Mind Of A Lunatic

Visit www.livemycode.com

2010-09-01T12:05:00.000-07:00

FOR MORE INFO ON THADD WILLIAMS VISIT HIS NEW SITE WWW.LIVEMYCODE.COM
FOLLOW HIM ON TWITTER & FACEBOOK AT TWITTER/THADDWILLIAMSSC, FACEBOOK/THADDWILLIAMS

Pharell -Fun Fun Fun

2010-06-28T08:59:00.000-07:00

Download
http://usershare.net/yxh8qg93y7zb

Young Jeezy "Lose My Mind ( Remix)"

2010-06-28T07:22:00.000-07:00

If you checked out the BET Awards, then you saw this version of the song performed for the first time. So definitely check out this version. TM103 coming very soon!!!!!!!!

Young Jeezy
"Lose My Mind (Remix)"
Ft. Drake

Download:
Young Jeezy ft. Drake - Lose My Mind (Remix)

Consistency

2009-12-15T10:03:00.000-08:00

Just as you need creativity in music, you need that much creativity in marketing your music. So you have recorded the hottest music not heard thus far (so you think) what next? Well you need to make the world know that music is out there for consumption. I’m not talking about posting 500 bulletins on MySpace, and face book. I’m talking interviews, song posts, mixtapes, ads, giving free merchandise.
I know the world is in a recession, that means there aren’t that many jobs and money out there for the common folk, but hell whether we got 100 dollars or 5 we buy music. We might buy your single, and bootleg the cd, but we gonna get something. You can stop stalking the DJ, cause he not going to support you right now. Everyone who is comfortable in the game wants to stay that way so why gamble. So what do you do? Well you don’t start a stupid beef before your album drops, because it’s been done a million times, and after a while no one really cares. Take 50, and Ross we know this is a stunt, but 50 is entertaining so we indulge. This may work for the two, but you; you’ll be done before you put out the record. Instead invest your money, print up some flyers, posters, buy some eblasts, and build with some sites. Buy ad space on websites, and promote the hell out of your project. Who cares if it sucks? Half the music out sucks right now anyway so you’ll be right in with the rest. Two things will happen you’ll gain fans, or you won’t. If it’s decent, and you put in the right energy I’m sure it will be a success. Consistency: stay consistent with what you are doing. Stay relevant, stay out there. Your name has to always be attached to as many things as possible. This goes for all you managers and PR people, if you have an artist that isn’t taking an interest in promoting themselves, because he thinks it’s your job. Please leave that scum as fast as possible. It’s not only the PR, Promotions Company, or mangers job to gain you exposure it’s yours as well. If you aren’t actively involved with your own career I have a contract right here you can sign. All it requires is you pay me 50,000 up front, no royalties, and I get to stick this broomstick where it hurts, because you’re screwing yourself anyway. Don’t just throw some flyers out for a week, you gotta do it every week for 6 months, you gotta call OZONE Mag until someone listens to your damn CD, Email the piss out of DJs until they report you for spam, or play the record. No one works for free; you want people to buy your music so pay people to do their jobs. You need a street team pay for one $100, for every 5,000 flyers that’s worth it.
Cmon people our President is black, lambos aren’t blue, but who will notice…….

5 Predictions for the Music Industry in 2010

December 25th, 2009 | by Nick Crocker18 Comments
184Share

digital music imageNick Crocker is MD of Native Digital and co-founder of We Are Hunted.

It seems as though the first era of digital music may have come to an end. Napster died, P2P lived in some black market twilight zone, streaming services on ad-supported revenue were suffocated by unsustainably high licensing fees, and subscription services sputtered along, never quite capturing the imaginations of music fans. 2009 ended in a flurry of acquisitions (LaLa, iLike (Ilike)), launches (Vevo) and shutdowns (iMeem (imeem)), which dramatically rearranged the digital music landscape. When the dust finally settles, expect digital music to begin anew.

With that in mind, here are my five predictions for music in 2010.

1. Labels Will Get Smart

It’s been coming for more than a decade, but major labels are starting to grasp the digital opportunity. They’re licensing music on more sustainable terms, diversifying their business model, investing in new technology and, most critically, understanding more than ever what it means to be truly consumer-led.

As market leaders, major labels have the resources and the networks to profit most from the changes currently taking place. The move from physical to digital hasn’t been as fast as many people might have wished, but that’s because digital still doesn’t pay like physical does.

CDs, when they sell well, still mean big money. Digital isn’t like that. But that’s changing, and as major labels have shrunk, their capacity for change has increased. Expect 2010 to be the year that the bad press on the major labels starts becoming more favorable.

