tcohh's Blog

The Connected Experience Podcast - Latest Episodes

Posted by tcohh — Thu, 9 May 2019 00:17 GMT

Check out the latest episodes of The Connected Experience Featuring Uncle P of Detroit Rap.Com, J Jackson, B Corder of Beats x Beers, Joe Commish aka Commission Raps & Pop Not Soda Podcast https://www.radio.com/media/audio-channel/connected-experience-uncle-p https://www.radio.com/media/audio-channel/connected-experience-cultural-influence-w-j-jackson-b-corder https://www.radio.com/media/audio-channel/connected-experience-creative-recluse-w-joe-commission https://www.radio.com/media/audio-channel/connected-experience-f-pop-not-soda Be sure to subscribe, rate and comment The Connected Experience Podcast "I want for my brother, what I want for Myself"

The Connected Experience Podcast - Latest Episodes f/ Foolish, Nick Speed & TK Kirkland

Posted by tcohh — Tue, 19 Mar 2019 19:07 GMT

Press Play on the latest experiences from The Connected Experience Podcast featuring Comedian Foolish, Producer Nick Speed and Comedy OG TK Kirkland Foolish episode: https://www.radio.com/media/audio-channel/connected-experience-comedy-cannabis-music-w-foolish Nick Speed episode: https://www.radio.com/media/audio-channel/connected-experience-walking-history-lesson-w-nick-speed TK Kirkland Episode: https://www.radio.com/media/audio-channel/connected-experience-gangsta-conversation-w-tk-kirkland

The Connected Experience Podcast - Latest Episodes

Posted by tcohh — Fri, 17 Aug 2018 23:19 GMT

Here are the links to the latest episodes of The Connected Experience Podcast Hosted by AJ & SJ Guest include Tony Zuko & ATM Records https://audioboom.com/posts/6941350-say-it-ain-t-with-tony-zuko-atm-records J Santiago https://audioboom.com/posts/6949491-can-there-only-be-one-f-j-santiago NameTag & Black Bethoven https://audioboom.com/posts/6958295-working-with-siblings-w-nametag-black-bethoven DJ DDT https://audioboom.com/posts/6967565-whats-next-on-the-menu-w-dj-ddt

The Connected Experience Podcast -The Art & Science of Respect w/ J Prince

Posted by tcohh — Fri, 17 Aug 2018 23:04 GMT

We recently had the pleasure of sitting down with the Legendary CEO of Rap-A-Lot Records. We discussed his latest book "The Art & Science of Respect" as well as many more things. Press play and listen in on the conversation https://audioboom.com/posts/6934323-the-art-science-of-respect-w-j-prince

The Connected Experience Podcast-

Posted by tcohh — Mon, 9 Apr 2018 15:25 GMT

Catch up on the latest episodes of The Connected Experience Podcast now Big Greg episode https://m.soundcloud.com/tcepodcast/the-connected-experience-the-big-greg-episode The 313 Hot Boyz https://m.soundcloud.com/tcepodcast/the-connected-experience-the-313-hot-boyz-episode Hood Illustrated podcast edition https://issuu.com/hoodillmag/docs/podcasttceeditionfinal/1?ff=true Unsavory Connection https://m.soundcloud.com/tcepodcast/the-connected-experience-unsavory-connection Esham Episode https://m.soundcloud.com/tcepodcast/the-connected-experience-the-esham-episode Viral Reality https://m.soundcloud.com/tcepodcast/the-connected-experience-viral-reality-episode Lights, Cameras, Action https://m.soundcloud.com/tcepodcast/the-connected-experience-lights-camera-action Call you back podcast episode https://m.soundcloud.com/user-522142308/dassit Unsavory Antics podcast https://m.soundcloud.com/user-493146250/an-unsavory-connected-experience Audio Ignorance https://m.soundcloud.com/tcepodcast/the-connected-experience-audio-ignorance Mid West Mobbin''

The Connected Experience Podcast -Continued

Posted by tcohh — Mon, 9 Apr 2018 15:19 GMT

Mr Serv-on X The College of Hip Hop

Posted by tcohh — Wed, 8 Nov 2017 15:21 GMT

Head over to the seminar section and check out the audio interview with Mr Serv-on formerly of No Limit Records takes the time out to offer his insight on the music business and also discusses his current plans .

