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ChristieZPabon
Turntablistnetwork.com Administrator
USA
1747 Posts |
 Posted - 05/16/2006 : 9:50:08 PM
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Compiled by Christie Z (Tools of War)
& Sondra of Premiere Artists Group
Peace all, Sondra and I brainstormed on some fatal mistakes DJs make that lead to career slumps or demise. We also added some things we see artists doing that have led to bigger success.
Do's for your consideration:
1. Be on top of your business. Don't leave it all up to your manager.
Be involved in all decisions. Make sure you are getting cards, keeping contacts, building e-lists etc. If you leave everything to your manager - they leave with the contacts - not you.
2. Promote yourself! Geometrix, Quix, Neil Armstrong, DJ Pone (SF) do it and it appears to be working out well! Through their emails you see them building, getting more gigs, establishing a name an brand.
3. Stay humble! Kool Dj Red Alert, GWT, Jazzy Jay and on the younger tip Q-bert, Craze, etc. - I have never heard any of them get big headed. Esp. with the legends, they are grateful to remain in the game and they know a lot of great DJs who had to get day jobs. Humility is attractive. Cockiness or arrogance is going to drive people away.
4. Be responsible for yourself when you get a gig. You are responsible to be at the airport on time, with all the traveling documents, intinerary, your crates, needles, etc. Be sure to have all the contact numbers, know where you are staying, how long you are DJing, what time you go on, etc.
5. Read your itinerary and don't call the booking agent off hours for stuff that is written on the print out in front of you.
6. Let your agent know when you have other projects or products coming out. Promoters want to book DJs who have something to push or something new out.
7. When possible, hire a publicist.
8. Party rocking is always a plus since it's hard to get anyone to fly you in for a 15 minute showcase. You need to be a well rounded DJ today, to get solid bookings.
9. Always ask the promoter what music they want you to bring, if you are party rocking.
10. Keep an honest bio. If Craze is a 3 time solo World Champ but you won 3 times with a team, that doesn't make you a 3x World Champ too - say "co-champion along with... [the other members of the crew]" instead. We gotta start being honest in the bios because an embellished bio will lose the support of your fellow DJ friends. I know it's competitive but if it looks like your embellishing, it can also look like you aren't content with your own achievements.
11. Always ask to approve any flyers, bios, blurbs, etc written about you. You should make sure that a promoter doesn't spell your name wrong, put the wrong crew up, has your proper achievements, etc.
12. Have mixes, dvds, vinyl, t-shirts whatever to sell. This is how you up your money even when very little is being offered.
13. Be sure your agent does not turn down anything without asking you first. If you are your manager or agent's only client and you can't take the gig, you will probably be able to throw the booking over to a friend so they can benefit. At least you can keep the gig within your crew or circle of friends.
14. It is always an extra nice gesture to bring the promoter who hires you a gift (maybe one of your cds, whatever).
15. Rack up the frequent flyer miles whenever you can. This will come in handy if you eventually want to go on vacation, fly a friend, or upgrade yourself to a better seat in the future.
16. Always be sure to include on your webpage, myspace, music you sell, the bottom of your emails, your phone message, etc. who to contact, if not yourself, for bookings. You should also include upcoming gigs when possible.
Don'ts for your consideration:
1. Don't cross your booking agent aka "biting the hand that feeds you." Keep it professional or get out of that business relationship.
2. Don't take advantage of your DJ status. Don't roll in with 15 person crew. Generally it's 4 or 5 max. It's best to ask in advance how many comps you can have. Those friends who make a fool of themselves at the door or in the event, reflect directly back on you. (As a former door person, Christie Z has seen pro quarterbacks throw a fit over having to pay a $5 or $10 cover and that is sooo trifling. It always looks good to simply compose yourself and pay. You will appear professional and successful- and the promoter can feel embarrassed about the mess up on the list - not you. If you act like you have no money to get in the event - you will look like you have no money - ie. appear like you aren't getting gigs.
3. Never play before you get paid.
4. Don't run up the room service bill on the promoter's tab.
5. Do not converse/agree to anything with a promoter when you have an agent. Hand them your card and tell them to "call my agent."
6. Don't bring your girlfriend with you to work...for a multitude of reasons including having to worry about guys hitting on her, her getting jealous about fans, etc. And don't let her manage you. (CZP notes that there can be exceptions to this rule, of course, and some of you have really cool girlfriends who don't cause you any drama. Mix Master Mike's wife manages him and that seems to be working out well.)
7. Never let your manager be your booking agent.
8. Don't call your agent and tell them that your rent is due.
9. Don't get drunk/high prior to your set. A promoter likes the least problematic artists. This can be especially problematic if you are judging a battle.
10. Don't talk smack about other DJs - it will bite you on the butt later.
11. Do not assume that because you are a US or World Champ that gigs are going to come to you automatically. You have to work hard and so does the team around you. Craze and Qbert, in particular, have really great teams behind them.
12. Don't cancel shows after they've been confirmed by you or your agent or ask for more money after you agreed upon a price.
13. Never tell a new contact to go to your site for music and bios. It seems natural to do but the message the agent or promoter or media gets is that you don't want to do the work and you want them to work harder to find out about you. It's not a good first impression. Send them what they are asking for, you can always include the link then but only after you gave them what they needed. There person who asked you for the info is not going to have the time to check everything out - he/she will be busy working - that's why they asked it from you directly.
