Episode 1: MEGASEAN
So this week end I was looking for a great time, as usual, and got an invitation by a very good friend of mine who had tickets for a sex show. My reply: « Hell to the yeah! »
Now this event is for the ones that are very comfortable with their sexuality. No for the weak or the type that are more traditional with their fantasies.
I got the see the usual: sex toys, lingeries, beautiful models and some. But what I also got to see is the other side of the moon as I would call it. That 50 shades of Grey they be trying to make pretty I saw the REAL side of it.
Sado masochism, Moulin Rouge type of performance and more weird stuff that I can’t display out of respect of people who wants to stay private I got to experience to see if that could be my cup of tea… Not for now LOL.
For those that came, hope you found what you we’re looking for. For those who wanted but we’re scared to be seen… Let’s all go next year 😉
Afin de pouvoir éduquer nos auditeurs sur la politique nous avons pris la decision d’être plus present dans les événements des partis. Dernièrement j’ai participe a une réunion d’Alexandre Leduc, depute de la circonscription d’Hochelaga-Maisonneuve.
« Il faut donner au immigrants plus d’opportunités financières et non des stabilites de pauvreté ». Voila le message que je veux transmettre aux politiciens. Et le moyen de le faire est de me presenter a eux et partager mon idéologie.
En esperant pouvoir changer les choses ou au moins apporté l’idée du changement.
What started as a reply to a post ended up enlightening me to one aspect of the music business.
I asked about the difference between owning your MASTERS and owning your PUBLISHINGS. Didn’t think I would get my answer right at the moment…
The Murder Inc executive got right back at us with some Music industry 101.
Thanks IRV, really appreciated. TALES season 2 coming soon. Get the first one on BET.com
In the music business, there are ways to reach your audience. Getting your song played on the radio is one of them. Not only is it good for your brand if you get those spins, but your publishing check will look pretty nice…
But how do you get your song played? Do you just pop up at the station guerilla style? Do you call the station and ask them to play your song? The awnser to both is NO.
Here is some tricks to get you on the next FM circuit. Enjoy and thank me later…
1) No Attachments
Do not clutter up their Inbox with attachments of mp3s. Only include links to where they can stream or listen to the song.
2) Box.com Links
Most supes prefer Box.com for songs. This is not to be confused with Dropbox.com. Box.com links allow supes to stream or download the song. Most don’t have time to download the song. So just send them the Box.com link and they will be able to stream the song. If they think it will work, they will download it and try it out.
3) Tagged Mp3s
Many times, supes will have a bunch of songs they are trying out for a certain spot. Once they land on the song they want to use, they will need to “clear” it. That means to get the rights to use the song. But they will probably have forgotten where the song came from. But if you added your contact info to the metadata, they can find you easily.
So, first, create a 320kbps mp3 from your original WAV file. You can do this in iTunes. In preferences, make sure you select “Custom” 320kbps. Then command click the song and select “Create MP3 Version.” Then open the newly created mp3’s info (Command i) in iTunes and type your info in the comments. Include contact email, phone number and “I own 200%” if you actually own all of the rights to your song.
4) “I Own 200%”
In other words, you have the right to license both the song and the recording. Supes like placing music that is easy to clear. That’s why they love working with licensing companies. They are one-stop shops for the music. Instead of having to go to a publisher and negotiate a synch license fee and then going to the label and negotiating a master use license, they’d like to just talk to one person and negotiate an “all-in” fee for the use (The sound-recording copyright and the musical composition copyright are actually totally separate copyrights, but “200%” is the term that supes like to hear).
So, if you wrote and released the song yourself (or with your band), without a label, you own 200%. If you cowrote the song with someone else, you do not own 100% of the composition—unless your cowriter(s) signed off on these rights. But be careful, if your cowriter is signed to a publishing company, she may not know that she doesn’t have the rights to clear the song. However, if you cowrote the song with an unrepped songwriter and you got permission from her to be able to place the song without her direct consent and you recorded the song with (or purchased Beats from) a producer who gave you full permission to place the song without further consent, then you’re fine and you can say you “own 200%.” It’s good to get in writing from every collaborator that you have full permission to license your song.