The Connected Experience Podcast Debut

Posted by tcohh — Wed, 8 Nov 2017 13:46 GMT

The debut episode of The Connected Experience #podcast -"Dynamic Duos" is now available and touches on debut albums from great #hiphop duo's #thadoggpound #outkast #cnn #8ballmjg #ugk #mobbdeep #luniz #clipes listen in on a great conversation with host AJ & SJ along with @shoptalkpodcast (@jjohnson313 & @damegonewild) and @nametagalexander of @lablmusic podcast https://soundcloud.com/tcepodcast/the-connected-experience-dynamic-duos

10 Steps to Profit from your Passion Chapters 6-10 audio book review

Posted by tcohh — Fri, 27 Oct 2017 11:38 GMT

Head over to the seminar section to listen to chapters 6-10 of the audio book. Book Review: 10 STEPS TO PROFIT FROM YOUR PASSION (Pt. 2) By The College of Hip Hop.org In the first installment reviewing 10 Steps to Profit from Your Passion by The College of Hip Hop the reader was introduced to some of the basics of starting a music career or business. In this segment chapters 6 thru 10 will be highlighted. Here, more emphasizes will be placed on the music aspect. So if you're an aspiring artist... lean in. "What do I want from the music business?" In order to answer this, one must know the different types of deals that are out there. First up is the infamous "360 Deal". With a 360 deal the label fronts you the money for your album, which you will eventually have to pay back through the money generated from album sales, merchandise, concerts and other forms of revenue. Next, is the Production Deal. With this type of deal the artist may sign directly with a label or producer, who develops the artist and shops around demos. The last deal discussed was the lesser known Pressing and Distribution Deal (P & D Deal). With a deal of this sort the distributer manufactures and ships the album to stores for a commission, usually 25%. When determining what type of deal is best for you TCOHH suggests weighing the pros and cons of signing a record deal, as well as being familiar with the different types of deals. "Get an entertainment lawyer." In Chapter 7, Recording Contracts 101 TCOHH starts off by stressing the importance of having a lawyer, and not just any ol' paralegal (no shade to the paralegals out there), but an entertainment lawyer. It's important to have someone in your team who is knowledgeable about the entertainment side of things. Through a few chapters there was a recurring theme of "there is no such thing as a standard agreement". This is stressed yet again. While agreements maybe similar, there is no cookie cutter template. The last thing you want to do is ball out with the money the label gives you as this may result in you not being able to pay for the production of the album. "No album = No sales", and no sales means you can't pay the label pack the money they fronted you. Before signing a recording contact ask yourself whether or not you should have your entertainment lawyer look it over and who should negotiate contracts on your behalf. "Proper packaging creates the perception that you have invested in the projects and it is worth the money." Once you have successfully completed your album you will then need to determine how the product should be packaged. Chapter 8 discusses the importance of good packaging. When determining how to package your project, it's important to ensure that your packaging stands out from the crowd. You'll also want to keep in mind how much of your budget you are willing to spend on packaging. "Becoming a start is like running for office - if people don't see the signs promoting you or hears about you through word of mouth from sown one else, YOU LOSE." At some point in your career you will have to determine whether or not you need a street team and when is a right time to do so. Your street team is responsible for getting your name out there, as well as promoting any upcoming projects. Last, but certainly not least, viral content was discussed. In the age of YouTube, Facebook and the other various social media platforms the more views, shares and likes you can get the better. "It's all about the content and emotional connection you create with your fans." While creating viral content van be helpful in launching an artist music career, it is not necessary. 10 Steps to Profit from Your Passion is a must read for any up-and-coming artist, as well as aspiring entrepreneurs and CEOs. While the guide has a heavy concentration on the music industry, there's a little bit of something for everyone, whether you're looking to get into the music business or simply want to start a small business.

