Have ANY of you solicited a manager or agent? What are your thoughts? I'm curious.

[God]

Here are my questions:

1. I'm curious, have ANY of you guys actively seeked representation by soliciting managers or agents?

2. How does success or failure in getting representation affect you as an artist? Do you just keep grindin' or do you "feel the hit" emotionally?

3. Have any of you even sent multiple press kits/packages to a list of people from a music industry database? (like sending 30-60 press kits/packages to managers and agents?

4. Do you think that "being an artist" you have a "different mindset" than most people? Do people view/treat you differently... like
- "Oh, dude's weird - but he makes tight beats."
- "Yeah, he's talented, but crazy."
- "He's cool, but dude just acts DIFFERENT."

This is a qualifier that makes this a NON-BUSINESS post. Do you think your artistic mindset might actually hinder your success in any way?

(Please answer ALL of the q's if you can, because that would be VERY helpful for a situation I'm trying to understand w/a person.)

Thanks,
G

 

[2GooD Productions]

1. I was under the impression that when an artist was ready then management would find them, ie after a respectable fan base has been established.

2. Havent really tried to seek management although I could use the help of a business minded manager/agent.
I have sent demos, but the knocks dont hurt anymore. I dont get emotional about it, I just grind on doing what I love.

3. No, its just an excuse, but I never get around to doing it, Im always banging out the music.

4. I dont think I have a different mindset, I try to keep myself always down to earth, and honest with my words.
And try to maintain a good personal reputation.

My "artistic mindset" hinders my success in that im always too busy making music, and taking my eye off the success.

 

[StressWon]

Here are my questions:

1. I'm curious, have ANY of you guys actively seeked representation by soliciting managers or agents?

2. How does success or failure in getting representation affect you as an artist? Do you just keep grindin' or do you "feel the hit" emotionally?

3. Have any of you even sent multiple press kits/packages to a list of people from a music industry database? (like sending 30-60 press kits/packages to managers and agents?

4. Do you think that "being an artist" you have a "different mindset" than most people? Do people view/treat you differently... like
- "Oh, dude's weird - but he makes tight beats."
- "Yeah, he's talented, but crazy."
- "He's cool, but dude just acts DIFFERENT."

(5)This is a qualifier that makes this a NON-BUSINESS post. Do you think your artistic mindset might actually hinder your success in any way?

(Please answer ALL of the q's if you can, because that would be VERY helpful for a situation I'm trying to understand w/a person.)

Thanks,
G

1. No. I'm doin my own thing for now. With the loss of my job I am working more on my music now. I'm currently working on some promotional ideas to get that "buzz". I think at this stage in the game, I'm not there and not even sure if I will be.

2. I can't let that effect me. I'm doin all this for me and no one else. I'm accomplishing my dream. It may have taken me some time, but I'm doin what I do. Like mentioned above, my grind is about to start crazy big. I don't think this is a business to have room for feeling let down. just part of the territory.

3. No. Not yet.

4. (great question) It is different. Especially at my age. the problem I see sometimes is that people forget the "artist" part sometimes and want to bring you down for what you do. (Hate) No matter the age, I'll always be a Hip Hop artist. I won't be emceein forever but I will produce and move on into different branches of music. Its what I do.

...The mindset I have is basically, if you don't like what I am tryin to do, don't get involved. If you like it,,,great. Don't judge me by fulfilling my aspirations musically. Most people at some point wanted to be a songwriter or a painter. Most move on to college and get into the "real world". Aint shit real. At the end of the day, I have 3 albums under my belt that i am proud of. More on the way and no one to stop me. Fuck what anyone else thinks.

5. It did when i first started, but in all honesty,,,I dumped the mindset on gettin rich and all that. Right now there is no room in the maintream for "StressWon" or a "Order 66". But that doesn't stop what we are doin. I think it also is determined by each artists definition of "success". Success to me (as an artist) is puttin out good material and having people give back good feedback. Doing a show and being approached after your set by locals lovin what you just did. There's no feeling like, it,,,,,it doesn't buy you a lambo, but money doesn't replace that feelin.



my 2 pennies.

 

[Relic]

Great questions, before I read everyone elses answer lemme just answer these right quick:

1) Yes on and off throughout the years.

2)At first I kept grinding, the problem wasn't ever really finding anyone, its getting screwed once you find them.
As a result, as of late I think I have felt the hit emotionally , because taking the same ride over and over sucks, I know where it ends up.

