Archive for the ‘Interviews’ Category

7Q’s with Charles “CZA” Sweet(HipHop industry expert/Columnist/Author/MC/Producer)

Wednesday, January 13th, 2010

http://arthurpledger.com/wp-content/uploads/Charles-1182-200x300.jpg

(Q) Whats good CZA?  It is a true pleasure to do this interview with you,  can you please tell the DH readers about yourself?

(A) Thanks for having me. To put it as imply and as plainly as I can, I’m nothing more than a cat from the curb who talks about how I see the world. Some good, some bad but all about coming up from whatever hardship you face on a daily basis. Bio-wise, I started out as a writer for magazines  and blogs such as The Source, Basic and Ballerstatus.com doing articles and columns before I made the jump into motivational speaking, writing and blogging. I have a syndicated column called “Mogul Motivation” you can catch on the net as well as a radio segment called “Mogul Moment” on The Carey Sisters show airing in Las Vegas every last week of the month.

(Q)  You know CZA certain words can be intermediating  or cause confusion such as the word CEO. My questions is what does the word CEO mean to you and how can people harness the power of that word?

(A) CEO is an acronym I came up with to mean something different than what most think it does. While you can be a Chief Executive Officer, you don’t have to be in a corporate setting in order to do you the best way you know how. To me, a CEO stands for someone who can Create Every Opportunity they get and Conquer Every Obstacle that stands in their way. By realizing and living these two philosophies, you’ll grind harder than you’ve ever grinded before and get the kind of results you’re looking for in whatever you do.

(Q)  With DH I talk alot about personal branding especially for artist or MC’s but how can personal branding help somebody that is looking to get a promotion in a job or really stepping their game up by starting a business?

(A) Being an up and coming MC is no different than entering the corporate world; you don’t have a lot of means at your disposal initially and you have very little experience to draw off of initially. That’s when your creativity comes in and when you should focus on building a presence for yourself through everything from your clothing options to elements of your resume. Whether it is on the block or in the boardroom, you should create your persona, your personal brand, by incorporating who you are into your environment and use the skills and tools available to you. While I would never advise anyone to stay in someone else’s corporate setting, the skills you learn at your 9-5 can translate into you jumpstarting your own enterprise.

(Q)  It is quite obvious that the Recession is probably not going to stop anytime soon my questions is what is ROHI and what are some things that people should focus on to increase their ROHI?

(A) As I mentioned in my free ebook over at 10Facets.com, ROHI stands for Return On Hustle Investment and is based off the financial term ROI or Return On Investment. Underneath it all, the game is you get out exactly what you put in. If you lack integrity and play people to the left, you’re not going to get anywhere because karma will come back in the form of angry people blackballing you or worse. To get the most out of your ROHI you have to evaluate the hustle you’re interested in versus how you’re built. Not everyone can do everything as well as everyone else and why would you want to be mediocre at something when you could be great at something else? Knowing this will speed up your rise because there’s no wasted effort!

Another tip to improve your ROHI is not committing to a project, person or idea until you’re ready to. How many times have you come across someone who floats from one thing to another, starting up with enthusiasm only to stop mid-stride and go another direction? Plan it, execute it, move on.

Finally, a great way to get your ROHI up is to not look at failures as failures but as a chance to up your knowledge. Don’t let it bum you that your deal didn’t go through or Dr. Dre wasn’t feeling your demo tape–if possible, ask for criticism and apply it to your hustle next time. At the very least you learned something you didn’t know before.

(Q)  In my last couple of interviews I have been asking this question a lot, how do you see Hiphop in the next 10 years?

(A) I think in the next ten years we’ll see more and more artists taking control of their music, image and business opportunities, creating more Diddys and 50 Cents. The day when you had to beg a label to sign you is well past dead; the artists been knew it, the labels themselves are beginning to catch on and the fans are respecting the movement. I couldn’t be happier that the middle man is being cut out–these mega conglomerates have been raping the culture since the onset and soon there’ll be a better distribution model with the music and fans in mind that’ll completely do away with the old school play-for-hire trap. We all see through the 360 deals for what they are and enough is enough.

(Q) I can’t wait for your “upcoming book and album”, can you please DH readers about it and what it expect?

(A) You can expect good, quality reading and even better music all about grinding, getting your mind correct and staying positive. I’m not on that corny Schoolhouse Rock, either, I can’t do anything but speak the real so be prepared. There’s a joint on there for every type of hustler and even some cuts to play with your lady. The book is deep too, chopping up the essentials of how a successful CEO thinks from ground zero. I’m talking about everything from creating your brand to the psychology of the hustler to how to get the most out of networking opportunities from a street corner perspective. OGs on the block can relate to this. Presidents in the biggest corporations in the world can key in on the game I’m dropping. Even your mom can use the book to go further because of how approachable and applicable it is to every day life.

(Q) What do you think the biggest mistake young entrepreneurs do when starting off?

(A) The biggest mistake I see a lot of young entrepreneurs making is they talk too much. They feel like by telling the world what they will do before they do it will make them look more accomplished than they really are. building a buzz is one thing but hitting up cats when you’re not prepared tarnishes your reputation and can make it harder for them to believe you when you’re actually ready to go. Don’t broadcast every single thing you do on the net–it’s too easy for people to search you now and use any negative aspect against you. Work first, acclaim second.