The promises of the digital age — deeper understanding of the music consumer, integrated ticketing and merchandise, direct-to-consumer sales, and fans as marketing teams — are all about to become a reality, and major labels will lead the charge.
2. Physical CD Sales Will Continue to Decline

decline image

To ensure at least one of my predictions comes true, I’m going to forecast that globally, sales of physical CDs will decline in 2010. That’s one thing you can definitely count on.
3. Release Strategies Will Evolve

The traditional model of building buzz through radio singles followed by a carefully timed album launch will still be the norm for commercial pop music. But at the edges, we’re going to start seeing a new model for releasing music that’s more attuned to the diverse community of music consumers.

The new model, pioneered by Topspin Media, will be the multi-tiered, staggered release. Artists will offer free, full streams and selected downloads early to the curious and the devoted, building their fanbase as they grow. Traditional release schedules will follow, in tandem with more innovative products, at more diverse prices, to more accurately segmented groups of fans.

Rather than just a plastic CD, we’ll start seeing multiple tiers of music product: free streams and low quality mp3s, simple digital and physical packages, enhanced audio and packaging on digital and physical releases, and then levels of premium products including vinyl, merchandise, and increased access to the artist.

We still think of music in its physical form as a CD on the shelf. Increasingly, we’re going to understand it as a suite of music products — T-Shirts, mugs, books, framed art, signed lyric sheets, USBs, and once-in-a-lifetime music experiences.
4. Music Will Live Legitimately in the Cloud

music cloud image

It’s been talked about for a number of years, but 2010 could be the year we start thinking of music less as a finite product and more as an infinite, on-demand reservoir to be accessed at any time for a fee.

This process will roll out in tandem with the evolution of music “products.” Even if music is universally accessible, it’s still key to people’s idenity. We still need something to put on a coffee table, something to pass to friends, something to put under the Christmas tree and something to signal to the world that “this music is part of me and I want you to know it.”

iTunes, as ever, is in the driver’s seat to make the most of this change. Its acquisition of LaLa could see them own the streaming market as it currently owns digital music.

Spotify’s buzz seems to have cooled, but it’s still the best-placed streaming service to take advantage of the cloud’s potential.

Grooveshark’s growth, if it continues, is going to make it a serious player in the streaming game.

MySpace (MySpace), with iMeem and iLike in its back pocket may also consolidate its place in the land of the streaming.

And finally, Google (Google) –- who owns the bridge over the moat, digitally speaking –- could pull the rug from everyone and facilitate properly integrated music streaming into its search platform.

Whoever emerges at the front of this pack will be in new territory, providing access to the world’s music, anytime, anywhere on any device.
5. Who Knows?

There’s some as-yet untested consumer models building momentum.

Guvera is promising the world, not just to the music industry, but to advertisers as well. Whether consumers buy into its advertisement for content exchange remains to be seen.

Rdio, with serious pedigree and some big money backing it, hasn’t poked its head up completely yet, but you can be assured that whatever it offers isn’t going to be lightweight.

Lost in all the buzz is the fact that some legacy digital music companies — Last.FM (Last.fm), Pandora (Pandora) and MySpace to name a few — still have the established brands, the existing customer base, and the revenue streams that preserve their lives beyond the froth of the tech/music blogosphere.

And of course, there’s Facebook (Facebook). The biggest country in the world (or soon to be), Facebook and music have always been awkward bedfellows. If Zuckerberg and Co. can figure a way to integrate music with the Facebook platform, the existing user base would guarantee a big chunk of the market overnight.

It all adds up to create a big void of uncertainty, one that will be filled in the way the web knows best — by its end-users. What those end-users decide they love will ultimately determine the winners and losers in the digital music economy. As a passionate music fan, I can’t wait for the competition to heat up. For those on the digital frontier, music really is better than it’s ever been.

Perseverance

2009-12-15T09:54:00.000-08:00

Perseverance: per⋅se⋅vere
1. To persist in anything undertaken; maintain a purpose in spite of difficulty, obstacles, or discouragement; continue steadfastly.