14. Before you turn down a gig because "it's not enough money" think again. There is one legend, and I wont say who, who has a theory. I know some DJs will want to set a standard for how much they get paid but that might lose you gigs when your really need the money... This legend, if he has nothing else going on that night, will spin locally for $200, $500 whatever, even though he can command thousands. Many other DJs will do this too. His theory is that even if he's just getting some grocery money, that's a connect he made with the promoter (who will probably look out for him again) and that's a whole bunch of new people who are now fans and will spread the word.
15. Do not write to people asking for them to send you all of their promoter contacts or sponsor contacts. Go to their website and find the email or email page and pitch yourself that way.
16. Don't drop names when pitching yourself to a promoter, sponsor, etc unless someone tells you to do so. You might mention someone they really had a bad dealing with and you could end up unknowlingly negatively associating yourself with that person.
17. This happens in the b-boy world more often but when you hear that a promoter is bringing a DJ in, don't undercut the DJ and tell the promoter you will do the gig for free. That's a dirty move and you can bet, if that DJ loses the paying gig and finds out why, they are going to make sure they don't support you in kind words, references, in the future. You need the support of your peers.
18. I have observed DJ friends, who we all know and love, gain fame and success but lose contact with their original fan base. Please don't let this happen to you. Managers who are not down with the artform or the culture but only about business can end up allowing this to happen. And I see it happen all the time. You should have a heavy hand, as noted before, in picking your booking agent, publicist, what is said in your publicity, who it reaches, everything. You should really keep updated emails of your fanbase so they know you are reaching out to them weekly, monthly etc. * One email a week at most - if it's the same info. You don't want to annoy anyone or jam up their inbox.
19. Until you are up there in stature, it might be hard to insist that you get a traveling companion for gigs. Some promoters, esp. the underground supporters, can't afford that on top of what they are paying you + flight + hotel + per diem + ground transportation etc.
20. Don't talk to or write to agents, promoters etc. when you are angry. Calm down, behave professionally, even if they are in the wrong. Going at someone with the aggressive tactics one might use in the streets is going to ensure that you wont be getting more gigs and that person is probably going to warn the other promoters, managers, industry people as well. If you are going to burn a bridge, be careful which one it's going to be.
21. Don't stand on stage or demand to be backstage if you don't need to be there. Most promoters are too nice and don't want to ask anyone to move or leave (you all know I will). The stage looks messy and a true professional does not need to be on stage, backstage or in the camera angle all of the time. You'll look like your desperate for attention. Afrika Bambaataa never came backstage at one of my DMC events. He hung out in the crowd, surrounded by friends and fans and enjoyed the show. Now if the godfather and now self-titled "Amen Ra of Universal Hip Hop Culture" is humble enough to stay in the crowd, can anyone say that they are too good to do this too? He sets a really good example.
22. Don't leave your crates, bags, needles etc. unattended. How many times do people try to throw their stuff on stage like it will be safe there.. that's why I don't let people stand on stage. The less people on or backstage, the less things are missing.
23. When offended that you are not being recognized, don't say to someone "Do you know who I am?" It usually comes off as abrasive.
24. If you are not part of the show, have nothing to do with the show - please try to support, don't demand to be on a guestlist and don't run around asking for free things like t-shirts, vinyl etc. You will make yourself recognized but not in a positive way and people will remember you as the person whos always scrounging for free stuff. And never ever ever ask to get in free for fundraisers.
OK - God willing, someone will benefit from this. Some might not agree and there can always be other circumstances that might actually work but we both figured these are some things to put out there for consideration and preparation for past, future and present champs. Feel free to add as you see fit.
Because we care!
Peace!
Christie
(I re-edited this to list all of the Do's and Don'ts together)
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Edited by - ChristieZPabon on 06/04/2006 08:46:49 AM
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ChristieZPabon
Turntablistnetwork.com Administrator
USA
1747 Posts |
Posted - 05/16/2006 : 9:56:51 PM
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Peace again - these are all important questions to ask promoters. If they can't answer them all in a timely manner, use your instincts, they might not have it all together and the booking can get worse.
Title of your event
Date & time of your event
Name of venue and complete address and website if applicable
What is the capacity of the venue?
Itinerary for artist's time there: What would artist be doing and for how long?
Who else would be on the line up?
What do you plan to charge for admission?
How do you plan to transport artist to and from your city?
When are you planning to have artist arrive and depart?
In which hotel do you plan to keep artist? Hotel name, number, exact address, website, etc.
Will you need an invoice or will the contract be considered the invoice?
Government name or company name for who will be the PURCHASER on the contract?
Who will be signing? First and last name and position at company if applicable, and complete company address.
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djfantom
DJ Supreme fan club member
USA
164 Posts |
Posted - 05/16/2006 : 10:28:20 PM
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| good post Christie. very informative. |
DJ FANTOM
Fantom Productions
Da Fam ent |
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DJ Samurai
One of I-Dee's bedroom buddies
USA
523 Posts |
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DJ Tony Psalms
DJ Rugged One look-a-like
USA
1090 Posts |
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JustG
DJ Supreme fan club member
USA
285 Posts |
Posted - 05/17/2006 : 12:21:57 AM
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| Good stuff. Thanks for taking the time to post this. |
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moody magic
One of I-Dee's bedroom buddies
USA
759 Posts |
Posted - 05/17/2006 : 01:41:23 AM
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| awesome post Christie.....Thank you |
" I got dubs on my golf cart, and I don't even play golf!"
www.myspace.com/marcomd |
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Snayk
DJ Supreme fan club member
164 Posts |
Posted - 05/17/2006 : 1:31:17 PM
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| Thanks for always sharing the knowledge Christie. This thread should be a sticky :) |
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DJ Fatfingaz
DJ Rugged One look-a-like
USA
3058 Posts |
Posted - 05/17/2006 : 9:55:54 PM
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yues i do agree! STICKY PLEASE!!