TCOHH x Premium Pete

Posted by tcohh — Wed, 4 Oct 2017 18:29 GMT

Premium Pete is more than just the sneaker guy. While his IG @SneakerTubeTV is a testament to his early years in hip-hop Pete wants to be known for more than just fly kicks. Formerly of the Combat Jack Show, Pete ventured off on his own to develop his own podcast, the Premium Pete Show. In an exclusive interview with The College Of Hip Hop Pete talks success, podcasting and food. TCOHH: Explain to The College Of Hip Hop Who Premium Pete is. PP: Who Premium Pete is, is someone you can't explain in one sentence. Somebody that really just believes in the lifestyle and the culture, and you know, is a dot connector. I've been involved in sneaker culture for many years just collecting them, just being fresh. It's a part of New York City. It's part of just what we do. I remember when I was at an event or something like that and somebody was like 'That's Premium Pete, you know that sneaker guy'. And when they said that shit I don't know why it bothered me. And I was like man I need to work harder so people just don't think of me as the sneaker guy. Sneakers are pieces of conversation. And like yea they're fresh, but keep in mind there are millions of people who don't wear sneakers with the idea of 'Oh I'm wearing Yeezy's' or 'I'm wearing Jordan's'. They're wearing them because they need them on their feet. And I don't know why it bothered me because if someone says to a doctor 'Oh you're that doctor' he's not gonna be like 'Fuck. Why the fuck did he call me a doctor for? I do more than that'. I just felt that I didn't want to be put in one box. And I feel like in this world that happens a lot where you get put in a box. I'm somebody who is involved in, you know, many different cultures and many different lifestyles. I'm a fan, a teacher and a learner of many different lifestyles and the cultures. So, what I did was work very hard to, you know. That's when we really went in with the podcasting and really just became more of a voice. That's when me and Bun started up You Gotta Eat This and really became not just a website and a social push but also like a marketing company. A company that could really push and help build brand awareness for other brands. So now it like 'That's Premium Pete - the Brooklyn kid, or sneaker guy, or from Combat Jack Show or You Gotta Eat This'. And then I was like now were getting somewhere because now we're beginning to grow out all this different facets of myself and that's what I wanted. I didn't want to be known as just one person. TCOHH: What was it like growing up in NY during the 80s and 90s hip-hop era? PP: It really was a life style, you know. hip-hop is a lifestyle. Some people think hip hop is just music. Nah, hip-hop is the way we dress, the way we walk, our mannerisms, our everything. I feel like it's the birth place of hip -hop, the mecca. I think people were just living the lifestyle not even knowing that hip-hop is more than just music. I think at that time it was more of a fad, people thought it would go away. Nobody ever thought that hip hop was forever. They figure country music, rock music, and heavy metal is forever. People from the 80s and 90s - I feel you have to thank them for pushing the culture forward and putting their stamp on something they didn't think would last forever. But it was special. NYC is tough. People really lived that shit. That's why I think people get mad about lyrics and everything like that, because the originators and forefathers of hip-hop really lived what they were spitting. TCOHH: How did you come up with the idea for You Gotta Eat This? PP: Me and Bun we talk a lot on the phone a lot. For years, we've had conversations about everything. Probably I would say nothing to do mostly with hip-hop, but more so everything around it and the lifestyles of hip-hop. We talked about movies and food, and different restaurants. Bun travels a lot, so he does a lot of different shows and concerts. Bun is very passionate, so he would call me all the time and tell me like 'Oh my god man I was in Germany and they had these meatballs... Pete listen'. Bun is a person who is a chameleon. He can adapt to any situations, and obviously with me being Italian we tap fun at the mannerisms and more so the verbiage of how Italians talk, so we would say things like 'This pizza? forget about it. It's amazing'. And one day we were like we should start like a blog and call it You Gotta Eat This. Kinda like 'Hey Steve man you ever had this clam sauce from Vermont?'. It's amazing, you gotta eat this. It's basically like a co-sign. So, it was just through conversation. There are so many people that I talk to and I have good conversations with, but I would say 9 out of those 10 things never happen, but that was one that did. TCOHH: What is your idea of success, and why? PP: That's a good question because success to most people is money, and for many years that was my thoughts and that's not really true. Success is being happy on your own terms, and if you find something you love and that makes you really happy then that's success. I think most people see success as a Rolex watch or a lot of followers on Instagram. Or success is dressing in brand name designer clothes. But for me success is seeing my kids get the best out of life and being able to provide that for them. Success to me is doing what you love every day. Success is whatever you think is success, but I think what happens is people look at other people's success for what they are doing wrong. I say look at it as inspiration for what you're doing right. Being successful is a continuing process of doing had work and enjoying the results. It's not one thing. Like my friend Dallas always says 'If you do one great thing you gotta do another'. TCOHH: What advice can you offer someone looking to get into the podcast business? PP: (Jokingly) Don't do it. No, I'm just kidding. In this day and age be different. For example, say it was a time when you were the only one wearing Victoria's Secret out in Detroit, then all of a sudden everyone is wearing it. And you're like 'Damn man everyone is wearing it'. That happens in everything. I know a lot of people that are like 'I wanna start a podcast, but everyone is doing it'. It happens with every single fucking thing. The thing is when it gets saturated that when you need to get creative. So, to anyone doing podcasting now, I would say be consistent, be real, be passionate, and be yourself. That would be the biggest advice I would give people.

