All Articles Tagged "music industry"
If you’ve heard Talib Kweli’s recent track, “Violations” or Teedra Moses’ “All I Ever wanted,” then you know Thaddeus Dixon. MN caught up with the budding music producer to get the inside scoop on the music business and learn what it takes to follow your bliss.
If there’s one thing Dixon’s career trajectory can teach us, it is the importance of growth. Dixon’s love of music began with a passion for drums. With a Bachelor’s of Music from Michigan State University, Dixon got a jump start in the music industry through touring with artists like Sean Kingston, NeYo, Bone Thugs N Harmony, and more. His success in touring allowed him to begin working as the musical director for artists. Dixon began putting together the musical arrangements for shows, making sure the music was in order, and establishing the overall pacing for the performance. As Dixon continued to grow it was a natural transition to begin working off-stage creating the rhythm behind the artists’ flow.
“Just because people respect me as a musician and musical director doesn’t mean they respected me as a producer. It was basically like starting all over,” Dixon said of his decision to push forward into another area of music.
“I’ve learned from showing up that even if you don’t get what you came there for, something will still come out of the experience,” he told us.
Yes, Dixon has gotten 95 percent of the shows he’s auditioned for, but he remembers auditions where staying present was just as important as anything related to talent. Specifically when Dixon auditioned for Lady Gaga in New York and there was talk that the band was already fixed, many of his friends decided against even trying out. While Dixon questioned whether it made sense to go, he ultimately made the decision to show up. He didn’t walk away with the Lady Gaga job, but he met someone who enabled him to get a gig touring with Atlantic Recording artist Cody Simpson. Dixon toured with Simpson for a year and a half, not only performing but also as his musical director. The experience landed him appearances on Ellen, The Today Show, and more.
In 2009, MTV held a nationwide casting call for Diddy’s reality show, Making His Show, about the mogul’s desire to assemble a touring unit for the release of his album Press Play. “When I got there, there were thousands and thousands of people from different cities on line in front of me,” said Dixon.
He admits that if he hadn’t seen a friend on line who encouraged him to stay, he may have decided the experience wasn’t worth the wait. Stepping out on faith, Dixon auditioned and ended up going all the way to the end. He didn’t make the band, but Dixon is grateful for the time he spent watching Diddy in action. “Everyone has their opinion of Diddy, but there’s no denying that he’s an inspiration. He’s young and he’s a hustler and I got the chance to work with him,” Dixon said.
Talent Isn’t Enough
From his experience with Diddy to touring with major artists to making music for stars, Dixon is certain that talent isn’t the only thing that matters. “Having a gift or being talented, sometimes we just rely on that. But there are certain qualities you’ll need to get you to the next level in your career,” he says.
Dixon likens this to playing for the NBA. “You may be a great player in college but there are certain disciplines you’ll need to have to make it in the NBA. The game is more than just putting the ball in the hoop.”
For Dixon this means knowing how to interact with various personality types, how to work professionally, and knowing when to party and when to stay focused. As a touring drummer, he knows that a major aspect of success stems from what you do off the stage. “In 24 hours in a day, you’re only on stage for, at most, an hour. What are you like for the rest of the 23 hours?” According to Dixon, in the music business connections are important. Who you know and who likes you are bricks paving the way to success.
“The thing about the music business is that there are no set rules. You have to remember that this is what you signed up for, stay in there and don’t be one of the people who drop off,” Dixon said.
While he acknowledges that YouTube and other platforms make the industry a lot more competitive, he contends that those who remain in the game will find the hidden windows and doors that open to the dreams beyond. Whatever else you do with your career, Dixon encourages those coming after him to do their research (i.e. who to work with, should you submit music to an established artist like Beyoncé or be the sound behind a new artist bursting onto the scene?) and take chances.
This ain’t your grandma’s music industry anymore — nor your mother’s, for that matter. The music industry has changed so much it is nearly unrecognizable when compared with the one that existed just 20 years ago.