THESE PAMPERED SPOILED DJ's MUST KNOW THAT THEY CAN CRASH AND BURN AFTER ONE INCIDENT...IVE SEEN IT AND WITH MY COORDINATOR EXPERIENCE, I HAD TO BAN SOME HEADS FROM MY EVENTS BECAUSE OF DUMB ASS MOVES SUCH AS THESE...
AND ALSO...YOU SHOULD ADD...DONT GET INTO ANY SEXUAL RELATIONSHIPS WITH THE PROMOTERS RELATIVES, IT JUST MAKES THINGS WORST WHEN THEY CATCH SOMETHING FROM YOU OR VISEVERSA OR IF THEY BECOME PREGNAT.
IVE SEEN IT HAPPEN AND ITS NOT PRETTY! |
DJ FATFINGAZ
"WE LOVE YOU RAIDA!!!!"
AIM: djfatfingaznyc
Twitter:
@djfatfingaznyc
Email: djfatfingaznyc@aol.com
www.myspace.com/djfatfingaznyc
www.facebook.com/djfatfingaz
www.myspace.com/thegongdjbattle
www.alistradio.net
"I come with that space shit, that shit you havent seen. I dont do rules. I dont fear man, or fear anything, so if you looking for some, I hate you response, you wont get it. I'll just shut you down, with a smile.
It all ends like this........
"God damn, he won, but he's an asshole!" " -Ricci Rucker 10/31/2007
NOW THATS GANGSTA!!!
"PEOPLE CALLED ME FATSO,
NOW THEY CALL ME CASTRO!!!" - Notorious B.I.G. |
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ChristieZPabon
Turntablistnetwork.com Administrator
USA
1747 Posts |
Posted - 05/18/2006 : 12:12:13 PM
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Thanks all! I don't have "stick up" power on this section so if Geo or another moderator would like to sticky, that's fine by me.
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DJ Tony Psalms
DJ Rugged One look-a-like
USA
1090 Posts |
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Geometrix
FORUM GOD
USA
4177 Posts |
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ChristieZPabon
Turntablistnetwork.com Administrator
USA
1747 Posts |
Posted - 05/19/2006 : 12:26:39 PM
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Peace- thanks for the Sticky Status - I am honored!
People, please add more dos and don'ts if you like. Sondra and I just kept seeing the same things happen over and over again not only with DJs, but many artists in general and decided that if we could help DJs to avoid these same mistakes, everyone might be able to move further along in their careers.
Peace
Christie
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Edited by - ChristieZPabon on 05/26/2006 10:56:15 PM |
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DJ Tony Psalms
DJ Rugged One look-a-like
USA
1090 Posts |
Posted - 05/27/2006 : 5:27:59 PM
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Last night I sound engineered, and worked with a DJ who was obviously a newbie when it comes to DJing. So, I thought I'd share the things he was doing that YOU SHOULD NOT DO!!!
BRING YOUR OWN CABLES Do not rely on the club to supply the cables for you. If they do have cables, great. Most common ones to bring is (2)1/4" to RCAs, (2) RCAs, (2) XLR female to XLR male.
WATCH YOUR METERS DJ mixers have METERS for a reason. If you're playing and you're constantly "in the red," your running TOO HOT & DISTORTED = You sound like sh*t!
Be safe and stay in the green... :)
If you keep these thing in mind, you'll have a better relationship with the sound engineer, and your set will be bumpin'!
Anyone with anymore ideas please add...
Peace!
quote:
Originally posted by ChristieZPabon
Peace Tony!
You should repost this under the Fatal Mistakes Sticky - this is so important too!
I am not so equipment savvy but DJs should also include the cables and all the other trinkets in their riders. I can't tell you how many times we set up to do DMC battles and someone had to run to radio shack in every city for those cables.
Please repost it up so we can keep all of the tips together.
Thanks
Christie
Good idea...  |
Visit: www.royallovesound.net / www.myspace.com/djtonypsalms / www.orthodoxmuzik.com
eBay Ref: topshelf_art_muzik
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ChristieZPabon
Turntablistnetwork.com Administrator
USA
1747 Posts |
Posted - 05/27/2006 : 7:35:29 PM
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Peace all - this comes directly from Wendy Day of Rap Coalition. It is a non-profit that helps artists. As I am concerned, Wendy is one of the most powerful women in Hip Hop. She negotiated the way over the top Cash Money Millionaires deal, among the many, and has gotten artists out of really bad contracts. She has worked with just about every major rapper including Tupac. Chuck D sits on her board of directors. I can't say enough good things about Wendy Day. Here's what she wanted to add:
Oh my gosh! This is EXCELLENT!!!! I love that you are doing this. May I add:
- Don't take your hearing for granted. What doesn't seem loud to you now in the club could have you saying "What?" after every sentence spoken to you in the future. What you may feel looks uncool tonight (an ear plug in the ear without the headphone on it) may save you from something VERY uncool in your 40s and 50s-- going deaf prematurely.