2. To persist in speech, interrogation, argument, etc.; insist.

I know the journals aren’t coming like they used to, I apologize I’m getting my hand in a lot of other things to help artists make it in this industry, not to mention my own road blocks that pop up. Thanks for all the emails I’ve been getting of people wanting more. I almost stopped, for a moment I wasn’t sure if I was really getting in touch with the artists that needed to hear what I was saying. It didn’t seem like they were actually listening. Until last week when an artist hit me up asking why I hadn’t written anything, and that the advice really helped them in their journey. Then another email came from a DJ turned A&R for a major label. That said he waits for my journals and that all artists should read it. So it got me thinking. Any goal you have in life is going to be filled with obstacles; it’s going to be filled with habitual haterz that want nothing more than to see you fail. You have to persevere through the daily bull that you will go through. When you trying to get your record into the DJ’s hands, and they blow you off or act like they don’t have time. You have to swallow your pride keep it professional, and try again later. Keep in mind your goal. When you sending your records to websites for adds, and they don’t get back. Don’t write a fucked up email saying that their site isn’t better than so, and so. Just keep sending your tracks, maybe call, but keep your head. When it’s 20 below outside, and you trying to sell your CD’s, and people are walking right past you like you aren’t there. Don’t give up. Try the next person that comes by. If you aren’t out there every day or every week grinding it out. No one will notice you. You have to become bigger than the adversity that you are faced with. Accept that it will be there, and maneuver past it. That DJ you handed your record to isn’t going to just play your record because you gave him a copy. Go to the club shake his hand, buy him a drink every week until he knows your name, and that you are serious about playing that record. Get out meet your potential fans, hand them a CD every day, and eventually they will become fans as they see you grow. Don’t let anything stop you if this is what you want. Step outside your shell of a world, and stop being scared to reach for your success. It isn’t handed to you, it’s earned. Forget about the industry; do you, and enjoy making music. This is for anyone in the industry not just artists. Do what you do, and don’t let anyone keep you from your goal. Know your worth; don’t short change yourself just for the sake of other people. Everyone has their hand out, but no one is trying to pay for the services they need. Stand by the belief you have in yourself, that you can get the job done, and it’s worth whatever price is asked.

Digital Distribution for Indie Artists

2009-11-13T16:15:00.000-08:00

UMG Launches New Portals Aimed At Unsigned Artists
November 11, 2009

By Antony Bruno, Denver

Three Universal Music Group labels today launched new Web portals designed to provide extended digital distribution and marketing support for unsigned artists.

The newly launched sites are powered by TuneCore's technology under a deal between the company and UMG announced back in July. The agreement allows UMG to resell TuneCore's digital distribution services to unsigned artists, as well as offer them additional marketing and production support, in order to let the label monitor their performance more closely with the intent of signing acts that show promise.

Universal Motown Republic Group launched two sites under the initiative: unimodigitaldistribution.com and republicdd.com. Island Def Jam Music Group unveiled idjfirstlook.com, while Interscope/Geffen/A&M launched interscopedigitaldistribution.com.

TuneCore's system places music on such digital retail stores as iTunes, Amazon.com, Rhapsody, eMusic, Napster and others.

New Artist Alert: Transfers

2009-10-29T20:09:00.000-07:00

The group Transfers consist of 3 men all from the same College Institution (Winthrop University). Before the Transfers came to be, there was the group, Transfer Kidz, which consisted of Jonathan Scott a.k.a “j. scott” and Stephen Williams a.k.a “Steve Willie”. Transfer Kidz was formed when the two friends moved in together and jokingly, to put created their first track. The positive feed back from it led to decision to do another, and ultimately complete a whole album. Steve Willie, Spartanburg, SC, embodies prestigious lyrical content and also has charisma like no other. j. scott, a Sumter, SC native, brings the animation, live personality, and the catchy lyrics to the group. Throughout the creation of their self-titled album, Transfer Kidz, they featured an artist (Drumma SC) on the album that would help create one of the most popular tracks on the album, called “Gold Boots & Crown”. Proceeding the success of that track, the trio decided to bring together there talents and form what is now known as the TRANSFERS (J. Little, J. Scott, S. Williams). James “Moe” Little, Cheraw, SC, embodies not only the Carolinas but the entire south. Formerly known as ½ of the duo Carolina BoiZ, Drumma SC brings his country swag & witty lyrical content to complete the final piece to the now known group.The name Transfers has a double meaning, the first one is the fact that all 3 of them transferred to Winthrop University from other schools and the second meaning is that they can transfer from track to track easily, no matter what kind of beat you put in. Read the rest of their bio and get more info
TRANSFERS
(803) 795-7815
(843) 287-2117
transfersmusic@gmail.com
myspace.com/transfersmusic
youtube.com/transferstv