Music industry analyst Mark Mulligan recently examined the industry and explains things aren’t as bad as they appear. He found the since 2000, overall global music revenues have declined just three percent, so not exactly a cataclysm, reports Business Insider.
Technology has totally altered the business. As people are turning to downloads and electronically passing around music, artists and their labels aren’t selling as many albums as they used to. Actual recorded music is now just 36 percent of the industry’s revenue stream. More money is being made from shows that product sales.
To that end, revenue from tours has grown 60 percent since 2000. And as such, record companies want a bigger cut. Industry heads have adjusted deal terms with their artists so that, since 2000, they get a larger share of the live proceeds. Because of this shift, artist income in general has been dropping for five consecutive years, according to Mulligan.
Labels now commit artists to “360 deals” that give them control over everything artists do. Prior to this, artists could take home a sizable chunk of money from performing live, nearly leaving out the record companies.
Expect more changes, says Mulligan. “Expect every traditional element of the industry to be challenged to its core, expect dots to be joined and old models to be broken,” he writes. “But be in no doubt that what we will end up with will be an industry set up for success in the digital era.”
And this new state of things shows no signs of changing. “More hours of music are being streamed than ever before, and more people are paying monthly subscriptions to streaming services than ever before. (Spotify alone claims 10 million paid subscribers.),” reports Salon. And while industry veterans used to fear the digital takeover, digital is proving to be the industry’s savior. According to agent and music industry insider Marc Geiger, in less than a decade there could be 500 million people using streaming services worldwide and this could mean a total global revenue of $72 billion on the low end. Again, the winners are the labels, not the artists.
“They are generating hundreds of millions of dollars in revenue just from licensing, with no need to pay for distribution or manufacturing. Spotify alone is reported to have paid $100 million to the three major labels to license their catalogs,” reports Salon.
Sometimes entrepreneurialism is planned. Sometimes it’s accidental. And sometimes it comes out of necessity. For Gwendolyn Quinn, cutbacks and a shift in the music business prompted her to launch her own marketing firm, GQ Media & Public Relations, Inc. (now Gwendolyn Quinn) in 2001, opening shop officially in 2002.
Despite the changes in the industry, Quinn wasn’t about to toss away her more than 25 years of experience in media and public relations. At Arista Records, she’d worked for Clive Davis as senior director of publicity beginning in1997. While there, she led campaigns for Aretha Franklin, Whitney Houston, Monica, Deborah Cox and Prince, among others. She also created and launched media campaigns for Bad Boy Entertainment/Arista joint venture artists, including Diddy, Notorious B.I.G., Faith Evans, and Mase. In addition, she handled media for a variety of artists with LaFace/Arista, then headed by Antonio “LA” Reid and had experience at Flavor Unit Entertainment, Mercury/PolyGram, and ASCAP
Today Quinn continues to work with legends. Her indie firm works with such greats as Aretha Franklin and Chaka Khan.
Quinn also formed the African-American Public Relations Collective (AAPRC) in 2001 as a way to fill the gap in the networking potential among African-American public relations and media specialists. The AAPRC is an international organization of more than 1,000 public relations and communications specialists that offers professional support.
Quinn next launched The AAPRC Monthly (now titled Global Communicator) in February 2004, an e-publication for African-American public relations, marketing professionals. Global Communicator has interviewed notable figures like media mogul Cathy Hughes, CNN’s Soledad O’Brien and ABC’s Robin Roberts.
Now she’s moving into television, having discovered an affinity for creative writing. Next stop: broadcast.
MadameNoire: What led you to create your own company?
Gwendolyn Quinn: Well I left Arista when Clive Davis departed to start a new record label, J Records. It was 2000. I accepted an offer at Capital Records as VP of urban publicity, then 9/11 happened. Capital took that as a time to close their New York office. It was the beginning of a major shift in the record business. But I was still under contract with Capital so I was able to start my own company in 2001 and opened the doors in 2002.