- Don't assume mixed tapes are legal and your given right as a DJ just because everyone and their grandmother has one now. They are still very much illegal, and while the labels turn a blind eye to the mixed tape superstars like Drama, Clue, Big Mike, Kay Slay, Kool Kid, etc because it helps promote the artists, they do NOT automatically owe you advance releases of new songs or access to their artists just because you are jumping on the mixed tape band wagon.
- Don't hate on DJs who play music different that what you play or like. There is room for everybody, and a market for all types of DJs. DJs still break records and it is still an artform, even though commerce has been injected into it. Funkmaster Flex was NOT the best DJ in NY when he was chosen to spin at HOT 97, but he was what they were looking for.
- Do keep excellent records of who paid you when. YOU are responsible for paying your taxes, and if a promoter reports on HIS taxes that he paid you $1,500, and you forget to mention it because it was, after all, in cash, that's on you. Also, in a few years from now, when you get an audit letter from the IRS, without good records you will not know if the amount claimed is accurate or not. I have seen many unscrupulous people file tax returns saying they paid far more to DJs than they really did, assuming that by the time they get caught the DJ will be long gone and unable to dispute it. Can you say penalty plus interest when the IRS finds you (and I bet they can)?
- Do continue to practice your craft even if you become the hottest DJ in your area. It's easier to stay on top, than it is to lose it and have to regain it.
- Do network with other DJs at skill levels above and below you. You can learn a lot from other DJs at all levels of skill.
Wendy Day
Rap Coalition
www.RapCoalition.org
www.rapcointelpro.com
www.HelpfulAngel.com
and the Blogs:
www.WendyDay.com (my ramblings)
www.Rap-Coalition.com (artist and industry info)
www.TellMeCanYouFeelMe.com (more ramblings)
Plus: www.myspace.com/WendyDay
New Projects:
www.DJhealthinsurance.com
http://indielabelseminar.blogspot.com
(Independent Urban Label Seminar)
Las Vegas, February 13 to 15, 2007
http://SEApanels.blogspot.com/ (Panels at the SEA Awards)
Tunica, Mississippi; January 26 and 27, 2007; Grand Casino & Hotel
(Award Show: January 28, 2007: www.southernentawards.com) |
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Gizmo
DJ Supreme fan club member
United Kingdom
356 Posts |
Posted - 05/31/2006 : 4:17:11 PM
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Every word of this is excellent advice - good work!
If I may add one observation - you shouldn't underestimate the importance of getting a manager once you get to a certain level. I've seen many truly gifted DJs who are perhaps not as self promoting and forthright as they should be. Deck skills will only get you so far and it's business skills that will allow you to become a successful DJ. Sure you'll have to pay for a manager but if they're any good, their fee will be covered and then some. |
www.skratchworx.com • www.skratchlounge.com • www.myspace.com/skratchworx • www.youtube.com/skratchworx |
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ChristieZPabon
Turntablistnetwork.com Administrator
USA
1747 Posts |
Posted - 06/05/2006 : 08:34:54 AM
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Peace all!
Just thought of another one - beware of the "Divide and Conquer" tactic. In this one a producer, manager, booking agent, label - whoever - convinces the crew to let go of a crew member or leave him/her off tour. THIS leaves scars for years if not life and breaks apart friendships. I've seen it with dance crews and DJ crews who were originally like brothers. I remember helping a manager learn how to organize a tour, get sponsors etc. essentially because a really cool DJ friend was a part of the tour. Because the manager was inexperienced, they accepted the line the promoters gave about "no one knows DJ _____." I was annoyed because promoters are the worst when it comes to tearing apart a tour so they can save money - and meanwhile only booking headlining battle champs from before 1999 as if there's no one new. Instead of fighting for the DJ, the manager and other DJs just left him at home! The classic line is "We all need to eat" or some nonsense. If you are tight with your crew, your friends, etc. keep an eye out for this and stand your ground when someone suggests you leave someone behind. If the artist is instituting his/her own demise that is different but when perfectly great artists are left out for no apparent reason than the fact that the agent, promoter, manager etc is not feeling them, it is a devilish move. Plus it's worse when you get on tour and some wack DJ is your opening act when it could have been your boy rocking instead!
Keep an eye out up top for new additions at the bottom of the dos and don'ts plus. I also invited some career DJs and label owners to post some advice as well.
See you on Thursday in Jamaica Queens, God willing!
Christie |
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djsonar2000
One of I-Dee's bedroom buddies
Germany
653 Posts |
Posted - 06/13/2006 : 03:35:15 AM
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In my own view, I have to say this is by far the best ever topic! Sonar!!!
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www.myspace.com/deejaysonar
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L.Demo"Neo"
Virgin
USA
3 Posts |
Posted - 09/18/2006 : 5:41:31 PM
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Wuz up everyone?It's good to see some of you again.Well,in respect to the long list that has been posted....It's good to see the business side of it.Here in PR,where I've been residing for the last four years,the promotors are stingy as hell.I'm not really to big on reggaeton,but just to throw an example of an artist(who is not a DJ)whos' brother manages him"Raymond Ayala"better known as Daddy Yankee,has all his business overseen by Nomar.I believe that when it comes to family...they should be the ones runnin' your ish.Who better than family?They look out for you at all times and the are the ones you can truly trust to the end.That's just my opinion.The tips here are very useful,I'll apply some of them to me.Take care everyone.