You can also find CZA@

Facebook.com/czatheceo
Myspace.com/czatheceo

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7Q’s with Tolu Olorunda(Columnist/Cultural Critic)

Wednesday, January 6th, 2010

http://thedailyvoice.com/voice/images/resizebyid.php?id=425

(Q) Hi Tolu, I enjoy your articles on AllHipHop.com and it is a pleasure to do this interview with you. Can you please tell the DH readers about yourself?

(A) I appreciate that very kindly, Shawn. I write a weekly column for All Hip Hop (every Monday) as well as other sites like TheDailyVoice.com and BlackCommentator.com. My work is primarily centered on culture and the ways in which a society makes meaning of the many factors it consists of—music, education, sports, politics, entertainment, and so forth.

(Q) You have some very insightful articles about Hip-Hop. What do you think the current state of Hip-Hop is; not only in the U.S., but globally, specifically regarding Africa?

(A) Good question. I caution people not to adapt their same views of North American Hip-Hop when assessing the global framework. (1) Because different contexts produce different results. (2) Because the artists are not all the same and, from history, all attempts to address Hip-Hop artists, of all stripes, as a monolithic entity have always proved worthless—there’s just too much diversity involved. (3) Because the sociological factors are much different from each other and are bound to account for radically dissimilar causes and effects.

In North America, we have a dominant media obsessed with commercial junk and disposable records. The same, however, cannot be said of Europe or Africa—or even of Canada!

Earlier this year, I wrote a piece on the emergence of Hip-Hop made in Africa and what it means for the future of the culture (“African Artists: Stormin’ Into The Hip-Hop World,”30 July 2009, All Hip Hop). From many of the comments and responses, it appeared fans in the U.S. are too stuck on parochialism and provincialism in their conception of Hip-Hop.

I think on a global scale Hip-Hop is doing much better than what folks in the U.S. are exposed to; but the Hip-Hop community is one body, so we all suffer, internationally, when any sector fails to live up to its promises.

(Q) What are your feelings on making music totally free online to music fans especially regarding the current state of the record business?

(A) I think it’s inevitable. Artists would have to come to terms with this, on their own terms, sooner or later. It’s simple: Fans have stopped buying records. Sure, every now and then, a Raekwon, or Jadakiss, or Busta Rhymes defies conventional wisdom with great opening weeks sales, but, by-and-large, most fans aren’t interested anymore in paying $10 for something they can get for free. A study was conducted by the University of Reading a few weeks back, in which 10,000 students were interviewed on the issue of music downloading. A stunning 75% announced they preferred to download music rather than buy it or even stream it. That says plenty enough. So, the smart artists would begin looking into various avenues through which adequate revenue can be made even if CD or mixtape sales are longer part of the picture. But I don’t think it should be the labels making these decisions. I think artists deserve that opportunity.

(Q) You know, Tolu, you could say a lot of people that were raised on Hip-Hop, especially during the 90’s, have lost a lot of faith in the current state of Hip-Hop. Can you offer some suggestions to people that want to improve the current state of Hip-Hop—especially in quality of music?

(A) I think more fans should start boycotting the mainstream outlets that insist on promoting misogynistic, hedonistic, and materialistic values to young people. It’s that simple. Just a few days ago, HOT97’s DJ Enuff was questioning colleagues why Jay Electronica’s smash single, “Evidence C,” arguably the hardest-hitting record of the year, wasn’t being circulated more on mainstream radio. He wrote on his blog: “Why is it not spinning on the radio? At least during my time slot? Is it because there’s no dance tied to it?” To his credit, Enuff ended up selecting it as the “Heavy Hitter pick of the week.”

I also think fans should demand more of their artists. No more should fans function as Yes Men for artists. When the music is creative and complex, they ought to be rewarded. When it isn’t, they should feel the pinch from fans.

Most importantly, fans need to rethink a lot of the values we currently work with. Most of us have very warped perceptions of artists—as deities and demiurges, or as irredeemable savages—and I think it’s about time we start seeing artists as legitimately flawed human beings not so different from us.

(Q) Hip-Hop is truly everywhere. As a cultural critic, what are some things you would improve on to make it better?

(A) I would put more power in the hands of the consumers and performers—that way the middlemen would be cut off, and Hip-Hop artists wouldn’t have to worry so much about side-hustles to keep the lights on. When an artist has to engage in 20 other business deals just to maintain a lifestyle, the music takes a considerable hit. And this is why once giant labels are currently crippled and collapsing.

(Q) Tolu, I definitely see the death of the record label, but what do you think should replace the record label, and can you give some advice to artists who do not want to go the record label route?

(A) I think the labels will be replaced by what a former major label marketing department executive once described to me as “Music/Entertainment Firms.” I would go into greater detail, but it’s laid out perfectly in the interview (“Interview: Did the Marketing Department Kill Hip-Hop?” 31 August 2009, All Hip Hop).

For further reading, see also:

“The Death Of Record Labels: Artists: Take Charge!” 6 September 2009, All Hip Hop.

“When Will Rap Artists Stand Up For Their Rights?” 9 November 2009, All Hip Hop.

“Why the Music Industry Can’t Save Itself” 7 December 2009, All Hip Hop.