Hate Hate Hate

2009-10-13T11:04:00.001-07:00

Hate Hate Hate

What makes a person Hate? Are we born with it? Is it a learned behavior? Is it an emotional reaction to the different events in our lives? Is it enjoyable? And now the final question! Why is it easier for some artists, labels, states, and companies to get along, and others its not? Take ATL why is it that they have figured out the art of cross promotion, and accepted the fact that there is enough money in the world for them all to eat. Why is it that they look at every feature, every collab as an opportunity to capitalize on a new fan base, while most artists shy away from it in fear of being shown up. States like FLA choose to instead help each other reach the goal of making their state a complete movement. Everyone is wrapped up in trying to be the one to put the state on. When in reality you get no special bonus or incentive for actually doing that. Labels don't sit in meetings and say to each other “ Ok this is a good song, but he wasn't the first out his state so we can't back him” If anything they say man “ They have 10 artists out this state and a strong movement going, let's see what we can do”. If you are walking around thinking that you're going to make it in this game without help, you are sadly mistaken.

Far too often I see artists, Dj’s etc….Pulling each other down to get to the top, but at some point you have to come down, and those people you pulled on your way up will be more than happy to crap on you as you descend. There is no need for unsigned, upcoming artists to beef from one state. Here is a news flash in case you didn't notice. YOUR ALL UNSIGNED, and not getting any real money. There is a reason why in some states the ones who make it never come back and lend a hand. Its called honesty, loyalty, and gratefulness. That's right something that is missing from today's game. The actual industry is already cutthroat enough, without having to fight with people in your own city that should be supporting you, and vice versa.

I heard that artists should be concerned with perfecting their own craft instead of collabing with artists, and using their buzz…That's the stupidest thing I've ever heard. That is business first of all. Every artist on every level does it…They create great songs together, and it helps them get better, because they put effort into the collaboration to not sound like the week link, and you open up to a new fan base. No one wants to see the next man succeed….instead of focusing on how much pub the next person is getting create a network to properly break artists in your state. Gather key people and resources. The industry can't hear one person screaming, but if you scream in Unison you have a better chance of being heard. Try this world….

Instead of asking “what can you do for me; ask what I can do for you?”

The Mic Fiend
visit www.micfiendmusic.com

follow me on www.twitter.com/micfiend

follow www.twitter.com/thaddwilliamssc

Download the new single Ridin Hard on www.micfiendmusic.com

logon to www.blogtalkradio.com/famousradio and listen to Micfiend Radio every thurs 630-8

New rules for the Music Industry

2009-10-12T15:42:00.001-07:00

The music industry in general has been slow in playing catch up to the tools of new media. While record labels and publishers are still fighting to maintain ownership of their properties, there's a whole new world of new media elite who are working to find tools to empower musicians and to build a bridge between the new media and the old media.

Whether it's putting music online for free, working to build an online community, or simply starting a dialogue, the folks seeking out answers are quickly replacing the stagnant ways of old media.

I decided to check out the New Music Seminar in New York City this week to find out just how musicians are becoming empowered.

The mastermind behind the conference, Tom Silverman, founder of Tommy Boy Entertainment, started the New Music Seminar in 1980, to discuss the future of the business then.
He founded the conference to reach out to a industry that was historically resistant to change. It served as a forum for young entrepreneurs to launch their businesses and make connections, and it became a model for new conferences like South by Southwest.

Since 2000, music revenues have been steadily decreasing. By next year, for the first time ever, digital revenues are expected to exceed physical sales. By 2013, the breakdown will be 80% digital and 20% physical.

"Change will not come if we wait for a record company," said Silverman. "We are the ones we've been waiting for." The conference aims to teach artists how to make more money and less mistakes. Whether you want to be an artist, promoter, manager, or entrepreneur, here are the new rules to make it in the business:

* The future is DIY. Learn how to use affordable tools, but remember it's not all about the tools. It's about your craft. Software won't solve all of your problems.
* The best marketing is informed by art, not art that you try and inform. You can't create a viral video; that all depends on the audience. But you can create awareness.
* If you're an artist, don't borrow money. You can only maintain creative control by maintaining financial control. The opposite applies if you're on the entrepreneurial side. Tim Westergren, founder of Pandora, maxed out a dozen credit cards and owed money to everyone he knew before getting his project off the ground. The best advice he ever received was from his wife: "Don't be self-conscious about being an entrepreneur."
* There are a ton of places online to sell your music: Amazon, MySpace, iTunes, and TuneCore for starters. But don't underestimate the power of giving away your music for free. Lil Wayne gave his music away for over a year before releasing his album. He worked first to build a connection with his fanbase before asking for any money.
* Fans are the new record label. The business now all depends on the relationship between an artist and their fans, most importantly the uber fans, the ones who buy all the merchandise, go to all the shows, and spread the word about their favorite bands.
* The key to staying in touch with your fans is through e-mail, the most important data you'll ever collect. Have a sign-up sheet at every show. Have your audience text their e-mails to a road manager's cell at the end of every show and promise to personally stay in touch. Then you'll have both e-mails and area codes. Build an online community by blasting out webcasts, photoshoots, interviews, and even live streaming concerts.
* Engage with fans in a meaningful way, nothing forced or fake. We the Kings launched a weekly webisode series, The Kings Carriage, that has collected over 300 million views. They sold 100,000 albums even before the music was on iTunes.
* It's dangerous for an artist to spend time on things that aren't artistic. Build a management team to take care of the tools, marketing, and technology. If you're just starting out, enlist a college music lover to build your brand.
* Sign any deal as long as it's short-term if it's going to get you noticed. Otherwise you're not going to be on the radar.
* Start local, start tribal. The best band success stories come out of a music scene. The Internet has allowed for tribes to become bigger and bigger. Connect with similar bands doing similar music and go on tour with them. Build your own scene and work to break through together.

via:www.walletpop.com

Why Offer free Downloads

2009-10-08T10:19:00.000-07:00

February 28th, 2009 / No Comments » / by LeePritchard

Downloading concept for independent music First off, I know that the discussion of free downloads provokes strong opinion and varied reactions so feel free to have your say in the comments box.

You may not have heard a suggestion quite like the one you are about to read so please spend a few minutes to read the post in full and understand that this suggestion is with the intention of marketing independent bands and artists.

OK, you have your music playing on your website in a flash player that looks great. Visitors can hear your music but can’t download it. Is this good promotion?… Sorry, not in my opinion :(

Speaking for myself, being able to play your music but not download it is going to limit the attention I give to it. That’s not to say, I won’t listen to music through web browsers, but, I won’t bookmark them to go back and listen again. Personally, a track grows on me the more I listen to it and for this reason, I need to be able to download it to my Sansa Clip so that I can listen to it whilst on the move or during my downtime away from the computer.

Sure, if I have heard a mainstream act perform on TV, seen their chat show appearances, on ‘An Audience with…’ , on adverts and in the news, I am very likely to go and buy their downloads from my preferred music store (Amazon MP3).

It is about exposure, promotion and communication and the major record labels invest huge amounts into this so that we buy their artists’ music and merchandise. Independent bands, artists and labels can not do this!

The fact is you need your visitors to support you and your music. Why not interact with them and provide them with value so that they eventually become your loyal fan base?

OK, I know that people downloading music for free is a thorny issue. It does not help that there are many who would rip your audio from their browser using software or search for the track name on P2P sites rather than purchasing it. Furthermore, they add it to their shared files and continue to share it with others.

But, why can’t free music downloads be an opportunity to promote yourself? Why not have them contain adverts?… Your adverts! It is not a new concept; commercial radio stations have been doing it for years; this is just a variation of it.

You could actively encourage sharing of your album. This free version would contain a message at the end of every track. 5-10 seconds informing the listener that they can support you and how to go about it. For example:

* Thanks for listening to the free download, support us at mysite.com
* If you like our work, we are (band name), support us at mysite.com
* Sign up to our mailing list at mysite.com
* We are an independent band, thank you for supporting us by sharing this free track. Support us further by getting our paid for downloads at mysite.com
* Buy this album at mysite.com and get a bonus podcast interview with the band

If your album is 15 tracks, create 15 messages for the end of every track. A voice-over can be hired inexpensively to create these, or you could even record them yourself if you wanted to. Getting the band members to record the messages could actually be more compelling.

“My name is ___, I hope you are enjoying your free copy of our album, you can buy it at mysite.com, thanks for your support.”

You get the idea, offer a free album download, file share it yourself, but always have a route back to the source of origin (You!). Make it known that this is your work and you want the listeners to offer their support by buying your tracks and albums. Let people’s own moral barometer decide. Let’s face it, if they like your album and respect you as an artist, it is going to be quicker to just buy it than try to edit out the adverts.

I for one would be happy to preview albums with adverts and would pay for the full version if I liked it.

What do you think?…

Editorial : Gladys Knight, 9th Wonder, and the Politics of Criticism

2009-10-06T10:53:00.001-07:00

Editorial : Gladys Knight, 9th Wonder, and the Politics of Criticism

Posted using ShareThis

Personal Letter to HipHop

2009-10-05T20:03:00.001-07:00

Dear HIPHOP,

It's been a while since we last spoke. I think about you all the time. What you're doing, where you're at, and if you're happy now. You don't need to apologize for your absence from us. You were right to leave. We took advantage of you, and didn't even pay you proper respect. We took it upon ourselves to try and fix you, but the fact was you weren't even broken. Since you have been gone we have had many attempts to imitate you. Some have worked, but most have failed.