3)No

4)Yes I do.
-Maybe
-Prolly
-Definitely

5)Yes I think that it must, sometimes I retreat into a cocoon where I'm not really interested in dealing with anyone but other artists and then sometimes not even them. My trust level with people in "management" is so low that I tend to not even put stuff out there and get on the scene like I used to.
Back when I was really into rhyming and living out the dream I know for a fact that I was in the question 4 subquestion 2 catagory. I heard this all the time. Hell I WAS crazy, thats a fact. But the creativness lyrically was at an all time high. I wish I was there without the nuttiness. To me all really good artists are in fact prolly Arteests and as such may be a little difficult to handle at times. At the end of the day I guess it falls on me if I aint at the grammy's, weird or not. I have lots of excuses I reckon.

I know guys and have worked with guys that are cool but are weird and are 12 times more talented than I am in many ways. You can be cool as hell with cat for like a month solid doing work , then they just disappear for six months , number changes, no phone calls , then the next time you see em its as if nothing happened and the cycle starts again. In fact I never hold it against these people, its just how they are.
It does make for harder working conditions especially working on time constraints .

 

[skidflow]

Here are my questions:

1. I'm curious, have ANY of you guys actively seeked representation by soliciting managers or agents?

2. How does success or failure in getting representation affect you as an artist? Do you just keep grindin' or do you "feel the hit" emotionally?

3. Have any of you even sent multiple press kits/packages to a list of people from a music industry database? (like sending 30-60 press kits/packages to managers and agents?

4. Do you think that "being an artist" you have a "different mindset" than most people? Do people view/treat you differently... like
- "Oh, dude's weird - but he makes tight beats."
- "Yeah, he's talented, but crazy."
- "He's cool, but dude just acts DIFFERENT."

This is a qualifier that makes this a NON-BUSINESS post. Do you think your artistic mindset might actually hinder your success in any way?

(Please answer ALL of the q's if you can, because that would be VERY helpful for a situation I'm trying to understand w/a person.)

Thanks,
G

1. I have been talking to a manager type out of Atlanta. She wants me to pay a certain amount of money to get my songs played on the radio and in the clubs...kinda got bad vibes about it...plus I dont have the luxuries of of just handing out doe for "payola purposes"

2. I feel that everyone is not gonna tell you no in life...sooner or later somebody gotta smell the vapors so I keep gridin...I used to get emotinal but now I just use it a motivational tool to step my game up and stay tuff.

3. No I haven't gotten into sending presskits yet...just not financially stable to be presskitting shit up right now...but as soon as I get right I'll make it happen.

4. I think my mindset is like everybody elses...we all want to be respected for what we do. We all want to put out the best product possible but as far as being treated differently some people are leary of me because I come with the body language of "c'mon now don't bullshit come str8. On the other hand I feel different...has nothing to do with music though...just somethings that I've seen and been through...music is therapudic to me so I try to put out the best product that makes me feel good...but making my client happy brings me equal joy.

I need to get more involved in a business sense though...as far as being more persistant with promoting myself with presskits, blogs, networking and whatnot. The most successful people promote, promote, and promote until they develop a fan base. I guess I hinder myself in that way.

 

[Vice]

1.No, and the reason is because I don't feel I have a large enough catalog to need a manager. I am still in that "finding yourself musically" mode and don't feel I've developed that signature style that I'm looking for.

2. I think in that case I would "feel the hit," even thought the business side of me knows not to take anything personal. Though I would continue to grind, i wouldn't be able to not feel emotional because I am still an artist....and when it comes to my art it's always personal.

3.Again, never felt I had enough material and buzz to actually do this... for me music is a slow process.

4.NO, I am pretty open minded when it comes to the art. I really don't feel you should limit yourself because you would just sell yourself short. Though I do know people, who will probably NEVER succeed just because of the way they view themselves and how everything "should be."

On a side note, I've personally almost came to the point where this is just a hobby, not because I wouldn't want to make it a profession, but because of my current personal situation. When you don't have money or the time to do the things you want you end up being more frustrated then anything, and then slowly start to lose that "drive."

 

[Relic]

On a side note, I've personally almost came to the point where this is just a hobby, not because I wouldn't want to make it a profession, but because of my current personal situation. When you don't have money or the time to do the things you want you end up being more frustrated then anything, and then slowly start to lose that "drive."