P.S-Incase y'all been wondering where I've been at...living between two gigantic mountains in the vast tropical jungle of Mayaguez,PR!AHHH....The good thing about that is I hardly have any neighbors....SOUND SYSTEM BLASTING AT 7AM-8PM!WOOO. |
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ChristieZPabon
Turntablistnetwork.com Administrator
USA
1747 Posts |
Posted - 03/07/2007 : 1:13:51 PM
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Peace all!
After it happening to me just about everyday in the last 30 days....
I want to add that READING IS FUNDAMENTAL!!!
I truly think that this artform and the culture are exactly where it is at because people don't read for comprehension!
When a person you are asking for help from writes back to you:
1. Read it thoroughly and make sure you understand it before writing back.
2. If they tell you that they are not the person to write back to - respect that and don't cc them in on the future conversations.
3. If they tell you how you can help yourself - don't write back asking them to do more work for you.
4. If they send you something important that you should save, save it, back it up, print it out - never assume that that person has time to send it to you again.
The main goals, and good attributes as a human:
Never ask people to do something that you can do for yourself.
Never make another repeat the work they already have done for you.
Don't make it hard for another to help you, esp. if they are doing you a favor and not getting paid.
If an artist frustrates a promoter, booking agent, representative, etc. they will not be making a good first impression and will likely not get called upon for work because they can't be relied upon to read! Thoroughness and attention to detail are must haves. Respect for the person who has taken their time out to help is so important. If you don't read, and write back asking questions that were already answered, it can come off as disrespect or laziness. People want to work with talented individuals who handle their business professionally not those who will make one do more work or repeat or three-peat themselves.
People this is so important and every day - seriously - I encounter this.
Please do your part to progess this artform and yourselves :)
With your best interest in mind!
Christie
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Edited by - ChristieZPabon on 03/07/2007 1:18:19 PM |
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DJ Fatfingaz
DJ Rugged One look-a-like
USA
3058 Posts |
Posted - 03/08/2007 : 10:41:25 AM
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HOLY SHIT CAN PEOPLE START READING
AGAIN INSTEAD OF JUST MATCHING SYMBOLS TO SOUND!!
ARE WE HUMAN BEINGS OR DOLPHINS!?!?!?
THANK YOU! |
DJ FATFINGAZ
"WE LOVE YOU RAIDA!!!!"
AIM: djfatfingaznyc
Twitter:
@djfatfingaznyc
Email: djfatfingaznyc@aol.com
www.myspace.com/djfatfingaznyc
www.facebook.com/djfatfingaz
www.myspace.com/thegongdjbattle
www.alistradio.net
"I come with that space shit, that shit you havent seen. I dont do rules. I dont fear man, or fear anything, so if you looking for some, I hate you response, you wont get it. I'll just shut you down, with a smile.
It all ends like this........
"God damn, he won, but he's an asshole!" " -Ricci Rucker 10/31/2007
NOW THATS GANGSTA!!!
"PEOPLE CALLED ME FATSO,
NOW THEY CALL ME CASTRO!!!" - Notorious B.I.G. |
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djimpulse
Just popped their cherry
USA
20 Posts |
Posted - 03/09/2007 : 12:48:07 PM
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| This is a REALLY good topic!!! learned some new ish!! thanks CZP |
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DankyFrank
Just popped their cherry
USA
11 Posts |
Posted - 07/09/2007 : 04:45:11 AM
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| yea thats a worthy post! |
"When the Power of love overcomes the love of power, the world will know peace" - Jimi Hendrix |
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FuzeePikal
Just learned how to read and write
USA
72 Posts |
Posted - 07/19/2007 : 10:54:49 PM
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GOOD TOPIC TO READ UP ON AND SINK IT IN THE BRAIN |
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FuzeePikal
Just learned how to read and write
USA
72 Posts |
Posted - 07/19/2007 : 10:57:45 PM
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 OUT OF HAND |
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AbstractLooney
Virgin
USA
1 Posts |
Posted - 01/23/2008 : 3:08:23 PM
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| Nice post! I wish I had an agent....no I dont...hehe |
DeeJay Ab-Loon
The BackPack Chronicles
Hi-Tek FX
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Dj TATT2
Just learned how to read and write
USA
81 Posts |
Posted - 11/14/2008 : 4:17:58 PM
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| Super Super post.Thanks Christie z.I have a couple of questions...At what point do i get a manager or a agent?Because the club here sucks bad,its a kiss ass club and i dont want mono!!!!!! lol.Is there a way i could do clubs in other cities without doing clubs here? |
SOSEFINA TEUTEU LEWIS(WIFE)/ELI(BAM BAM) TUPU OLE SAMI GREGORY(HAWAII)
www.myspace.com/djtattoosuperstar
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ChristieZPabon
Turntablistnetwork.com Administrator
USA
1747 Posts |
Posted - 11/18/2008 : 10:18:38 AM
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Peace, I seen very few good managers for DJs in the circles I run in. More DJs get a booking agent. All DJs should learn how to do the business themselves. GrandMaster Flash, at one point, had a booking agent and a lawyer...I've seen managers take too many liberties and the artists most of the time, didn't even know. Talk to Fat Fingaz about advice for clubs. He's been grinding! Sorry my news is bleak on the management tip.