Majority of the world is waiting for your return where others are capitalizing on your departure. The new wave of music is consumed with money. They will sing Jimmy Crack Corn in order to make a buck. No morales or integrity in the industry anymore. No more making a good album just a catchy song. No more selling platinum or gold. Only selling ring tones and singles; I really can't remember the last album I bought. Well now BP3, The radio has brain washed us into thinking that they break records…Artists send out endless music for free but It's illegal to download. The Mixtape isn't an occasion it just clogs my inbox. Gone are the days of DJ Clue, DJ Whoo Kid, P-Cutta, DJ Drama, & K-Slay Mixtapes that you couldn't wait to come out. Now you just visit a blog site, and scroll through. Everyone is too scared to hear something new so they just download the same artists, and throw them in their mixes. Same songs on the radio, same songs in the club; everyone is a record breaker, without actually breaking a record. I don't blame them though. We have lost guidance and understanding of what it truly means to be successful. There is a preconceived notion that success is measured by your bank account. Success is different for a lot of people we in music have become shallow. We no longer do it because It's an art. We no longer make music to express…we make music for money, which is weird, because I thought we sold music for money.

We have strayed away from loyalty, instead we turn our backs on our closest friends, we pretend to be someone else, because who we are isn't good enough, and we disassociate where we are from, and forget the people that have gotten us here. We took a once community culture and made it a solo act. We let money, and status change us, and what we stand for. So even though my heart hurts for your return HIPHOP…I understand. You saw it coming long before we did and tried to warn us. We didn't listen…Just know you still have fans waiting for your arrival.......Until we meet again…………………

Yours Truly

The Mic Fiend
visit www.micfiendmusic.com

follow me on www.twitter.com/micfiend

follow www.twitter.com/thaddwilliamssc

Freestyle Fix

2009-10-05T19:40:00.000-07:00

Support

2008-06-13T17:14:00.000-07:00

So i'm on the phone with the manager of an up coming artist that is getting alittle buzz, and i tell him we are supporting the up coming and we putting together a little project series that he could benifit from. So he asks me whose on it? I name some names, and he says he doesn't know them, and says let him know if anybody big jumps on.
What the Fuck you mean let you know if anyone big jumps on? This is for the up coming right. So i say well aren't you up coming, and he replies that he got a buzz, and a joint with Jim Jones.
People what are we doing? Are we too big to support the up coming artists of the world? Are you too big to support your peers in the world of hiphop. You'll pay 5,000 for a fucking sorry ass Jim Jones Verse, but you won't rock with ya own people. I say ya own people cause as much as you dudes, and dudets want to be; your not apart of the upper level of hiphop artists. just because ya mans knows somebody that can get a feature does not make you in there. When you in the circle? as i like to call it. Shit is free. Jim drops a verse for free, and collect royalties. You need to learn their is a whole other level to this shit.
Your peers are those coming in the game now. Some may be ahead of you, but ya'll are peers. This is your era, this is your movement.
If you don't support one another, who the hell else is? You gonna keep sending in bullshit ass demos, or paying for your fucking myspace plays, and hits, then pay a dj to get on your sorry ass mixtape, and think you holding it down for yourself. Why don't you link up with other artists, network, see who making fire beats for free, see who putting a project together and get on a collab, you never know who might hear it. Cross promote some shit. go half on a damn flyer or something. Share contacts. This is what's it's about. If you think your team is strong enough to make it happen without reaching out to other artists you killing your career. If someone got a show, you can easily holla and perhaps get on the show with them. No you pay some fuck ass promoter 500 to put you on for 3 minutes, and you don't even get VIP. This is why we don't advance...Instead of supporting we hating.
Well keep with the hatin if you want, and you'll forever be on my mixtapes Unsigned Without A Cosign..........