(Q) It seems like causal fans of Hip-Hop only focus on one element—the MC. Do you think in the next decade we will show love to the other 3?

(A) I hope so. And, in fact, I raise this issue in my latest editorial (“Hip-Hop: We Bid One Decade Adieu & Welcome Another” 28 December 2009, All Hip Hop). I think the decade calls for some seriousness and maturity from artists; and I, for one, can’t wait to see greater collaboration, greater unity, and greater humility amongst Hip-Hop performers and consumers. It might start off a bit bumpy, but we should coast on just fine as the decade proceeds.

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6Q’s with Shaun Boothe(MC/Producer/Trailblazer)

Wednesday, December 30th, 2009

(Q)  Hi Shaun it is a pleasure to do this interview with you,  Can you please tell the DH readers about yourself?

(A) To me I’m just someone on a mission. I don’t fully know what it is but I know it has something to do with music and creativity.  I rap, I produce, I love to perform.  I really think I’m here to entertain as I inspire others. It’s like Muhammad Ali – he was an incredible boxer but his mission in life was bigger than that.   I strive to live a life like that.

(Q)  I must say your take on Nas’s  Unauthorized Biographies are dope, What made you come up  with that idea?

(A)  First I just gotta say that I’m a huge Nas fan.  What he represents to the game is irreplaceable.  When he did his dedication to Rakim I thought it was incredible.  I first came up with the idea to do my own bio when a DJ asked me to do a track for a mixtape dedicated to James Brown when he passed.  I didn’t just wanna spit a 16 over a James Brown loop so I did the bio.  The mixtape never got released so I was left with this song that I loved but didn’t have a home.  So I just created that home and started the series. I think adding that visual component just took things to another level.

(Q)  Your from Toronto, Canada which has a rich history in HipHop plus a lot of dope MC’s…Sometimes we in the states forget that and in fact the way I first heard about you was a vid on You tube you did which was entertaining and witty song called “The Reporter”…My question is did you come into the HipHop game understanding that you had to utilize the Internet to differentiate yourself?  And can you give some tips to MC’s on how to embrace the Internet more to promote their music?

(A) You definitely have to be aware of the times you live in.  Right now there’s a lot more ‘noise’ you have to compete with.  The question is how do you do that? Being different isn’t even enough. Nowadays everyone is trying to be different just to be different.  But it’s not like the music is incredible.  I have a line in my song Poor Boy where I say ‘I had to be outstanding to stand out’.  That’s really what I feel I have to continue to do.  To me it’s still about quality.  I pride myself at being innovative more than just ‘different’.  I think people are smart enough now to know when someone is just trying to be different as opposed to truly being unique, talented and innovative.

Q)  I personally  feel the era of the one dimensional MC is over with plus I also believe in this digital era that MC’s must be able to put on a live show,  what advice can you give to up-incoming MC’s on improving their  live show performance game?

(A) Record everything.  Watch it back. That’s helped me so much.  It’s a completely different experience when you watch it back.  Athletes do it to improve their performance. Why not you?  Just cause it ‘felt good’ doesn’t mean it couldn’t be a lot better.  Also, you have to realize you’re not just an artist you’re an entertainer.  It’s really not just about how great your songs are.  It’s about how you can make them come to life.  It’s about showing people a good time.  Being creative is part of who I am. It’s part of my brand.  So even when I’m performing I try to do it creatively. Personally I think everyone should.  I’ve toured Canada a few times now opening up for bigger acts and one thing I’ve realized is that if you can’t get people to remember you then you’re wasting your time.  Once again ‘I had to be outstanding to stand out”.

(Q)  Some artist get very upset when their music gets leaked,  what  is your opinion on music leaking?

(A) It’s funny because me and my manager used to joke about how we can’t wait til people start leaking my shit because at least that means people want it! It’s funny you bring that up because just a couple days ago I got my very first online ‘leak’. ha.  I have a song called Concepts featuring Talib Kweli off my Hip Hop in 3D project that found it’s way to a few blogs a little before we were ready.  It’s cool tho. Part of the game.  It is a little frustrating because we had this plan, official artwork - and all that gets wasted.  I’m big on presentation.  With that said I’m just happy there’s at demand at the moment! ha. And it’s not what happens to you in life, its how you react to it.

(Q)  Can you tell the readers when your mixtape HipHop in 3-d is going to drop and a little about what to expect from the mixtape?

(A) Right now I’m shying away from the word mixtape and I’m shying away from the word album.  I dont know where it fits. But i do know that its dope.  All original material.  Expect fresh production.  Toronto has some incredible producers right now. I think Drake’s success has highlighted that fact.  Expect lyricism, diverse topics, depth, shallowness, concepts, inspiration, vulnerability, ego, all that.  It’s called hip hop in 3D for a reason.  I wanna show you all sides of me.  I have no interest in ‘bringin it back’.  I wanna take hip-hop some place different – someplace 3 dimensional.

You can also find Shaun@

http://twitter.com/ShaunBoothe

www.myspace.com/ShaunBoothe



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8(Q)’s with Cedric Muhammed(Economist, Strategist, Hip-Hopprenuer)

Wednesday, December 23rd, 2009

http://hiphopandpolitics.files.wordpress.com/2009/05/cedricmuhammed2.jpg

(Q) Hi Cedric I am very excited to do this interview with you and it is a real honor, Can you please give the DH readers some background on yourself?

