BRUSHFIRE/UNIV REPUBLIC 6,366
EN CONCERT
47 TREY SONGZ ATLANTIC 6,192
READY
48 NOW THAT'S WHAT I CALL MUSIC SONY MUSIC 5,876
NOW 31
49 THREE DAYS GRACE JIVE/JLG 5,488
LIFE STARTS NOW
50 BROOKS & DUNN ARISTA NASHVILLE 5,384
#1S & THEN SOME

Chase and Status talk Rihanna, Rated R

2009-11-09T13:05:00.000-06:00

In The Studio: Rodney "DarkChild" Jerkins Interview Part 2

2009-11-07T17:48:00.000-06:00

In The Studio with "DarkChild" PART 1

2009-11-07T17:44:00.000-06:00

RUN THIS TOWN (PARODY)

2009-11-07T17:36:00.000-06:00

RIHANNA FT. YOUNG JEEZY - HARD

2009-11-02T22:26:00.000-06:00

Rihanna Album song list

2009-11-02T21:26:00.002-06:00

1. “Mad House”
2. “Wait Your Turn”
3. “Hard” feat. Young Jeezy
4. “Stupid in Love”
5. “ROCKSTAR 101″ feat. Slash
6. “Russian Roulette”
7. “Fire Bomb”
8. “Rude Boy”
9. “Photographs” feat. will.i.am
10. “G4L”
11. “Te Amo”
12. “Cold Case Love”
13. “The Last Song”