Christie |
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Dj TATT2
Just learned how to read and write
USA
81 Posts |
Posted - 11/20/2008 : 3:52:35 PM
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A Booking agent? never thought of that?if you have insight on that..i'd love to hear it.Maybe thats the question i'm asking,on where or how to start in general?And i'll touch bases with Fat Fingaz on the club issue. Thanks Christie
TATT2 |
SOSEFINA TEUTEU LEWIS(WIFE)/ELI(BAM BAM) TUPU OLE SAMI GREGORY(HAWAII)
www.myspace.com/djtattoosuperstar
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ChristieZPabon
Turntablistnetwork.com Administrator
USA
1747 Posts |
Posted - 12/26/2008 : 10:06:00 PM
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PEACE! Wendy Day wrote this for AllHipHop.com:
http://allhiphop.com/stories/breedingground/archive/2008/12/11/20747990.aspx
THE DAY REPORT: How to F*** Over An Artist
By Wendy Day (www.RapCoalition.org and www.Rap-Coalition.com)
"I’ve seen so many people get jerked in the 17 years that I have been pulling artists out of bad deals. And I have been vocal (for free) about how artists can protect themselves from getting jerked by less than savory managers and production companies, greedy labels, and unscrupulous scammers. Yet, every week it seems I get a new request for help. I’m not quite sure how the “protect yourself” information can be out there, and artists are STILL signing bad deals that steal their dreams from them. It’s most frustrating.
So I thought I’d write a tongue-in-cheek article on how to JERK an artist, and then maybe folks will read it and their bullshit tactics will be exposed. I realize that I run the risk of helping the scumbags jerk more people, but that’s a risk I am willing to take. So here goes….based on the numerous ways I have seen artists get jerked…
First of all, you have to be certain you are working with an artist over 18 who knows very little about the music business. How else will you be able to teach him your version of how it’s supposed to work? He definitely needs to be over 18 so a Judge doesn’t get involved and nullify the contract on the basis of a minor not being able to legally enter into a binding contract.
Definitely sign a male rapper. Yes, you run the risk of him becoming violent when he finds out you’ve scammed him, but by then you should have enough money to either be untouchable or hire security. Also, male rappers statistically sell better on average than female rappers, and if you’re going to stick somebody for their loot, it may as well be as much loot as possible. Besides, an angry female will go to further extremes if you piss her off, remember that last shorty you did wrong? She came after your ass, didn’t she?
A solo artist is less risky than a group, as it’s only one angry person to watch out for, rather than many who may team up for revenge. A younger person is often more naïve, and you can sell him some bullshit about the industry only wanting young artists. If you get him to lie that he’s two years younger than he really is, he’ll feel like he shares a secret with you. The more secrets you have on him, the easier it will be to control him. And if he pisses you off, you can tell the world his secrets and he’ll always be the one who looks stupid. He’ll also be too busy dodging the press, to come after you. If you can secretly record conversations that make him look bad, you can especially damage his career so he has nothing left--just in case he manages to get away from you.
It’s good to remind the artist often that you’re family and you’d never do him wrong. If he thinks you’re all sacrificing now to build something for a down-the-road payoff, you can probably get a good 4 years of loyalty out of the dupe. If you are all persons of color, you could utilize the race card to your benefit reminding him that “Black folks have to stick together because the white man has been keeping us down for long enough.” Some people even mention slavery and other assorted history to further the bond. Some phrases you could use to convince him are:
* We are family.
* I got your back.
* We are (a) soldiers, (b) warriors, (c) a team, (d) fill in the blank.
* We are building an empire
* You’re going to be a star
* You’re going to be rich
* You are doper than (a) Jay Z, (b) Tupac was, (c) Biggie was, (d) Eminem.
* You can buy your Mamma a big house
* I’m gonna make your dreams come true.
* There will be plenty for everybody
* Don’t be (a) a hater, (b) crabs in the barrel, (c) selfish, (d) fill in the blank
Make sure your artist has a “manager.” It will make him feel bigger than he is. If the person he chooses is too savvy, make sure you poo-poo his choice and allude that you can’t do a deal if he has this person in his camp. Encourage family member choices, or childhood friend choices, especially if you feel you can control them later through (a) money, (b) manipulation, (c) drug habits, (d) blackmail. An artist manager who secretly works for you is a priceless gift worth his weight in Gold. The major labels were built on this. What manager doesn’t eventually want his own label? You could dangle that carrot in front of him forever.
When the artist is in a position where he’s feeling secure and he believes in you 100%, it’s time to put that contract in front of him with a pen. Have it open to the last page and show him exactly where he should sign it. Act like you’re in a hurry. A time where you’re about to give him money, or right before a show in the parking lot of the club, or when he’s really high in the studio and hearing his boys giving him tons of “you the man” praise, are all good times to offer the contracts. Don’t worry, he’ll sign. They all do.
If he tries to look at the writing in the contract, or even tries to turn a page, snatch it back from him and act hurt. Remind him that you’re all family and if there’s no trust then maybe you should find someone else to sign. Tell him you could get him a lawyer if he really wants, but it’ll have to be in exchange for that (a) gear, (b) watch, (c) car, or (d) cash you were about to give him. If he really pushes the having his own attorney bit, and you can’t manipulate him out of the idea, make certain he has an attorney with no power. It’s important to let him use someone with some music business experience so they don’t run up the bill with your lawyer fighting for stupid stuff.