(A) First, I’m honored to build with you Shawn.  Well, my background is pretty unique so I have a long form video bio that tells my story, which they can see at YouTube (Part 1: http://www.youtube.com/watch?v=j2E5YfuSPik and Part 2: http://www.youtube.com/watch?v=HuL-3LJ2O7Y&feature=related).  Professionally though, I’m a former GM of WU Tang Management, Chief Strategist To Congresswoman Cynthia McKinney’s successful 2004 campaign and a monetary economist helping to advise the 53 nations of Africa on how to unite under a single currency and common market.  I’m a consultant to first-time entrepreneurs and small business owners.

(Q) What is a Hip-Hopprenuer and how can people use the philosophy to better themselves?

(A) I define a Hip-Hoppreneur as one who understands the relationship between art, politics, and business.  They understand that it isn’t enough to just make good music or even conscious music.  That music has to be a catalyst to build economic power and institutions that improve the quality of life of the people who make and enjoy the music.  I believe the philosophy emphasizes constant learning, personal and social responsibility and these are what make for self-improvement.  The key though is understanding that business is a science and if you leave it out of your game-plan for life you are going to be roadkill.  Put down the gossip and celebrity mags and pick up a Financial Times, Wall Street Journal and Washington Post I say.

(Q) I like to read allhiphop.com especially specific articles that is how I came in contact with you especially regarding the music business. Can you give some basic advice to artist regarding their strongest position in dealing with record labels? Meaning should they deal with them especially when doing a 360 deal?

(A) Thanks for reading my column.  I believe an artist’s basic power is over the style and substance of their creative work and the timing of when they deliver it to a label.  And the more an artist has had a hand in their production, promotion and marketing, the more leverage they can have in negotiating a deal with a label.  Obviously a person who has 1,000,000 views on YouTube, 30,000 units sold, articles on them in a local newspaper, and hot merchandise they sell – like T-Shirts and caps BEFORE they get a deal will have more leverage than just a talented artist with a demo.  I think most artists will not benefit from a 360 deal but I don’t dismiss them because the alternative may be even more unlikely – establishing sales, a following, and visible brand on your own or as an independent.  Generally speaking though, the bigger an artist is before they sign the 360 deal, the more likely they are to benefit from it.

(Q) Hip Hop artist can no longer depend on just record sales, can you give some advice to artist on how to create new income streams?

(A) Exactly Shawn.  Sure, they have to think about licensing their songs for use in (for commercials and movies); selling merchandise (T-shirts etc…); and using music to set them up as actors, activists, and leaders.  If they are going to rely on record sales they should be selling their music themselves – through their own website as well as iTunes and they should be thinking about markets outside of America.

(Q) I am still looking for a Hip Hop Bruce Springsteen, can you give some advice on how artist can build a long music career?

(A) This is what Wyclef and I discussed recently.  We are in a time where people don’t just want a street or industry image.  They want a movement.  If you can add the leadership profile or persona to good music and a lifestyle you can have a long career.  That is what has made Jay-Z and Wu-Tang Clan successful over time.  They created a brand that is bigger than rap music.  They give people more than just one or two reasons to like them or buy their music.  The challenge for the Hip-Hop artist, though, to have a rock star like career will also require them to dedicate more energy and resources to their live performances, and this has been an area that rappers have neglected.  You can’t have a really long career where you are making a lot of money unless you have production value as a live performer.

(Q) It seems to me the death of record labels is getting closer to reality, If entrepreneurs are still wanting to still venture into the music business what are some other business options entrepreneurs can get into?

(A) I think record labels will become more like Live Nation.  They will have to get into other businesses like merchandise, concert touring etc… So you are right.  The record label is going the way of the record store – out of business unless they become a full-service enterprise,  like a supermarket, where you can buy more than one thing.  I do believe that music is going to be part of the portfolio or skill set of leaders, activists, celebrities like actors.  Showing some form of musical talent or taste is going to be more and more a part of what people will have to do in this world of social media and 24 hour news where people want to know more about each other’s personality.  I think producers that can make videos, jingles, instrumentals, and commercials for non-musicians can do well.  Music will be harder to sell by itself but it will have increasing value when used as part of a larger production, I think.

(Q) You have a new book out called “The Entrepreneurial Secret” which I have order on Amazon and can’t wait to read. Can you please give the DH readers some info about the book and how it can help them take action?

(A) Thanks for the business and support!  I wrote the book because I believe that you can’t learn business, finance, entrepreneurship or economics in the public schools or through the media.  And the book publishing world chops the subject up into so many small pieces that you can’t put it back together again without buying 1,000 different titles!  So I wanted to write a book series that would unite what they separate.  The three volumes of The Entrepreneurial Secret deal with the three areas we all need to succeed as entrepreneurs: 1) knowledge of political and cultural factors like what legal form of business to pick and how to raise money from a small circle of friends and associates, rather than a bank or government grant 2) business tactics and strategies like negotiating deals, how to network and conduct yourself at a business dinner and 3) the personal struggle one has to undergo when starting a business like embracing suffering, building willpower and understanding how relationships – romantic, domestic, and friendships – are all impacted by the journey the entrepreneur takes themselves and others on.  The book is both practical, technical and spiritual just like business.  I am confident it can help anyone from a recently laid off corporate professional, a single Mother, a previously incarcerated person, or a seasoned business person looking for new insights and ideas.  You can sample some of the material and enjoy a special offer at the official book website, http://theEsecret.com/

(Q) I always enjoy asking this question in the next 10 years how do you see Hip Hop Globally?