By Jove I concur 100%

But it keeps Pulling Me Back In!

 

[Vice]

By Jove I concur 100%

But it keeps Pulling Me Back In!

I know how you feel man, I know how you feel....

 

[God]

So, people feel like they haven't even had a chance with the music business - but of the five replies I've received in this post, here's what I surmise:

A) Of the five people only TWO have had some form of contact with representation.

- Relic says he tried on and off (I'm assuming with hack-managers.)
- Skidflow says he's talking to a "manager-type" that wants pay-to-play. (That isn't a real manager. If it doesn't look like a manager or walk like a manager, it ain't a manager.)

B) Of the five people that replied NOT ONE PERSON has actively sent out press kits w/demos to 30-60 managers/agents.

EXCUSES were:
- "I don't have money."
- "I'm too busy making music."
- Insert another excuse here.

I'm sitting here, looking at a book that contains HUNDREDS of managers and agents in the Los Angeles area alone. NYC? I bet there are a ton too.

NOBODY has even tried to solicit the approved managers and agents in such publications that DO ACCEPT OPEN SOLICITATIONS. Yes, they exist.

C) TeaSippa thought that managers and agents are going to just "find" you.

How many interns do you think a manager, label or scout has? They'd need an ARMY of people to find you. YOU HAVE TO BE PROACTIVE AND FIND THEM.

I can't even believe what I'm hearing - rock bands make shitty demos all the time and send out stuff from one of the many available directories with reputable managers and agents. AT LEAST THEY TRY.

Smash Bros. have a full album, maybe they should do this. Skid - you have THREE albums under your belt and you never tried?

SERIOUSLY, I'm not trying to be rude, but MOTIVATIONAL. You can't just hate on an industry if you barely even tried. I have read people writing "fuck the industry" threads and they don't even SOLICIT the industry to try. I get pitches in my private messages that look like a third grader wrote them - completely unprofessional. Even a Lil' Wayne or up and coming cats know how to pitch themselves in a polite fashion.

Either some of you tried and were rejected by some dumbass and stopped gridin' on the business front, or you're not trying hard to GET ATTENTION from the people that NEED to see your work.

There are rock bands that have gotten rejected close to 100 times by cats all over and then "hit" with one agent, label or manager. Then the manager/agent/label gets you started in promotions and getting the "buzz."

Seriously. Please illuminate me if I'm missing something. I want to understand this and how I may be viewing this incorrectly from my standpoint. I want to understand your side.

 

[Vice]

I think for me personally It comes down to an honest Fear of succeeding. For example: It's like being committed to a female... you see this girl who is a 10 and blows you away, and you finally get the courage up to TRY and make and advance and she happens to say yes. Once you are with her and then the dating thing happens, it's exciting at first but suddenly she wants more... then you get married, and she's got you. You are no longer happy with the 10 you had and on the inside you want out..... the "magic" that was there is gone... Now you have to work to make her happy, and she always wants more. You're stuck.....

That's kinda how i see making it...... it's not the fear of FAILURE that stops me as an artist, I'm really scared to make it. Being rich isn't important to me, money means nothing...I get by right now just fine. Right now I make music cause I like it, and it makes me happy.... I don't want that to change.
That's just my view of this.
In a Rock Band, you have a collective group of people who are in on it together to be supportive of one another.... When you are a lone artist everything is on YOU.
So I don't know man, a part of me wants it while the other part doesn't. So I'm caught in this cross road so to speak.

 

[2GooD Productions]

Heres the killer for me, I even have an industry directory, called The Unsigned Guide.
You can find it online, the advice it gives in its own pages is that once you have develpoed enough of a buzz to be marketable to a manager/agent, then they will come looking for you.
My new years resolution is to become much more pro active in getting my material to the right people.
Id like to thank you god, for this thread. And all the other very informative threads you post.
Merry Christmas.

 

[Ash Holmz]

Here are my questions:

1. I'm curious, have ANY of you guys actively seeked representation by soliciting managers or agents?

2. How does success or failure in getting representation affect you as an artist? Do you just keep grindin' or do you "feel the hit" emotionally?

3. Have any of you even sent multiple press kits/packages to a list of people from a music industry database? (like sending 30-60 press kits/packages to managers and agents?