MN: Was it difficult to go from working at a major corporation to running your own company?
GQ: It was very difficult. I was really happy coming to my office at Arista, working then turning off the lights and going home. I had a really cushy situation there, a large expense account, I did lots of traveling. So then venturing out to do everything on my own was hard. I did it out of necessity. And there were so many days I said to myself, “I am going to look for a job.” I must have said that to myself for two years, but I never actually looked for a job or even put together my resume. I realized the music industry had changed. It wasn’t like before when I was out of a job I could land a new one right away. That was when record companies were actually selling records, and artists were going platinum. Now the industry has totally changed and companies have tightened their belts.
MN: Once you got started, you branched off into other ventures, such as AAPRC.
GQ: I saw a void and wanted to fill it. But this also made me realize that I could not pursue every vision. At one point I thought of venturing into providing PR to nonprofits. I did work with a few but this was a whole new skill set for me to learn. And I realized that I just did not have the time nor manpower to take this on. I never wanted to create a large company; I wanted a boutique agency where I could manage all the accounts and do a good job.
MN: You rebranded your company from GQ Media to Gwendolyn Quinn. Why?
GQ: Because I realized I didn’t just want to be limited as a publicist. While I decided not to expand my PR services into other areas, I did decide to use some of my untapped talent. After getting a creative producer credit on a Chaka Khan episode for Centric, Being: Chaka Khan, I realized this was something I loved doing–working in the TV arena, producing and creating content. So this is where my focus is heading.
… I have partnered with two groups of women to work on various projects. Many of the women are already in the TV industry. We will create content for scripted series, TV specials and docudramas.
MN: What are some of your goals?
GQ: I have a five to seven year plan to retire. I really want to be able to just take on projects that I have passion for. So I am really working toward this and venturing into the TV sector will allow me to do this sooner.
Welcome to our column, Reset. Written by Karen Taylor Bass, this column, published each Tuesday, is about life lessons learned and mastered mentally, spiritually, and physically and how they contribute to a successful life and career.
Let’s face it: there are many who have not mastered the art of networking. According to Webster’s Dictionary, networking is the act of building “a supportive system of sharing information and services among individuals and groups having a common interest.” Real talk, networking is working a room, staying in contact with people, and making memorable impressions where you are kept in mind for opportunities.
Upon her arrival to New York, from Flint, Michigan, Kelly Lynn Jackson landed internships through networking with major companies like RCA Records, EMI and Columbia Records, back in the music industry’s heydays.
Jackson worked at StepSon Entertainment, a record label created by marketing genius, Bill Stephney. His eclectic roster of clients has included reggae artist Buju Banton and comic/screenwriter Paul Mooney (who has written for Richard Pryor, Eddie Murphy, and a couple of Wayans brothers). Jackson credits StepSon with teaching her the entertainment business and the art of networking and reinventing. She saw firsthand the changes in the music industry with the rise of technology and music downloading, which has led to anemic sales and massive layoffs. Kelly Lynn Jackson among them.
“The music industry was not healthy in the early 2000s. I saw many people I admired lose jobs, homes, self, and had challenges finding jobs because they were not accepting the change. I had to do something and decided to go back to school and press reset,” she told us
I recently chatted with Jackson, now the supervising producer for SiriusXM’s Shade 45 show “Sway in the Morning,” about how she pressed RESET in her career.
Carolyn Malachi isn’t your average artist. The Grammy-nominated singer/songwriter has garnered a large following of fans (her tribe, as she affectionately refers to them) with a sound that merges jazz, hip-hop, R&B and spoken word. But that’s not the only reason Malachi, the great-granddaughter of jazz pianist John Malachi, is in her own lane. It’s the fact that the Washington D.C. native enjoys and truly understands the worlds of technology and social media.