(A) That’s the question!  I see it by then as a truly global phenomenon and not one dominated by American artists or the West.  I’m working with teenage A & Rs in Africa now I can tell you that they have the passion, risk-taking, and fresh perspective the culture and industry needs.  I think you’ll see artists doing remixes in different styles of music and bi-lingual artists will be the norm.  I also think that the pay-per view market for concerts will be huge worldwide as the Internet, Cable Companies, and International Channels do business with one another.  You’ll be able to follow artists in every aspects of their lives – not just when they blog or have a new album out or performance.  The people will want more and more access to their artists and the technology will allow it.

You can also find Cedric@

http://twitter.com/cedricmuhammad

http://www.cedricmuhammad.com


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What would you do if you had $10k to start your Own Business? Interview with Ryan Stoner (One of the Founders) of CashFlow

Monday, December 7th, 2009

the CASHFLOW

(Q)  Hi Ryan it is a pleasure to do this interview with you, Can you please give the DH readers some background on yourself?

(A)  I am one of the founding members of CASHFLOW. My background has been primarily as a brand builder, marketer and innovator. Helping both large and start-up companies define their brand and execute their vision.

I believe in using strategic thinking and creativity to accelerate change. Specifically, I work with non-profits, small businesses and start-ups because I believe that they should have access to the same world-class business know-how. A thriving business can realistically be started up with as little as a $10K investment and a lot of hustle.  The barriers to entrepreneurship have never been lower and startups are they key to getting us out of this recession.  The young urban community is a key resource of untapped potential.  And that is where CASHFLOW comes into play.

(Q)  Please explain the movement you  are trying to create at CashFlow?

(A)  CASHFLOW is dedicated to teaching business, investing and personal finance in an engaging way by leveraging the success of the people that matter most to our community.

We all have seen a huge hole with the stimulus package and know that urban entrepreneurs have not received any benefits from the government stimulus package and unemployment levels are at record highs.  Our goal with CASHFLOW is to turn that around and harness, for the first time, the entrepreneurial energy of young urban minorities.

We launched the funding side of our business several weeks ago and will be funding 8 business ideas this year.  We hope to continue to fund businesses next year as well.   The second part of the website will launch near New Years, which consists of guide to the ins and outs of business and a catalog of personal stories and personal style…. Straight from top 50 hip-hop-influenced entrepreneurs we all respect.

Overall I can sum CASHFLOW’s goals as trying to create a meaningful contribution to “street-level up” national economic recovery  through the lens of hip hop and self-made entrepreneurs we all admire.

(Q)  Your site offers mentorship which is a cool idea, I was wondering also on your site you have the Cashflow 50 and you mention some heavy names with that like Diddy, Tyler Perry, Tyra Banks to name a few. Will members of your site have real access with the Cashflow 50?

(A)  The CASHFLOW 50 will be the first list dedicated to analyzing the success of the top 50 hip-hop-influenced entrepreneurs. We plan on having features interviews from the CASHFLOW50 and other up-and-coming entrepreneurs eager to share their experiences and discuss lessons they’ve learned along the way. Everything from “lessons learned” to relevant news, commentary and trends in the world of business.

(Q)  Cashflow also offers like a business think tank will people have access to reading each other business plans and helping out with business ideas, my question is will the general public have access to this info or do you have to become a member?

(A)  Great question. CASHFLOW is about ACCESS. Everyone deserves access to a knowledge base to make their ideas a reality. That is what we provide. The general public will as being able to look at other peoples real examples and have access to  all the CASHFLOW templates- business plans, investor presentatons, etc. I want to utilize collective learning to empower others.  Writing a business plan should be easy to research. We are giving anyone who wants to start a business plenty of references and even more resources to guide them.  All funded businesses will be expected to share their experiences with the CASHFLOW community as they build their startup, from idea generation to business creation. We want CASHFLOW to be the destination where people turn to when they have a business idea.

(Q)  Your company offers young entrepreneurs $10k go towards their business if selected. My question is the money a grant or a loan?  If it is a loan what type of loan is it meaning a long term loan with low interest rate or a short term loan with high interest? Plus does the entrepreneur have to give up some ownership of their company or idea to receive the money?

(A)  Neither. It is an investment. We are providing entrepreneurs with $10k,resources and mentorship in exchange for a small stake in the future potential of their company, under 10%.  The next great idea can come from anyone . I want to empower a new breed of entrepreneurs to come up with the next big idea and then provide them with the resources to make that that business successful.

(Q)  You are obviously providing funds for the urban youth specifically to fund their dreams.  We all know sometimes living in urban areas, you come prey to fast money that may not be legal. Especially when you are waiting on your business to produce cash to live off of. Can you provide some insight or advice for a young entrepreneur to stick with their vision regardless of the urge for  instant gratification?