How to write a song

2009-11-02T20:53:00.008-06:00

Learn music theory. It is helps to learn from experts. Wikipedia is a useful start. Scores (midi files) in your genre to read, sing, or practice are good, too.
Use the clock. Try writing songs from 12 pm (Noon) to 4 pm. This is commonly known as "song writing prime-time" - when your creativity is at its peak. Don't miss out by sleeping in!
Stop thinking about writing a song, and start writing. Songs will not just come to you and say, "Hey, I'm a good song. Write me!". You have to listen to your surroundings. It's the song you'll hear inside your head, so you start singing it. Find the missing words you need for the song inside of you.
Think of a subject you want to write about. Whether it is about a break-up, or partying or even a very fun event, stay focused on that subject. It will make it easier!
Listen actively to a lot of music. Good poets read other people's lyrics. Good songwriters listen to songs. As you listen, think about what you like about a song. Are the lyrics unique? Do the song's chord changes perfectly capture a mood? Do you like the transition from one part of the song to another? Find out about song arrangement.
Get technical. You do not need a degree in music theory to write a good song. Song structure is good to know, because it mirrors poetic form. There are infinite ways to structure a song, and a common sequence is found in pop and hymns. As you listen, try to identify chorus (refrain) and verse. Check yourself by looking at lyrics online or in a music book; the parts of songs are often labelled in these media.
Be ready when inspiration comes calling. Unfortunately, inspiration usually does not always strike at convenient times, so if you get a good idea, then rehearse it. If you have the courage, then do it out loud. Carry a pen and paper with you wherever you go, or better yet, carry a tape recorder or digital audio recorder. Melodies can be extremely difficult to capture on paper unless you have a strong music background.
- It would be helpful if you have a musical instrument (e.g. Piano, keyboard, guitar, etc.) so that you can explore the music. An added advantage is that you can easily write down the notes (or tabs) when you have a tune. Try recording it for feedback. Guitars plug directly into computer mic jacks with an adaptor. You can always go back to your recording. It helps. If you revise it, then record it again.
Figure out what you've got. Once in a while, inspiration will hit you like a full force gale, and suddenly you have a full song out of nowhere. Most of the time, however, just a small piece of a potential song will come to you, leaving you to do the hard, but fun work of fleshing it out. You should have a feel for what part of the song you've come up with.
- If it's super catchy (either a lyrical phrase or a snippet of music), and you can envision it being a repeated theme in the song, you've got the refrain—the climax or summary of your musical story—and you need to write verses to explain how you know in detail.
- If what you've come up with seems more narrative lyrically or subtler musically — a part of a story rather than the main idea — you've probably got a verse, and you'll need to write the rest of the story (more verses) and, usually, a chorus.
Set the mood. Make sure your music fits the story. If it is sad, then you may want your melody to evoke sadness (by slowing it down or adding some minor chords, for example) or you might want to add a twist and combine sad lyrics to upbeat music in order to create a sense of tension and ambiguity.
Say something. A song can get by with poor lyrics, and you have a better chance of writing a really good song if your lyrics are great. This does not mean they have to be serious, but they should not be cliché or ho-hum. Write your lyrics as though you are talking to somebody who you want to impress or to someone toward whom you feel some sort of deep emotion.
Make your words sing.Lyrics can appeal to emotions, and they should also appeal to the ear. Rhyming is the most obvious way to accomplish this, and you can employ a number of rhyme schemes. Learn about these and other tools of poetry, and try putting them to work for you.
Strike a balance between repetition and variety. Repetition is what makes a song catchy; repeated choruses, for example, stick in our heads even when the rest of a song does not. It is easy to ask people to join you in a refrain, which is why it is usually called a chorus. It is hard to beat Ode To Joy for that bit from Beethoven, even though that bit used from his ninth symphony has no chorus, and all lines have the same length, the same rhyme schemes, and the same chord progressions throughout. That is an exception to the rule, because the most common way to add variety is to insert a "bridge" into your song.
Look for the hook. The hook is that elusive part of a great song that captures your very soul and makes you want to listen to that song over and over. Hooks are frequently found in the chorus and often become the title of the song. Sadly, there is no recipe for hooks, but you'll know when you have one. Better yet, your friends will tell you, because it is the part of a song they can not seem to get out of their head.
Smooth the rough edges. If the pieces do not fit together, try building a transition. Put all the sections of your song in the same key. If your song suddenly changes in tempo (speed) between the two parts, try gradually changing the speed as you enter and exit the section that does not fit with the rest of the song. Try adding a short instrumental interlude that will carry you from one part to the next. While it is possible that two parts should not be in the same song, it could be that you started one part with the wrong meter or wrong kind of beat.
Get feedback. Play or sing your song for people and get their opinions. You will probably get a better idea of what they really think after you write a few songs. As they hear more of your songs, they might give you hints like, "It's good, and I liked that first one you wrote better" or "Wow, I've never heard anything like that, and I like it." and "That's a really good song!" Be prepared for a critic in the family that will accept nothing less than to hear it post-produced with all the bells and whistles that a band in a studio can offer.
Once you've finished your first song, don't stop. Keep writing and practicing, and you'll find yourself getting better and better. You may need to write a lot of songs before you hit on one you really like, and even after that, you may need to write a lot more before you get another good one. Work hard and have fun doing it!
Write music with someone If you feel blocked, then find a partner. The dues to pay in music involve a lot of volunteer hours. If (s)he does have inspiration (s)he could inspire you with writing your song, or part of it. Some great stuff became four parts through good interpersonal Chemistry.
Go for a walk. While you should write as often as you can, writer's block is inevitable and really can stop you in your tracks, even writing the worst song in the world becomes impossible and your pen simply refuses to touch the paper. To overcome this blank state of mind, stop writing and do something different; go for a walk, pick up a newspaper, get milk and bread in, and while you take a little break from trying to write, be aware of the sights, sounds and smells of whichever environment you are in. Perhaps someone is having a BBQ that smells amazing and you can even taste the smoke, or you can hear bells, birds, waves, cars, wind, whatever, just try to pick out all the different things going on that you would not normally spot if you were just on your way to work or school. That can be all you need to pick up a little inspiration or at least get you back into practising your writing...

Use your imagination. Do not copy verses. One line might not matter, and stealing a verse would prevent you from releasing a recording without permission. Stolen tunes do not always prevent you from performing, say, a parody, in person. Adding or deleting words might not fix this problem, either. If in doubt, check it out. If you can play an instrement e.g Guitar, Piano, or drums they can help you create and just finish your song. Then you have to give it a name. Base your name on what your song is about e.g if your song is about your friend, then use her or his name.