There are many new, wanna-be, and fringe (outside of the inner circle that exists in the music industry) lawyers who troll the industry for clients and will give love to whomever is paying their bill (you). They come in all colors and all prices. Just remember, a lawyer makes more money working for a label than for an artist, so most can very easily be swayed to do what you want in the deal, even for a reduced fee, with a promise of future work, even if it’s bullshit.
Lawyers get paid to do deals, not to break them, so they will usually finish the deal no matter how bad it is, rather than walk away from making their fee. They console themselves with the fact they got their client the best deal they could. It is important to find someone with reduced, or no, integrity.
Sign as many artists as you want, promising them whatever you have to, to get them to sign. Don’t worry about putting them out or doing anything at all with them. Once they are signed, you own them. Most artists really just want to be signed to a record label and that will pacify them longer than you think. Be hard to find so you won’t have to listen to their bitching. If they can’t find you, it’s not your fault you’re busy-- after all, you are running a business. If they do catch you, sympathize with them and tell them you’ll look into it, or that they are up next. Both of these excuses only work about 3 times, but if you are good at eluding the artists, that’s at least a year.
Make certain your lawyer worded the contract to sign your artists for no less than 7 albums (not years, as 7 albums is about 14 years really), give him little to no advance, take 100% of the publishing and merchandising, get 50% of everything else as his production company, and make the stat rate at 10X, 75%. Have a separate contract that assigns you as his official manager for life, for 25%. Tell him how big you are in the industry and how you can make shit happen at the drop of a hat, in fact, you left Akon or Diddy on hold just now to speak with your favorite artist (him) because he’s so important to you.
Placate him with the lie that you’re going to put him on tour with (a) Jay Z, (b) Lil Wayne, (c) R Kelly (if he also likes his females young) or (d) Plies, and that nobody else would do that for him. Remind him that with his cut of tour income like that, he won’t even notice your manager’s fee of 25%, besides you’re doing all the work: all he has to do is rap on stage for 20 minutes and get head in the limo on the way back to the hotel by the prettiest female. Tough life.
Speaking of shows, if you are lucky enough to stumble on an opportunity, make sure the artist thinks he’s only getting $1,000 to do the show, while the promoter is really paying you $5,000. Then, when the promoter sends you the first half of $2,500, tell the artist the $500 front end came in, and you keep the other $2,000. Or be a sport and tell him since you’re such a great manager you got the whole $1,000 upfront and keep the remaining $1,500 and then keep the whole backend of $2,500. You’ll be his hero. By the time the IRS sends the artist a tax notice (takes about 3 years) for the taxes he didn’t pay on all the $5,000 shows, you’ll be long gone.
A real easy way to make a lot of money is to book multiple shows for the same night and don’t show up to any except one. You can keep all the front end deposits and do nothing because it’ll be the artists’ reputation in the crapper, not yours. By the time the lawsuits come in, again, you’ll be long gone. Your lawyer can stall the suits for 3 years or better. And it’s free money. You could even book all the shows for the same night at $5,000 each and call back all the promoters the day before to tell them you’ll come to whoever is the highest bidder. You might get double the price, and if you were smart enough to ask everyone for open airplane tickets, you can cash in the ones you don’t use and make some extra cash. Again, it’s the artist reputation that suffers, not yours.
The new 360 deals are a great way for you to make even more money than you should (although it doesn’t much matter what you call the deal, you’re never going to pay him anyway). With a 360 deal you can explain to him that you are building his career so he can make a lot of show money, and then you can tap into a portion of that income. Your argument should be that you are taking all the risk financially, so you should be able to tap into all of the income sources from what your promotional dollars create. If he stalls, remember to dangle an advance in his face so he won’t be able to stall you out for long. Keep other unsigned artists around so he feels that if he doesn’t take the deal, someone else will.
It’s a good idea to keep the artist in the studio as much as possible at first, because once he realizes you’re making all the money, it’ll be hard to get him back in there. The studio is really where he wants to be anyway; he’s most comfortable there. Keep him as high and as drunk as possible. Aside from the fact that it will be easy to control him then, the addiction will also keep him coming back to you. He will want to be in the studio all the time anyway, as he will be gung-ho to make his album. Truth be told, rappers really only want fame and pussy, and when everyone thinks he has an album coming out, the women will surround him, and he will feel like a star (even if his record never comes out).
Try to get him to make as many albums as possible, but don’t tell him that’s what you’re doing. Tell him the songs he’s making don’t fit his image, or the production is inferior, or that he is so much better than what you’re hearing. If you tell him it isn’t commercial enough and needs to be more radio friendly, which is the oldest label trick in the book, you may get some static as artists may see this as “selling out,” which will hurt his core beliefs (core beliefs are hard to sway). You may need to lock him out of the studio or cut off the supply of money and drugs, to get him to come around. Once he does though, you can get a good 10 or 20 more songs with this one excuse.
If he has a lot of knuckleheads around him whispering in his ear, or savvy industry folks around him all of a sudden, send him to a studio more than a ten hour drive away. This will instantly put a stop to that crap, and being in a strange place will force him to go to the studio because he’ll have nothing else to do. You can easily control him with money (keeping him waiting a few days for money when he’s broke and hungry will take the fight out of anyone). Never give him too much at once. The stress of bills and starving are excellent incentive for him to act right, especially if he has a baby’s mama and a kid or two. Great incentive. By the time the paternity suits and child support cases roll in, you’ll be long gone.