(A)  Use your hunger and ambition to create your own luck. Starting a business is not easy, but you can use your adversity as a strength. In times of trouble you should focus on solving problems, dealing with reality and moving forward. Embracing strengths, rather than giving into fears or the urge for instant gratification.

If you can use that energy to move in a positive direction others will follow. And keep in mind that technology has opened up all kinds of opportunities and access to resources. Reach out to businesses or mentors that you think can help and keep focused on your long-term goals. Don’t be afraid to fail or to move on to something else.

(Q)  Can you provide some advice on how entrepreneurs or artist can brand themselves better through social media?

(A)  Social media it is about starting conversations and thus encouraging your fans to contribute, share and interact with you. Focus on promoting yourself in the right channels where your potential audience might be and then make them an accomplice- allowing your fans to participate in your marketing.

First set up presences on Facebook, Twitter, MySpace and create your own website. Become familiar with the activities of successful brands such Zappos (twitter.com/zappos) or artists like QD3, (twitter.com/qd3)

Once you do that begin to brand yourself better through social media. I think you need to master 3 things.

  1. Socialize: Understand your audience. Figure out what is important to them and what they care about
  2. Credible:  Earn trust. Be humble and authentic, while focusing on subjects and conversations you can be an expert it.
  3. Don’t forget the impact of your audience: Allow people to dig below the surface to learn more about your brand or music. People naturally gravitate toward brand that can help them connect or add value to their lives.

You can also find Ryan@

http://www.thecashflow.com

http://twitter.com/the_cashflow

http://twitter.com/Stoneage


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Interview with Anthony Mcnamer (Prez of Expunged Records/Managing Partner of McNamer & Company)

Tuesday, December 1st, 2009

Hi Anthony  it is a pleasure to do this interview with you, Can you please give the DH readers some back ground on yourself:

(A) I graduated from Stanford Law School and spent my formative legal years at Bingham McCuthen and Davis Wright Tremaine, two multinational firms, before leaving to start my own practice specializing in IP and Entertainment law.   I also own a record label, Expunged Records, and I recently released a rap album as the Exquisite Rap Duo (www.exquisiterapduo.com).  It’s pretty funny.

(Q) What are the basics on copy rights?

(A) That’s not a particularly simple question.  The most basic thing is that you own a copyright in any original creative expression, regardless of whether you register a copyright with the copyright office.  However, with registration you receive significant benefits, like the possibility of getting statutory damages and attorneys fees in an infringement action.   Registration is a prerequisite to filing a lawsuit, but even without registering you are still protected.  No one can copy your original works.

(Q) What is Creative Commons?

(A) Creative Commons  is a non-profit organization that seeks to expanding the range of creative works available for others to build upon legally and to share. The organization has released several copyright-licenses known as Creative Commons licenses for free to the public.  The licenses tend to be for free use, much like open source licenses for software (like the GPL), but for other types of works.


(Q) What are some vantages using creative commons for Hip Hop Sampling?

(A) If your question is about using other people’s samples, if you are able to find samples under one of the CC licenses that allows you unfettered royalty-free use, then the advantage is you don’t have to pay for it.   The disadvantage, if you are the copyright holder, is you don’t get paid.

(Q) If you are signed to a major label is it possible still doing Creative Commons?

(A) I can’t imagine any major label allowing their artists to release their works under a CC license.  It wouldn’t make any sense.  The label wouldn’t invest money in something and then give that thing away.   They may do it for one song, but not for a whole album.   That’s only for the sound recording though.  Typically the artist would own the musical composition, and so they could decide to license that under one of the Creative Commons licenses.  But again, they would never get any royalties on those uses.

(Q) When picking a new music lawyer especially if you are creating a online music label what should artist and entrepernuers’s look for?

(A) You just need to make sure you find a lawyer that understands basic corporate law, and one familiar enough with the music industry to know the other contracts that would necessarily be used by a label.   It would also help if they understood e-commerce and the particular issues related with selling music online.

(Q) Some Hip hop artist are making money off of their personal brand besides selling music, some record companies are getting hip to the game by offering 360 deals , what is some advice to give artist in handling that situation especially if their record deal depends on it?

(A) With the sales of cds on a downward spiral, obviously labels are looking for other potential revenue streams.  If you can’t recoup your investment on cd sales, then you either don’t make the investment or you figure out another way to recoup. That’s why you have 360 deals.  Ultimately signing a deal is a business decision.   Some people would rather have a bad deal then no deal at all.  That’s their choice.   As long as you understand  the deal, then the decision is up to them.   You just need to make sure you fully understand the deal, which is why it’s always important to have a lawyer review your contracts before you sign anything.

(Q) If a artist is going the independent route what are your suggestion if they decide to start a publishing company?

(A) My usual question when someone wants to start a publishing company is why bother?   You don’t need a publishing company to collect royalties or issue licenses.  You can just do it yourself.   It may be a good idea to have a separate company for other reasons (liability limitation or tax reasons), but there is nothing special about having a publishing company as opposed to just doing it yourself.

(Q) What is DART and How important do you think the role of DART(Digital Performance and Webcasting Monies) will be in the future of digital music?