Always looking for innovative ways to market her music, Malachi is the first known recording artist to accept Bitcoin payments for her music, giving more people access to her most recent album, Gold, and her catalog of music—a win-win situation for both the songstress, fans and the digital currency company. Her tech and social-savvy ways have led to Flipboard recognition, placing her in its Creator Spotlight section, making her the first African American to be spotlighted by the social magazine platform. She has an Argo Tea partnership that gave customers access to stream Malachi’s entire album from their homepage, as well as a free song download to its patrons through their social media page. And she has a collaboration with social commerce platform Shopcade, which gave a fan the opportunity to style her for the music video “All Right,” a summer appearance on “The Daily Buzz” and a live performance.
We could go on and on about Malachi’s tech know-how and sure her 20.8K Twitter followers could co-sign, but we spoke with the artist to see how she’s used technology to further her brand, why Bitcoin is her new currency of choice and which items she considers her favorite tech tools.
MadameNoire: What peaked your interest in technology and STEM overall?
Carolyn Malachi: The technology at our fingertips enhances our lives. While we know this, we also know very little about how it works. I see STEM as a way of empowering each of us with the skill to engineer real-time solutions to real-time issues.
MN: The music industry has changed tremendously due to technology. Whereas some have chosen to work against the change, you’ve completely embraced it. Why is that?
CM: Consider the first printed sheet music. Think of vinyl records, cassettes, CDs, MP3s — each of these technological developments, while giving the music consumer greater access to the music they loved, also had an economic impact on the music creators. Embracing technology has kept me ahead of the curve. History says that technology will always be with the people. That is where I choose to be.
MN: One platform you seem to be quite fond of is Bitcoin. How have you used Bitcoin? What does it offer you as an entrepreneur and artist?
CM: I began accepting Bitcoin for music sales in October 2013. Because no bank or government regulates the cryptocurrency, I can sell my CDs to people who live in countries where traditional forms of payment are not accepted. When I see that songs like “Beautiful Dreamer” and “Free Your Mind” have reached people around the world, in physical CD format, I smile.
MN: What are your favorite tech tools/gadgets?
CM: Creative collaborations require frequent communication. WhatsApp meets my mobile messaging needs. I have many, domestic and abroad.
I have yet to meet a studio microphone that picks up the extreme lows and highs of my voice with the clarity and warmth of the Manley Reference Cardioid Microphone (the Aston Martin of studio mics). I need a live-performance mic with the same capability.
Coinbase is a digital wallet. I use it to accept Bitcoin for music sales.
MN: How has tech allowed you to take your brand to the next level?
CM: Well, a brand can only thrive if the real product is in top shape. Trying new tech, then adopting the tech that works for me, enhances my creative process. It reinforces the value of trial-and-error. Knowing what works is just as important as knowing what does not. That awareness keeps the music authentic.
MN: What’s next for you? Any announcements we should be on the lookout for?
CM: Absolutely! The NCAA invited me to sing the national anthem at the 2014 Women’s Final Four in Nashville. Playing college basketball at Shepherd University gave me the foundation for a successful music career. Still with me are the values I learned as a student athlete: teamwork, precision, endurance, and vision. It is nice to see things come full circle.
Based in New York City, Janel Martinez is a multimedia journalist who covers technology and entrepreneurship. She is the founder of “Ain’t I Latina?” an online destination geared toward Afro-Latinas. You can follow her up-to-the-minute musings on Twitter @janelmwrites.
Awards shows are prime breeding grounds for artists to stand out and what better way to do this then through fashion, meme-able speeches, and explosive performances. We live in a time where it’s a bit passé to plug your latest project outright at an event. But the bolder your twerking or aerial tricks, the more off-the-cuff and viral your antics (whether intentional or unintentional), the more popular and marketable you are apt to become.