4. Do you think that "being an artist" you have a "different mindset" than most people? Do people view/treat you differently... like
- "Oh, dude's weird - but he makes tight beats."
- "Yeah, he's talented, but crazy."
- "He's cool, but dude just acts DIFFERENT."

This is a qualifier that makes this a NON-BUSINESS post. Do you think your artistic mindset might actually hinder your success in any way?

(Please answer ALL of the q's if you can, because that would be VERY helpful for a situation I'm trying to understand w/a person.)

Thanks,
G

1) No

2) Failure is a learning experience that is more valuable than success. I think everyone gets hit hard at first. Its similar to learning there is no Santa Clause or something to that effect. It knocks you out the first time. Those that are able to overcome and are going to be the strongest ones. You have to feel defeat before you can taste that success. I was really upset when we got no applause after giving our all for a show. I was upset when Fear Factor got a shitty review from OKP. But eventually you shake it off. In the end it all makes you stronger. Im learning that for every hater dissing you, you gain two fans on the low. when somebody hits you up and says that they bump your shit on the daily.

3)No. Ive sent numerous press kits to publications with some success, but perhaps that energy would have better spent soliciting proper representation so I wouldn't have to do it in first place. but again, im learning.

4) Im not sure. I never know what people are thinking. But I AM weird, its not a secret. Not weird in a bad way like a dope fiend or something, but definitely not normal in the way that most people walking down the street are. I wouldn't even say I'm normal in the sense of being an artist. I mean how many rapping producers were born and raised in Syracuse, NY? That doesn't even sound right. So yeah im weird, a little self-centered and "out there" but arent all artist? Isnt that the point? that u r different? And when I think about where I come from, the people I hung around with, and what I evolved into as an artist it makes me seem even weirder to myself. On some level, this question kinda relates to question 2. Cuz if you are truly comfortable in your own skin it becomes easier to brush off failure/rejection and persevere than if you are posing as something you are not.


I don't think my artistic sense would hinder my success. I don't carry the "fuck the industry" attitude alot of cats embrace. In fact Im fucking INTRIGUED by the whole shit. Why certain songs are hits and others aren't. Why certain cats blow others don't, the shit is fucking fascinating to me actually. Im probably in the minority here in Illmuzik when I say that making music that is universally appealing IS the best kindof art and the most difficult type of art to create.

 

[Vice]

Im probably in the minority here in Illmuzik when I say that making music that is universally appealing IS the best kindof art and the most difficult type of art to create.

I cosign with that statement 100%
A universal artist is sometimes hard to find, simply because everyone wants to take sides musically....the mind state seems like " I like this genre but I hate anything that has to do with this genre"..... without even giving it a chance.

 

[classic]

Here are my questions:

1. I'm curious, have ANY of you guys actively seeked representation by soliciting managers or agents?

2. How does success or failure in getting representation affect you as an artist? Do you just keep grindin' or do you "feel the hit" emotionally?

3. Have any of you even sent multiple press kits/packages to a list of people from a music industry database? (like sending 30-60 press kits/packages to managers and agents?

4. Do you think that "being an artist" you have a "different mindset" than most people? Do people view/treat you differently... like
- "Oh, dude's weird - but he makes tight beats."
- "Yeah, he's talented, but crazy."
- "He's cool, but dude just acts DIFFERENT."


This is a qualifier that makes this a NON-BUSINESS post. Do you think your artistic mindset might actually hinder your success in any way?

(Please answer ALL of the q's if you can, because that would be VERY helpful for a situation I'm trying to understand w/a person.)

Thanks,
G

I dident see this thread..

1. Not really, some limited sucess with the smash bro's proejct but nothing to write home about. If anything its been a learning experince..Thats been the biggest benfit...

2. Well honestly , i dont feel the hit at all casue its my music, its all about the experince with me. Im in a different situation then most artists becasue i have a reatlively well paying job and i live a pretty good life. So regardless if i "make it" in the biz or not im gonna be alright, the music is for the love, so if you love it dope! if not, keep it moving...

3. Yes, smash brothers have sent out ATLEAST 100 physical press kits and countless digital press kits emails to various managers /industry pro's

4. Well Im a pretty weird dude in an eclectic sense...Im full of contridictions, im a southern african american, classical pianst/ hip hop producer , neo blacknationlist living in brooklyn with a post graduate degree in computer science who travels the world... (and i cant spell for shit).. it dosent get much weirder then that...But i use that to my benfit becasue i feel i know more then the avrage artist when it comes to life experince and being able to talk to people..

class...