(A) Chapter 10 of the Copyright Act places a statutory obligation on manufacturers and importers of digital audio recording devices and media (”DART”) who distribute the products in the United States to submit royalty fees to the Copyright Office.  The money is supposed to be paid to two different funds and then distributed.  One is the Sound Recording Fund, which receives two-thirds of the money. This money goes to the recording artist and record company. The other fund is the Musical Works Fund, which receives the remaining one-third of the money to split 50/50 between the publisher and the songwriter.  How important it will be remains to be seen.  I think it will be as important as the size of royalties it generates.   My guess is that royalties from webcasting will be more important (at least to sound recording copyright owners) than DART royalties.

You can also find Anthony@

McNamer and Company

920 SW Third Ave, Suite 200

Portland, Oregon 97204

ph: 503.727.2504  fax: 503.727.2501

http://www.mcnamerlaw.com


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Interview with Kim Lavette Atwater (Prez/CEO) of One Entertainment

Tuesday, November 24th, 2009

Hi Kim it is a pleasure to do this interview with you, Can you please give the DH readers some back ground on yourself:

(A) Sure, I’d first like to thank you for this opportunity.  I am a practitioner with an eclectic array of skills, I have over 14 years experience in industries like entertainment, the legal arena, non-profits, bio-containment research, hospitality, credit card, healthcare, just to name a few.  I’ve worked on projects for Gladys Knight, The NAACP, 100 Black Women, The SBA and with Civil Rights Legends like Dick Gregory and even Rosa Park’s attorney Mr. Fred Gray.

(Q)Your company is cool and interesting because you help artist in all avenues of their career,  what is some basic advice can you give artist starting out in the entertainment career?

(A) I would advise them to do some homework, familiarize themselves with terminology like Copyright, Points on a record, Recoupment, BDS, Performance Royalties, UPC, Licensing and 360 deals.  Also ensure that they assemble a great team together with essential elements like A Manager, A Publicist, An Attorney, and Producers, all of which should believe in their music and them 100%. Of course, you can get a majority of that by choosing One Entertainment, LOL.

(Q)You offer crisis management can you go into some detail and explain more to the readers what that is about?

(A) Crisis Management is a plan already derived to contend with any problems that may occur with a PR campaign or a way to manage unexpected issues that may arise with the artist of which their PR Team or Publicist must address to assure that their  public image is left intact or in the best possible light afterwards.  A great Example of non-music crisis management was what the PR team did for Tylenol during their scare with product tampering, infection of cyanide in the capsules.  It was quite successful because the Public still trusts them and are still purchasing Tylenol.

(Q)You are from the ATL we know the ATL is a hotbed for talent especially in Hip Hop, Can you please give some advice in how artist can brand themselves better so they can stand out and be noticed?

(A) First of all, I would say to put out an authentic and professional product, remain true to who you are as an artist.  Identify your niche in the market and then tell everyone, every time, sell you via as many social networking sources as possible.  Also, get out and meet key individuals within your community and build relationships, people usually support who they feel they know.

(Q)The internet is a cool place for artist because if you have a popular website you can get some accurate analysis on your fans and your market, can you go into more detail on how important it is for artist to track that data and use it to brand themselves better?

(A) Yes, well if you are trying to get signed, labels are no longer investing in development, so you need to build a fan base and prove that you have that base.  You can definitely achieve that with your own website, having intuitive and interactive tools to assist you in tracking these things.  However, having a presence on social sites like YouTube, MySpace, Twitter, is great as well because you can readily show your numbers and the support you have, who your audience is and drive traffic back to your website.  Also, with on-line distribution you can identify what you are selling and to whom.  By attaining a UPC, you can prove what the consumers have purchased as well.  You could use old fashion receipts but that doesn’t aid in identifying your market and for use of other qualitative research tools.

(Q)Can you give some advice to people who are not necessarily entainterners but want to start their own entartianment businesses like a music label or managment company?

(A) Educate yourself, ensure that you possess the skills and the passion to do it, surround yourself with individuals who can assist you with what you lack, and lastly have a genuine love for entertainment and your clients

You can also find Kim@

http://twitter.com/oneent

http://www.linkedin.com/in/oneentertainmentelssllc

http://www.myspace.com/oneentertainmentelssllc2

http://worldwidemic.ning.com/profile/OneEntertainmentELSSLLC

http://www.facebook.com/Oneentertainmentelssllc

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Interview with Scott Yeti(Prez/CEO) of WoooHa.com

Wednesday, November 18th, 2009

Hi Scott it is a pleasure to do this interview with you, Can you please give the DH readers some back ground on yourself:

Sure. I come from an entertainment marketing background which started in college working in artist development where I set the West Coast college marketing tactics for groups like NERD and Chemical Brothers. This led into concert production where I booked shows for everyone from Snoop Dogg to 50 Cent on the West Coast as well. Eventually I made my way into film marketing where I ran urban marketing for movies from Soul Plane (yea I know) to Barbershop. I currently work for a marketing consulting company where we specialize in positioning and branding businesses, movies, music, etc. properly into popular culture giving it that cool “hip” edge.
(Q):  What do you think is the future of Hip Hop Artist using the web to promote their businesses?

It’s pretty clear that the future of music in general has gone the way of the web. I think hip hop is even more dominant on the web vs. other forms of music due to the nature of it. Back in the days before the web it was all about the mix tape and getting the newest music. Artists would make new tracks every day and distribute it out of their cars. Now…they click a button on their computer and the latest mix tape is distributed to millions. Artists get what they want…fans get what they want.