Whether an artist performs, presents, or just sits in the audience, being a part of the show — any awards show — is crucial to their brand. Leave it to directors to pan to reaction faces and the Internet will light up with “Oh No She Didn’t’s!” and “Oh Yes He Did’s!” Cue the rapid-fire search results and GIF attacks. Taylor Swift, as usual, was the subject of another awards ceremony viral sensation — or rather a few — courtesy of her “I thought I won” gaffe and hyped up dance moves. This further solidified her image as the semi-awkward ,“oh-em-gee” girl we have come to know since Kanye speech-bombed her during the 2009 MTV Video Music Awards. Even though Taylor didn’t win any awards at this Grammy event, she was winning on the Internet long after the evening’s entertainment came to an end.
Esteemed rapper Kendrick Lamar also did not receive any Grammys this year and people were very upset. Even Macklemore, who won the “Best Rap Album” award along with his cohort Ryan Lewis, texted Kendrick to say that the golden gramophone should have been bestowed to him instead. For Kendrick, just being nominated for a Grammy and in the same category with Jay Z, Kanye West, and Drake is an accomplishment. But Lamar may have proved himself in a more significant matter, as his collaboration with Imagine Dragons was dubbed the most talked about and one of the best performances of the night. Without a Grammy everyone is talking about Lamar now, his recognition has advanced, and with his brief, yet effective Grammy mashup, the marketability of his next album and future tour dates will double.
Besides GIF-worthy moments, there are the over-the-top performances. Katy Perry took to the Grammy stage with dancing horses, pyrotechnics, a black and red cross emblazoned over her chest, and a witch’s broom/stripper pole for her song “Dark Horse.” She says this performance is a preview of what audiences should expect on her upcoming Prismatic world tour, of which tickets for the North American dates are now available and selling out.
With Katy Perry in mind, there’s the paradox of Kacey Musgraves, who truly was a dark horse of the awards. Her seemingly demure presentation (check out the lyrics) followed Lamar and Imagine Dragons. After what looked like a ridiculous error on the part of the Grammy show producers, Musgraves had the last laugh after snatching a Grammy for Best Country Album. Now she is known as the girl who either beat out or is the next Taylor Swift. Her shiny new Grammy coupled with a spot on Katy Perry’s 2014 world tour bill is going to propel Musgraves’ status in the music industry.
In retrospect, don’t cry for the singers and songwriters who don’t pick up Grammy awards or whose performances may err on the side of lackluster. Everyone is a winner these days. There are so many chances to pick up fans, gain relevancy, and give people a chance to talk about you. The music and the image are both a part of the whole package of a music artist. And at the Grammys, just showing up and being seen has proven to be one of the best marketing opportunities for today’s stars.
Drake — aka Aubrey Graham — was an actor first, as Jimmy Brooks, the TV character disabled after a horrific school shooting. However, Aubrey had ambitions well beyond the hallways of a fictional Degrassi High.
Now past the famous “sophomore slump” period, Drake can manage his career his way. Black and Jewish, of Toronto provenance, with success as a child star on Canadian television… these ingredients normally do not mix to produce a flourishing recording artist. But, let’s face it, we love Drake’s brand of sensitive and we want more!
With his recently released album, Nothing Was The Same, collaborations with equally talented artists such as Jhene Aiko, Jay Z, and Big Sean, and his first hosting and performing debut on Saturday Night Live this past weekend, Drake is at a pivotal stage in his career where he can continue to benefit by expanding beyond his particular brand of “emo rap.” Here’s how:
Get back into acting
If you haven’t seen Drake’s first turn at hosting and performing on Saturday Night Live, you are missing out. Drake reminded us that he was once just Aubrey Graham, a young kid who auditioned while high on marijuana for a children’s television show. Edgy with the ability to show consideration for other’s feelings, Drake could go the way of Kid Cudi and star in a cable television show or take up meetings with buzzed-about independent directors and producers like Justin Simien or Ryan Coogler and audition for roles. After all, he did mention late last year that he’s “dying to get back into acting.” His debut on Saturday Night Live this year proves that the man is ready and able.