If you do put out a record for the rapper, keep him on the road as much as possible. Aside from the show scam being a great source of income for you, it keeps him from begging you for money constantly at home. Be certain he has his boy as his “manager” (preferably with no business or music industry knowledge or connections), and has a tour manager that you assign, control, and pay, that will report back to you immediately if there are any suspicions that you aren’t doing what’s right. When you hear rumblings, fly to whatever city he’s in and spend time with him. Buy him little gifts and get high with him. Remind him he’s part of something bigger. Strip bars in any city are perfect locations for meetings. Hookers afterwards are appropriate gifts. You should be seen at all times to be taking care of his needs, especially publicly. This will attract hoards of other artists to scam.
Things won’t get rough for you until about 9 months after his record comes out and he realizes he’s still living with his Mom. If you have multiple albums done, it won’t matter as his “fame” will keep him promoting the subsequent albums. He won’t want to lose that. Without fame he’ll lose all the free stuff, all the gratuitous pussy, all the attention, all the free drinks and free blunts… Fear of losing all this will keep him in line for awhile. Rarely be kind to him. The harder you are on him, and the harder you are to please, the harder he’ll try to please you. Kindness will only be taken as weakness and he’ll control you.
Artists are not loyal. They jump to wherever the money is. If he’s more pimp than whore, he will eventually find other ways to make money: (a) appearing on other artists’ albums for $10,000 (b) shows behind your back for $5,000 which is more than you’re booking him for, (c) bootlegging his own album, or (d) selling T-shirts or drugs at his own shows. If you don’t have subsequent albums to release, it’s important that you keep him broke so you can get him back in the studio as soon as possible with the promise of money--his next advance. If he’s a man destined to be pimped, he will most likely jump ship to another camp with the same game, willing to give up a bit more upfront cash incentive to him. Have a super sharp litigator on board to sue the other company immediately, and either they’ll toss him out like a used condom or write you a fat check to let him go. It’s up to you, since you legally own him.
In general, only give your artist what you have to, in order to get him working. If you give him too much he’ll disappear til it runs out. For the second album, if you promise half now and half when he finishes the album, it’s all gravy. And if you’re slick enough to use the studio excuses again to get even more songs out of him, you’re a star! By now he knows the necessity of radio hits, so that “music needs to be more radio friendly” will go a long way. You can even entice him by getting tracks from his favorite producers, and getting artists he admires to work with him. Both of these options require an outlay of money, but you can trick multiple artists on your label with the same track or the same guest appearance opportunity. Also, you’ll sell more records in the long run, and make more money that way, so it’s worth it. If you have signed more than one artist, you can pit them against each other for maximum effect. They’ll even sabotage each other with little effort on your part. You can sit back and enjoy the show.
If you’re an artist and you’re reading this, don’t get pissed off because you got beat. For 17 years, I have offered numerous free resources that teach you how to NOT get jerked, but that would require time, investigation, and reading skills on your part, and that just always seemed like too much work didn’t it. With the plethora of info out there, and the availability of trustworthy professionals to choose for your team, if any of you do get jerked, shame on you. You have no one to blame but yourselves. You’ve been warned. Enjoy that blunt…"
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djmoppy
Just learned how to read and write
USA
86 Posts |
Posted - 02/25/2009 : 6:04:41 PM
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This is the second time I've read this..
First time was about a year ago.. I guess I didn't really pay attention because I got got.. The manager of one of the larger production companies in the CHI caught part of my set, came up gave me his email contact... I did some random gigs for them..(House Party, Friends Wedding, Holloween Fashion Show) They liked what I did and kept promising better gigs.. I was happy as long I was bulding with them.. So they asked me to do an event 3.5 hours away, with me bringing my own equipment and driving.. They were not paying that well, but I wanted to build with them so I said OK...Little did I know It is so easy to get lost in Indiana, and that they have no daylight savings time(half the year they are on Chicago time, half the year they arnt).. I assumed it was the same time zone.. I realized this about 2 hours into my journey.. I called the contact at the university, Told her my plight.. she said Its Ok, and she helped on the directions, I thought everything was cool.. I did the MC battle consisting of 3 people.. Then a bunch of drunk Fraternities and sororities pack the room.. I had the place jumping!..Except this annoying president who was telling me I should play this and That.. So their frat DJ come up with his stack on wheels of cdjs and an old ass mixer, and tells me the organizer said they could take over the event. I asked the organizer, it was OK wit her.. I had a 3.5 hour drive home and it was allready 2 am.. So i took dude up. Packed up, asked about pay.. Organizer tells me she sent the check to management office.. I called management, "Yeah Mop its all good we got you, Im in NY right now I'll call you when I get back Monday" This is where I got got..Monday rolls around and I get an aggressive text from the manager saying something like "It was very unprofessional of you to do what you did, and what makes it even worse is I had to here from the event organizer" I called dude after work, Tried to explain, and not burn any bridges.. That Didn't work! Never got any money, and havnt talked to them since..
Shit is for real, I learned alot from that experience and I'm almost glad it happened sooner than later.. Learn from your experiences and come back better next time.
READ AND ANALIZE THIS POST.. more than once |
http://www.djmoppy.com
http://www.10mixes.com
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Edited by - djmoppy on 02/25/2009 6:09:00 PM |
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Fatal Mistakes DJs Make