The danger though is there is no quality control filter. Before, record labels did the job of developing artists. Now…anyone can pick up a studio mic, plug into their computer and spit out a record. The key is differentiating yourself from the thousands of other artists out there just like you trying to only do it online. Online promotion is just a small part of the hustle necessary to really break through. It’s like job searching. You can’t just stick to online job searching b/c there are millions just like you sitting on their computer looking for a job online. You got to get off your ass and hustle.

(Q):  What are some tips that you can recommend HipHop artist in branding themselves not only online but also making stratigic alliances in spreading their personal brand, especially through corporate sponsorships?

When I’m consulting for a movie or a product or an artist, whatever I always ask the client the same thing first. What separates YOU from the competition and how are you communicating that to the consumer? Every artist is a brand. Your name is a brand, your style supports your brand. Your music communicates your brand. Your website is the online version of your brand. The key is to have a cohesive HOOK for your brand (you) that separates you from others. Who and what do you stand for and is that cohesive?

Corporate sponsors look for artists who instantly represent something. They have a hook that will resonate with their target consumer Many don’t even want multi-million album selling artists. These days artists who are hardly known are landing some nice deals because they stand for something. From Mickey Factz landing a national deal with Toyota to The Cool Kids and Mountain Dew. There are plenty others..the one thing they all have in common is a clear and concise branding image behind them. Find yours..stay consistent…find your angle, your passion for the music and you are one step closer.
(Q):  It is interesting with HipHop right now because it has become in some sense more than about the music you have artist now that are taste masters and can drive sales for themselves and fortune 500 companies…My question is will we will see a Hip Hop blogger reaching that type of influence like a Jay Z or Diddy? Because to me the Brand HipHop itself is very strong and I think you don’t necessarily have to spit rhymes anymore to make a great living in HipHop.

I think you already see that happening. The hip hop blogosphere is a tight family. When I started blogging I learned right away you must earn the respect of the “Forefathers” of hip hop blogs to get real credibility. Now, blogs like Nah Right, OnSmash, RapRadar…they have so much clout within the industry that artists want to partner with them. You see blogger branded mix tapes, concerts, events, etc b/c these blogs have such recognition and their name carries a stamp of legitimacy with them.

I don’t think bloggers will ever be the level of Jay-Z or Diddy on a mainstream popular culture level but the level of influence a blogger can have within the hip hop industry is growing faster and faster.

(Q):  Since you have worked in the record industry do you think they will adapt to the digital age of music or just die the way of the dinosaur?

The record industry has been improving leaps and bounds in regards to embracing the digital age. Instead of fighting it they are finally embracing it. Yea it’s a little late but at least the perceptions and decision making is focused on digital instead of trying to save physical CD sales.

There will always be a major record label industry though because you still need marketing support and money to properly push an album not just in stores but even digitally as well. Having your album available on iTunes is one thing, getting the consumer to NOTICE your album on iTunes is another. For that you need money. There are just too many artists out there competing against each other. You need label support and financial backing to get noticed.

You might see the industry become more fragmented with more artists having their own label deals but in the end they are still tied to a major label.
(Q):  Just overall Scott what are your some of your suggestions for getting starting in the HipHop industry especially those that would like to work behind the scenes?

I think the internet gives a false sense of hope that being a hip-hop blogger is your ticket to getting into the industry. If your blog becomes big enough and gets noticed and maintains the traffic and heat, yea you can make a dent but it’s still a small group that really have the industry influence that I mentioned. That influence I’m sure has led to many job opportunities for those bloggers.

But for the rest of us, it’s about the hustle. First off it takes hard work and strategy to get into the game, be successful and actually make a decent living off of it. First thing is to find what your strength is for the industry. What can you bring to the hip hop industry that others can’t? Basically, identify your strengths and brand yourself accordingly. After that, figure out what industry jobs would fit your strengths or where you can enhance that job field.

If you look at all the successful businessmen and women in hip hop they have a strong sense of who they are and what they stand for. That comes from branding themselves in a certain way and making sure others know. The other side of success in music is establishing the connections but everyone should know that’s a given in this game.

(Q): Hey Scott people are always talking about the death of HipHop,  I don’t see it ever dying I have many reasons why it won’t but the main reason is HipHop is a powerful tool in selling stuff to people…Do have any insight in the the next 5 years where Hiphop is going to be Business wise and its influence on pop culture?

There will always be doubters of hip hop and its lasting power in pop culture. People thought it would fade, just a fad. Instead it’s the opposite. The number of hip hop artists with corporate partnerships continues to grow. Heck, Forbes has an annual special hip-hop report about all the money artists are making outside of the music.

These days with profits from album sales getting smaller and smaller, more artists are using music just as a launch pad to support their other business ventures. We are going to see this continue to happen and artists will become multi-platform business people and not just artists the way we saw back in the days. Hip hop will continue to thrive and survive because of the pop culture influence of “cool” that it stands for.

You can also find Scott @

http://woooha.com/

http://www.facebook.com/WoooHa

http://twitter.com/woooha/


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Interview Stanley CEO of DJMixtapez.com

Monday, March 9th, 2009

Interview with Stanley

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