Try delving into other art forms
Sure, Drake has been featured in commercials for Sprite and Kodak, showing his business and marketing smarts. But he doesn’t have to simply hawk other products. He could choose to work with innovative leaders within the worlds of theater, photography, or other art forms where he has an interest and shows equal talent.
Open up his collaboration pool
Drake has enough experience and flair to help others in his position, which he is clearly doing by working with R&B soul singer Jhene Aiko. Drake may be inching towards the “Hippie R&B” genre in music, which was christened in 2013. If this is the case, Drake should look into other artists who could only profit from his seal of approval both in business and virtuosity, like FKA Twigs and Toro Y Moi.
As Drake’s popularity continues to increase, he should consider the footprints he could leave behind in the technological universe. Drake can explore the options to smartly invest in a commercial music streaming service or the next big music mobile app.
Lay low during non-traditional times
If he is to “expand the Drake brand,” he should definitely be strategic with his publicist. The public has long become savvy to the tricks of the entertainment game. When a new album or tour is on the horizon, controversy and other stunts suddenly appear in the tabloids. Drake can remain relevant, profound, distinctive, and on the beat of his own drum without being so obvious. Pull a Beyoncé and put out a secret mixtape without any warning. Refrain from getting caught up in romantic drama. He can let the work — and his reputation — speak for itself, and grow all the while.
Drake is a talented performer and he has the power to construct his art in new and original ways. Now that “emo-rap” is a credible music genre with Drake as one of its forefathers, he can take it any way his brand and skills allow. Expanding the “sensitive Drake” brand will require courage, further planning, and teamwork with unlikely partners to create what he could be without abandoning his core trademark.
The 13-week 2014 “Flavor Battle” competition, launched by McDonald’s USA, will come to a close Wednesday as three disc jockeys battle for $10,000 and DJ supremacy at Windmill Studios in Brooklyn, N.Y.
The competition finale, which will air February 13 on FlavorBattle.com, will be hosted by DJ Funkmaster Flex. “Flavor Battle,” which kicked off in November, began with 12 up-and-coming DJ’s who were chosen based on their social media following. Each artist represented a U.S. region and one of McDonald’s new Quarter Pounders: Bacon & Cheese Quarter Pounder, Bacon Habanero Ranch Quarter Pounder and the Deluxe Quarter Pounder. Consumers were invited to the website to listen to tracks from each artist and vote for their favorite mix-master.
Three DJs are left standing: DJ R-Tistic of Los Angeles, Niena Drake of Chicago, and DJ Erika B of Newport News, Va. The remaining contestants will now battle it out in front of celebrity judges Spinderella, Just Blaze, DJ Clue and DeeJay Element. Ultimately, one DJ will be crowned the Flavor Battle champion and win $10,000 and $1,000 in McDonald’s Arch Cards.
The DJs already have plans to invest in their equipment should they win. “I would buy a computer,” Niena Drake told MN Business. “My goal is to also be a philanthropists for the arts,” she added, saying she would use a portion of the money to launch a nonprofit for aspiring artists. DJ Erika B also talked about giving back to her community.
DJ’ing has become more popular over recent years, so for these finalists, this competition is also chance to build a platform for themselves in an increasingly crowded field.
“DJ’ing has extended beyond hip hop,” said DJ R-Tistic. “It’s the headliner. It’s where some of the biggest stars are.”
“Technology has made DJ’ing more easily accessible,” adds Niena Drake. “The talent is going to prevail over what someone wants to do for a hobby. This is my life.”
Still, this is an area of music that’s male-dominated. For the women, there are hurdles to overcome.
“I hear jokes,” said Erika B, “but it’s not necessarily harder. Based on the audience, I change the approach. I may incorporate an actual performance rather than just standing there.”
“I get a lot of comments. But I walk tall and strong in what’s assumed to be a man’s job,” adds Niena Drake. “I still wear my heels and perform in dresses… It’s not helping because I’m a woman. It’s harder because of the assumptions.”