 

[God]

I.

I dident see this thread..

3. Yes, smash brothers have sent out ATLEAST 100 physical press kits and countless digital press kits emails to various managers /industry pro's

class...

Has it been two months since you sent out the press kits? What were the reactions?

(Also, if some dumbass insults you or your music in a response, don't take it personally. Shit like that happens.)

I'm curious.

II.

Did you send a CD with your press kit that was AS IS... meaning, with the only audio representation of yourselves as a full album?

My two cents would be to have a "promo CD" with the hottest hook as track one, then full song that has the hook in track one as "track 2." Select only the songs you think are hot/marketable enough... kinda like this:

1. Hot hook/chorus #1 (30 sec.)
2. Full song #1 w/hot hook #1 (3:35)
3. Hot hook/chorus #2 (25 sec.)
4. Full song #2 containing hot hook #2 (3:12)
And so forth...

So if you're the hottest hook from your album is on a track called "Fire and Water" it would be like this:
1. "Fire and Ice" Chorus/hook (30 seconds)
2. "Fire and Ice" full song (3:35)
3. "Pork and Steak" chorus/hook (25 seconds)
4. "Pork and Steak" full song (3:12)

People just want to listen to what's hot first. I've even seen it done where the first track listings like 1-6 are filled with the hooks, and the full songs are after the hooks in tracks 7-13.

If anyone does this, holla on this thread, I would like your input on this. Most cats that don't have a lot of time WILL NOT sit down and listen to a whole fucking album or a hot track.

They will listen to the first 15 seconds of your hot track.

If you have the hot hooks listed so they can just listen to that - they tend to listen to MOST of them, since they feel they're not wasting that much time listening to the "best" part of your songs. Counter-intuitive isn't it?

They have a greater time-investment when they just listen to your hooks, hence they may even listen to the full tracks. It saves a lot of time than fast forwarding to the payoff, which is usually the chorus. If the rep invests time in ONE SONG through the verse and the chorus sucks - they won't bother with the other songs... unless you have all the hot choruses/hooks edited for them to listen to.

Let's say, for argument's sake you wrote the songs for Lil' Wayne, MIMS and 50 Cent. It would be like this:
1. "Lollipop" chorus/hook (34 sec.)
2. "Lollipop" full song (3:42)
3. "In Da Club" chorus/hook (22 sec.)
4. "In Da Club" full song (4:03)
5. "This Is Why I'm Hot" chorus/hook (24 sec.)
6. "This is Why I'm Hot" full song (3:32)

OR

1. "Lollipop" chorus/hook (34 sec.)
2. "In Da Club" chorus/hook (22 sec.)
3. "This Is Why I'm Hot" chorus/hook (24 sec.)
4. "Lollipop" full song (3:42)
5. "In Da Club" full song (4:03)
6. "This is Why I'm Hot" full song (3:32)

Sometimes you can use "chorus" or "hook" as terminology. Hook has a more positive connotation to it that just "chorus". I don't know why that is.

That's the way shit works. I'll just say a friend of mine who once worked at MTV saw it happen that way.

 

[Sucio]

I.
That's the way shit works. I'll just say a friend of mine who once worked at MTV saw it happen that way.

Yeah..I got a friend at MTV as well...he told me the same thing....

 

[2GooD Productions]

When I started sending out demo cd's the advice I got from those I phoned to tell I was sending a demo to them was that they wanted a 3 track demo, with the three best tracks.
Some of them couldnt stipulate eough that they only wanted a three track demo.
I assume its down to the same time constraints that they have to listen to new music.
I think Im going to follow your advice for a few demos and see how it goes.
Just make a six track demo in the format hook/track etc.

 

[thedreampolice]

"SERIOUSLY, I'm not trying to be rude, but MOTIVATIONAL. You can't just hate on an industry if you barely even tried. I have read people writing "fuck the industry" threads and they don't even SOLICIT the industry to try"

Amen to that.

1. I had a agent when I was a full time musician in a rock band. A very good one at that. We got loads of radio play and toured like crazy. And really that's all we wanted.

2. I love to fail. "Failure brings the seed of success"

3. I have sent many press kits out in my rock days.

4. Yes if you only have an artist mindset you will fail. You need a business mind set. In fact I wrote an article on it
http://lounge.sonicbids.com/581/

 

[skidflow]

I.