The Ralph Tresvant Syndrome

2008-06-13T17:12:00.000-07:00

Monday morning back to work; back to grinding, back to making phonecalls, back to showing support. First things first, check my MySpace. Isee DJ Hollywood has the bulletins filled again! Someone please votethis man for an award. No message from K Foxx; Holla at the Fiendgirl... instead I have 25 new messages in my inbox and they allsomething along the lines of "Hey when you get a chance check my music"."Hey can you give me some feedback", "Tell me what you think about thistrack". Now I'm a firm believer that you must get as many people tolisten to your music as possible before you send it out. See my man D jJudgmental said it best. "The music game has gate keepers that artistsjust aren't using anymore. Before it was the producer or the A&R, nowdays it's the mixtape dj, the club dj, promotion companies. Thesepeople are the gate keepers to the industry". Now even they have fuckedup ears, and let laffy taffy or a crank that slide through from time totime, but we won't bash them today.
Now to my point.....Artists if you can't take thefeedback don't send me the track. If you just want me to listen to itfine. Then just send it, but don't ask for my two cents. Ex...Sucka MCsends me 10 messages asking me to check out his MySpace. First of all Idon't have all damn day to wait for my computer to download your pagebecause you have so much shit on it; it keeps locking up my PC. Secondyou're not going to con me into visiting your page so I can attribute toyour quest of reaching a million views on MySpace; which means nothingnow that we all know you can buy them. So Sucka MC sends me the song inan email. Ok I take a listen, because listening to new music is what Ido. I come to the conclusion that it sucks...no surprise, majority ofthe shit coming out sucks anyway. The problem comes in when I tell himit sucks, what sucks about it, and how to fix the suckiness. Sucka MCwants to write me a "Fuck you, you don't know real hip hop Blah BlahBlah" email. This is what I call sensitivity in the work place, or TheRalph Tresvant Syndrome. Now, I know your feelings are hurt andeverything, because you thought you were really hot cause your mom, andbaby sister's friends at school like you, but look on the bright side.At lest you didn't send in a cd or I would be breaking weed up on thatshit as we speak. I love listening to new music, but stop crying whensomeone doesn't like your music. Hell there are JAY-Z songs that if hehad of sent to me I wouldn't have liked. Not everyone is going to likeyour records. Not everyone is going to like your look. Not everyonewants to hear, about guns hoes, and drugs. Not everyone has money, andcars. If you feel it's a hot song anyway then proceed with it, me notliking it isn't the end of the world. Take the feedback; fix it or notdoesn't matter to me, then get back on your grind, but don't be mad atme, I didn't get on a track sounding like Sloth from "The Goonies" overa Vanilla Ice beat. Artists take this advice and store it in yourmental. Feedback is what someone feels about your music, it's thetruth. If you got someone giving you feedback, and it's not the truththen they are hurting your career, and your chances of anyone taking youserious. Keep a real person around that's how you get better.
Here are some updates:
"Certified "The Mixtape" dropping June 3rd
Thadd Williams interview on www.YoRaps.com
Niche Carolina Magazine presents: South Carolina Music Awards
Visit www.scmusicawards.com
Artists: Check out www.newbloodmusic.net great site for some exposure

Poor Wayne

2008-06-04T09:53:00.000-07:00

Poor Wayne
www.myspace.com/micfiendpromotions

OK OK I’ve heard the cries, I didn’t want to speak on this matter, because I’m two sided on the whole dj mix tape industry. You asked so here it goes. Everyone knows Wayne got real courage’s a couple days ago, and said some things he really didn’t mean……..I understand how artists get frustrated trying to deal with DJs. A lot of DJ’s act like they are owed the world or are doing such big things when they aren’t. You damn near gotta buy their baby mama’s a new ride just for them to spin ya record. I understand every DJ got an artist they are trying to push, or is actually really scared to break a new record. I understand some DJ’s are like that.

…………………Some ………then there are the real one’s the one’s that keep the party jumping. Those humble enough to listen to your music, and give you some spins if they like. The ones that aren’t just looking for a payday; I have come to the conclusion that Wayne didn’t mean what he said. What had happened was……….. He first woke up, and forgot that whatever was in the Styrofoam cup from the night before was gone. So he was pissed ranting raving something about his hair making his head hot in the summer, and T pain being mad cause he jacked his style. So he quickly sends Mrs. Minaj (With her fine ass) to the store for some more. She comes back with a playboy, some apple juice, and children’s Tylenol. So he’s forced to conduct the interview with Foundation Magazine fully sober, head boiling from the dreads, and extra security incase T Pain want to flex…..When asked about the DJ’s, he blacked out thinking about not having his secret drink in a cup, and began to say some things that pertained to him being sober. He even had a fresh freestyle that he had stolen from Gillie and saved, but was so out of his zone he just couldn’t get his cool. He was fidgeting and sweating something serious. Baby had to come in and message his shoulders the rest of the interview just to calm him down.