The contest has been a lot of work for all three finalists, but worth it.
“It’s been stressful but rewarding,” said DJ R-Tistic.
“To represent your city for a competition like this has been an honor,” Niena Drake chimed in.
As the saying goes, not all that glitters is gold – especially when it comes to contracts in the entertainment industry. Though many celebrities have inked deals that are making them millions, plenty have gotten the short end of the stick by signing what’s often referred to as “slave contracts.” Here are 15 stars who’ve signed bad record deals.
This is how a group can sell 10 million records and be broke: They sign a slave contract that not only pays their management too large a cut of their money, but also requires that they foot the bill for every one of their expenses and retain little ownership of what they produce. Pebbles may be alleging that the women of TLC were heavy spenders, but she can’t seem to explain away the fact that each member only took home about $35,000 a year – at the height of their careers.
“When You Separate Us By Gender, It Puts Female Rappers In A Box”: Rapsody On The Female MC’s Identity
It is often said real hip-hop is dead because the musical genre has gone mainstream. With this notion in mind, MadameNoire got the chance to interview Rapsody, who was featured on BET’s Hip Hop Awards cypher and Pepsi’s “Who’s Next” Artist To Watch. Not only is she a breath of fresh air but she revives a hip-hop generation who has forgotten its roots. Found and signed by legendary producer 9th Wonder, Rapsody offers up the edge of Lauryn Hill and realness of Lil Kim with her staccato bars.
The North Carolina native, brings people inside a world where millennial women voice their opinions on sex, love and politics with no apologies. Her resume that includes work with the likes of Kenderick Lamar, Erykah Badu and Big K.R.I.T to name a few. Whether it was her thoughts on how to make in the music industry, how to connect with fans or her morning ritual of searching the internet for new artists to collaborate with, Rapsody spoke with humility and raw honesty.
How She Entered The Music Business
I got my official start around 2008 through signing with 9th wonder. I met him in 2005 through friends and from that meeting, we kept in touch and I was eventually signed. I released my first solo project , Return Of The B-Girl, in 2010 and from then to now I have six projects. Because of that meeting, I began my initial introduction to the world as Rapsody.
What Does It Take To Make Money In The Industry
The best way to make money in the industry is to tour. The beauty of touring is, a fan will be able to experience the music and connect with the artist. Because of tours, fans will be able to understand the music they believe in, especially if it is a powerful fan base. They will follow you ’till the end of the earth. After the tour experience fans will trust anything you put out because they have a better sense of who you are. The other creative ways to increase your finances as an artist, is to create mixtapes instead of albums. Though, mixtapes may not tell your story the way albums do. Also artists can pave a retail avenue by designing their own merchandise. That is the beauty of the internet, you are able to be creative and your own boss- cut out the middle man. Whereas, in the past you needed approval from the record label before you did anything. In present times, there are more opportunities to connect with your fans from a business standpoint.
I never entered the industry feeling like, “Oh I am woman, they will treat me differently.” The way I see it, everyone needs to read their contracts and find a lawyer. It is important to make smart business decisions. No matter your color or gender, once you are a dope artist you have the potential to make money. You will always meet people who will want to take advantage of you, so you have to be protect yourself with the moves you make.
On Rebranding the Female MC’s identity in hip hop
Honestly I do not like the term “female MC” because I hate to be put in a box. I don’t look at labels. I believe you are either dope or you’re not. I think that is what matters the most. We need to cut the term and view female MCs as artists. To re-brand the image, I suggest we focus on whether female rappers can rhyme or not. Do we make dope albums? So people will not say, “I really like these female MCs.” Instead it will be, “I like Rapsody, I like Nicki just like I like Kenderick.” When you separate us by gender, it puts female rappers in a box. Then people only expect women to rap about certain things or achieve a certain level of success.