Has it been two months since you sent out the press kits? What were the reactions?

(Also, if some dumbass insults you or your music in a response, don't take it personally. Shit like that happens.)

I'm curious.

II.

Did you send a CD with your press kit that was AS IS... meaning, with the only audio representation of yourselves as a full album?

My two cents would be to have a "promo CD" with the hottest hook as track one, then full song that has the hook in track one as "track 2." Select only the songs you think are hot/marketable enough... kinda like this:

1. Hot hook/chorus #1 (30 sec.)
2. Full song #1 w/hot hook #1 (3:35)
3. Hot hook/chorus #2 (25 sec.)
4. Full song #2 containing hot hook #2 (3:12)
And so forth...

So if you're the hottest hook from your album is on a track called "Fire and Water" it would be like this:
1. "Fire and Ice" Chorus/hook (30 seconds)
2. "Fire and Ice" full song (3:35)
3. "Pork and Steak" chorus/hook (25 seconds)
4. "Pork and Steak" full song (3:12)

People just want to listen to what's hot first. I've even seen it done where the first track listings like 1-6 are filled with the hooks, and the full songs are after the hooks in tracks 7-13.

If anyone does this, holla on this thread, I would like your input on this. Most cats that don't have a lot of time WILL NOT sit down and listen to a whole fucking album or a hot track.

They will listen to the first 15 seconds of your hot track.

If you have the hot hooks listed so they can just listen to that - they tend to listen to MOST of them, since they feel they're not wasting that much time listening to the "best" part of your songs. Counter-intuitive isn't it?

They have a greater time-investment when they just listen to your hooks, hence they may even listen to the full tracks. It saves a lot of time than fast forwarding to the payoff, which is usually the chorus. If the rep invests time in ONE SONG through the verse and the chorus sucks - they won't bother with the other songs... unless you have all the hot choruses/hooks edited for them to listen to.

Let's say, for argument's sake you wrote the songs for Lil' Wayne, MIMS and 50 Cent. It would be like this:
1. "Lollipop" chorus/hook (34 sec.)
2. "Lollipop" full song (3:42)
3. "In Da Club" chorus/hook (22 sec.)
4. "In Da Club" full song (4:03)
5. "This Is Why I'm Hot" chorus/hook (24 sec.)
6. "This is Why I'm Hot" full song (3:32)

OR

1. "Lollipop" chorus/hook (34 sec.)
2. "In Da Club" chorus/hook (22 sec.)
3. "This Is Why I'm Hot" chorus/hook (24 sec.)
4. "Lollipop" full song (3:42)
5. "In Da Club" full song (4:03)
6. "This is Why I'm Hot" full song (3:32)

Sometimes you can use "chorus" or "hook" as terminology. Hook has a more positive connotation to it that just "chorus". I don't know why that is.

That's the way shit works. I'll just say a friend of mine who once worked at MTV saw it happen that way.

Why does this seem like a bunch of senseless organizational information that will only lead to nowhere? this whole industry and the cats running it are profitiers so anything that concentrates on profit alone has no good ethics...thats why I make this music for free. Hopefully by doing this soon the industry will no longer be able to sell and profit from no more bullshit music (yeah right lol). I know I kinda went a lil off topic...but when I seen this lil organizational structure as far hooks and songs it kinda urked me an a way because...first these mufuckas throw that demo shit away for starters and at the end of the day...you only get raped by labels...you cant stop it. Just build your own fan base buy putting out good music like the "Smash Bros"...it might be slow money...but its yo money and it sho money. That demo shit is dead...cats wanna see dvd's of shows, blogs, etc.

 

[skidflow]

1. I had a agent when I was a full time musician in a rock band. A very good one at that. We got loads of radio play and toured like crazy. And really that's all we wanted.

2. I love to fail. "Failure brings the seed of success"

3. I have sent many press kits out in my rock days.

4. Yes if you only have an artist mindset you will fail. You need a business mind set. In fact I wrote an article on it
http://lounge.sonicbids.com/581/

1. Now by the time you start making moves like that...the checks should start rolling in

2. I learn by my failures but I cant stand to fail...thats some bullshit there.

3. I rest my case

4. I would only write an article on it only if I were successful at it.


look how do we measure our success? I'm successful in knowing how to make beats and knowing how to put a quality product out. Learning the business in only learning who is gonna shit you in the long run and the major players that will be involved in shitting you.