5) Subject Line: Sounds like _ _ _ _ _ _ _ _ _ (artist you sound like).
Supes don’t have time to open every email, let alone listen to every song. But, if they know what they’re going to get when they open your email, you have a much better chance of getting a listen. So title your subject line who you sound like: “Sounds like Coldplay, Imagine Dragons.” If they need a song that sounds like that, you’ll definitely get a listen—even if they don’t know you.
6) Only Mastered Tracks
Do not send demos. They only want high-quality, mastered songs.
7) You Must Have Instrumentals
Often they will want to use only a few lyrics of your song, or none at all. They will typically want the instrumental sent over in addition to the main master. So, before you give your mixing engineer the final check, make sure you get instrumentals for every song. It’s also good to get stems (vocal only, drum only, etc.). These can be helpful for remixes as well.
8) Work with a Licensing Company
This all being said, most supes prefer to work with people they know and trust. Find a licensing company to rep you.
There you go. Now all you have to do is make yourself a list of who you want to reach and get your music game up.
A man, a father, a brother, an artist with a Makaveli-like work ethic, C.STRUGGS made his mark on not only the Dallas Texas scene but the whole world.
By collaborating with every artists he could associate with, he made them recogognized to the world as well. And that is priceless.
You didn’t loose your battle playboy, you won your spot in Heaven because God saw the beautiful work you did for the people.
You will be missed. #LONGLIVECSTRUGGS
(sidenote: we are using the male pronoun for the article but everything can be applied to women too)
Let me break it down like this: there is no way you can win on your own. You need associates, comrads, connects… TEAMMATES.
When you look at an artist, you often see his « day ones » as they say nowadays. But are the friends coming together beneficial to the artist?
This article is to guide you folks out there on how to be more organised and move as a team. Here are the different aspects of a click that came to win.
THE ARTIST: he is the one with the talent, the one all eyes will be on. The main event. A successful artist can write hits and perform them to entertain an audience. He has a charisma that attracts people to listen to his every word and impatient to see him. He can nail any style and would sell anything he presents to you.
THE PRODUCER: also known as the beatmaker. He is the hitmaker. He knows music because that’s his life. He creates instrumentals every day to perfect his craft and knows exactly what the artist’s voice would sound nice on. He can produce any style and deliver in a short matter of time.
THE ENGINEER: he makes everything sounds perfect. My advice: get one that learned music engineering because if he fails at making you sound clean you are doomed as an artist.
THE MANAGER: the negociator of the crew. the manager is the middleman between the artist and anybody that wants to collaborate with him. He gets the music to the different outlets (DJs, media, radio, etc…) and places (clubs, shows, on cars, etc…). He handles the contracts, find sponsors and make sure the image of the artist is spread properly.
THE DJ: most of the responsibility of a hit record is made by the DJ. Because if the DJ cannot spin your record anywhere and get a good response from the crowd, you will have to go back to the studio and rec another track. A good DJ has a large fanbase that follows his craft and respect his judgement of a banger.
THE CAMERAMAN: that is the one who captures the priceless moments and put them out immediately. He knows how to edit videos and at least produce small videoclips (for studio sessions, freestyles and hood clips). They say a picture is worth a thousand words and the cameraman/photographer is there to broadcast the stardom of the artist.
***BONUS*** THE VIXEN: look at any commercial that really caught your eyes. What did you see? A beautiful woman. Everybody is attracted to a nice face and a nice body (thick girls included). They will take notice at any eye candy and memorize what she has to offer.
Once you get a little bit of fame a couple of things will need to be added up in order to be top notch in the industry. Let me tell you what they are.
Last but not least, there is a couple rules to go by as a team. Let me share with you the main ones.
1- Everybody knows his/her role and never tries to stumble on another one’s job.
2- A good associate is available 24/7.
3- If there something to get done he knows in advance and gets it done.
4- Everybody moves in an orderly fashion (nobody wants to follows bums)
5- EVERY TEAM GOTTA HAVE A NAME TO BUILD A BRAND
Hope this article was helpful for any small crew that wants to enter the scene. Start slow and good luck.
TEAMWORK makes the DREAM WORK.