French Montana ft. Mase and Jadakiss - NY Minute Remix

2009-11-02T12:10:00.004-06:00

Beanie Sigel Interview with Charlamagne Tha God

2009-11-02T09:41:00.001-06:00

So What Kind of Representation is Right for You?:

2009-11-01T11:05:00.000-06:00

Though the kind of representation that you choose depends on your individual situation, I contend that most beatmakers/producers only need a lawyer, and at times a beat broker, but NOT a producer manager. Beatmakers/producers are already self-contained and usually very organized. We are not like other recording artists; that is, our careers depend primarily on servicing the musical needs of other recording artists rather than performing ourselves. Furthermore, given the nature of the general openness of the beat shopping process itself, it’s not terribly important who gets your beats into the hands of decision makers. In fact, increasingly, recording artists are accepting beat/instrumental submissions through other outlets, namely email, social networking sites, and national contests.

Moreover, it’s important to keep in mind that once you sign with a producer manager, they are entitled to a 20% cut of all the music-related revenue you earn. And typically, the representation period will last for two years or more. All this for essentially doing exactly what a beat broker could do for a much cheaper rate and a less restrictive representation period? That being said however, I think that as your career grows, and as you become a more sizeable figure in the recording industry, then it may indeed be not only advantageous but necessary for you to get a manager, mainly because you will be eligible for opportunities outside of selling beats to other recording artists.

But in regards to just starting out, well, the decision to get a manager can go both ways. Here, it’s important to point out that hip hop-rap beatmaking/production is a relatively new and rather unique phenomenon in the recording industry. And as such, many recording artists are still trying to navigate their way through the current model of obtaining beats. Moreover, because of the aforementioned solitary factor of the hip hop-rap beatmaking/production craft itself, beatmakers/producers do not typically need the guidance of a producer manager. Though a producer manager can help a beatmaker/producer gain exposure early on, it’s important to remember that once a beatmaker/producer is established on any significant level, the task of successfully shopping their beats themselves actually becomes rather easy. In fact, should you reach a point of acclaim, people interested in your brand of beats will often reach out to you. As beatmaker/producer DJ Premier has said, “Christina Aguilera was the one to reach out.” So if you’re a beatmaker/producer just starting out, the question of whether or not to go with a producer manager is really a question of exposure. If you feel that the exposure a producer manger can get you is above and beyond what a beat broker can provide, then getting a producer manager might be the way to go. Just make sure that the producer manager’s responsibilities and obligations are well-defined in writing. It’s also a good idea to include benchmarks (set goals) within the language of any agreement that you enter into with a producer manager. But before you actually commit to an agreement with a producer manager, remember this: savvy beat brokers are more likely to go to better industry parties than producer managers.

Producer Management 101

2009-11-01T10:10:00.000-06:00

Representation, such as a manager or a lawyer, is an essential asset to any recording artist trying to succeed in the music industry. But for hip hop beatmakers/producers, representation takes on a whole new meaning. For one thing, the role of a hip hop-rap beatmaker/producer is different than that of a typical recording artist. Hip hop-rap beatmakers/producers provide beats for other recording artists to write and perform to. Moreover, unlike other recording artists, who sell their persona and image to the public just as much as they do their music, beatmakers/producers sell their music to other recording artists, and they usually do not have to worry about their persona or image being in the public eye. Instead, their primary concern is pairing their beats with recording artists who need new music. Thus this precarious music-matching process is one reason why beatmakers/producers need to have representation. They must have someone who can flush out opportunities for music placements; they need someone who can find recording artists and other comparable parties who are seeking new beats.

The other reason why a beatmaker/producer needs a representative, especially early on in their career, deals with the compositional method of hip hop-rap beatmaking/production itself. Hip hop beatmaking/production is a very meticulous and often arduous craft that is usually orchestrated in a solitary environment. It is this solitary dimension to beatmaking/production that prompts the need for representation. Beatmakers/producers need a representative, someone to pitch and/or broker the sale of their beats. So just as with the music-matching process of the beat-selling world, here, it’s easy to see why a representative—or better yet a “beat broker”—is absolutely critical to the chances of beatmaker/producer landing the much sought after placement on a commercial release.