Now does this sound like a guy that actually would bash the very people that made him famous? Here I am working records to DJ’s, calling, emailing, MySpace pimping, buying drinks, paying for slots, and hosting. Here I am going through hell in hot water just for a DJ to say the record I’m pushing is hot, and you bash them. Bash them and they play your shit for free. You bash them in public, and I still heard you all damn day on the radio. They put out full albums on you, you don’t have to pay you just leak a damn track. Leak a track with you on it spitting over other peoples beats. You got the nerve to tell me you mad…No you not mad are you? Mad cause a couple DJ’s took your music and promoted it for you free of charge, then got a little change by making them a name. Why shouldn’t a DJ get a name off of you? You used them right? That’s what the industry is I use you, you use me. In the end whoever finds someone better to use wins. If you really think about it all DJ’s are, are promotional companies with Flava. They market and promote. Granted some are better than others, but that is all they are. Marketing companies aren’t bad are they? Wayne you lost some points with me dude, but not much. I’ll tell you why? You must have spoke to 50, and figured out a way to incite controversy right before your album drops. I applaud you for that. You found a way to make your album even more anticipated despite free downloads. I honestly believe it was a set up, because no one is that stupid. Not even you….So head my words world I’m saying it now. I think it was all a stunt for him. We can’t really believe that he is biting the hand that feeds him. If he is then please holla at me I got a list of artists that would love for you to leak they shit on a consistent bases. If anyone should be mad Wayne it’s the up & coming artists trying to come out, because of you so many DJ’s have upped their reputation to the point it’s hard getting on their projects or getting them to break you. So now when artists put out projects no one wants to hear it because there is no Big DJ name on it, or no Lil Wayne verse available. We all know DJ’s aren’t going to stop playing and leaking your music. So you will not have to incorporate a real marketing plan anytime soon. They will however be very mad at you, and instead of putting out 5 Wayne spin off Mix tapes, they might actually start looking to break some unsigned artists. Thanks Wayne……………………………you’re the best………………………………..LA LA LA LA Lollipop!!!!! The Mic Fiend

Too Many Rappers Not Enough Fans

2008-05-22T12:37:00.000-07:00

Whatever happened to being a fan of hip hop? Now everybody is a rapper, everybody is a producer. Sorry to burst your bubbles, but not all of us are good enough to be artists. I know growing up it's what you aspired to be. I admit I did too. I wrote a hot 16 with my; mans and shot a little video. (Well I thought it was hot), but reality is it wasn't, and it didn't take me emptying my bank account to some record promoter, or half ass producer to see it. I learned a long time ago that rhyming wasn't my thing in the industry. Why hasn't the rest of the world come to the same conclusion? Now don't get me wrong I want everyone to follow dreams, and be what you want, but let's be real about it here. You're more likely to make it on the Knicks bench right now. Where are all my young execs? If you truly want hip hop to change put people in the positions to change it. Artists cannot change the state of hip-hop. They create what the people like (Which is the smart thing to do) the company execs are what really run this game. They decide if it's marketable or not. Everyone is mad at the labels for the 360 deal, mad because they only sign artists with a buzz. I see it two ways. 1. The only people that should get signed are those that are hot, those that are truly talented. The artists that have studied the industry know what it takes to make it. They know about marketability, they know about recoupments, and points on CD's. They know about royalties, and publishing. They know all about promotion techniques. They educate themselves on all aspects not just music. On the other hand if labels took a little time to groom and nurture artists they might sustain even more longevity from their roster. They wouldn't have to sign one great artist, and 3 so so artists. As a company you're already investing money, but they are looking for short money not long money. That's why they want artists with already established buzzes. (Don't blame them at all), but someone can create a buzz, just by promoting hard. If you promoting hard; and always out there then your buzz is going to grow. That doesn't mean your music is that hot, it just means the people don't have a choice, because not everyone has the budget or the team to promote like that. Labels need to recoup money back. They need to see some type of return. Understood, but if your gong to invest money, why not invest time, and patience, and help an artist grow into more money instead of leeching all you can out of one or two. You know what that means folks it means YOU with the good music get looked over because; you don't have a big buzz. I do agree everyone should build their own buzz, and fan base, but not to get a deal with a major…Get the fan base cause you put in the work, but you'll opt for the major label raping you of your creativity and hard work. I see it all the time….go out there and secure marketing endorsements……. Hell why not? If you can't trick the world into liking your music by yourself; Why not sign with a label and place yourself one step closer to abandoning your true musical self, and making that hot record with Ray J, and T – Pain on the hook….. I'm excited already The Mic Fiend