TCOHH x Missy Talbot

Posted by tcohh — Wed, 13 Sep 2017 14:26 GMT

Director and producer Missy Talbot has earned stripes on both the stage and small screen. With the production hit televisions shows, such as Cheaters and Switchplay Live under her belt combined with theatrical productions, like Eyes of Deception and Karl King's When a Woman Loves and There Goes the Neighborhood Talbot has carved a lane for herself in both worlds and made a name for herself in the entertainment industry. Check out the exclusive Q&A below. Tell me a little about how you got your start in television and theatre. My start was with Okane Media Group in 2000 with Miles Dixon and Nate Talbot. What advice can you offer to someone looking to pursue a similar path? Research Everything. Keep up to date with what's hot and trending and study. But most importantly it's nothing like experience. Intern, understudy, and never stop learning. Watch who you associate yourself with, be protective of your name. What's the most challenging aspect of your job? Getting everyone to stick to their word and contracts that they sign. It's always one or two out of the bunch that causes problems. Not sticking to schedule etc., but usually God works it all out. "Get It Done" is our motto. What has been your greatest accomplishment? Turning dreams into reality. I love watching a product go from off the page into full production. It brings everything to life. Which do you like best, theatre or television? I've had many great moments. I can't really pinpoint one specific thing. This now gives me something to think about. What are some of the similarities and differences between theatre and television? Similarities: Casting, bringing characters to life, script editing, character development and marketing. Differences: Rehearsal time, production schedules, talent level, the size of the team that's needed and financial obligation. Which do you enjoy most, theatre or television? I truly love them equally BUT there's nothing like that live, instant reaction from an audience in theater. With film and television, you have to wait for ratings, feedback, comments, etc. versus when you do theater you are watching the tears, the laughs, and people leave telling you how they felt. But I just love "quality" entertainment.

Maddog McGraw Ep Review

Posted by tcohh — Thu, 31 Aug 2017 02:18 GMT

Maddog McGraw: Green Beret Review This 8 track ep opens up with the track "Rebels don't die" which takes you thru the experience of Maddog surviving an actual heart attack. Spending time at a Detroit Tigers game, enjoying the atmosphere when suddenly tragedy strikes, missing a concert the next day in Detroit due to the fact he had a heart attack at the game. The track is a battle with Maddog and the grim reaper, a fight that Maddog seems to win, hence the title "Rebels don't die". Followed by a what I believe is one of the strongest songs on the ep " I Hate Your Guts", this track is a hate filled ode to the feelings he has towards his enemies. With lines like " From the bottom of my heart I wish you the worst, if you die tomorrow I'm car jacking your hearse" shows the harsh feelings he has for the people who've become enemies. Over all "Green Beret" deserves attention and fans won't be disappointed after listening. "Green Beret" ends on a very high note with the track "High Noon". This track simply lets the competition know that in any form of a one on one battle that don't stand a chance against Maddog McGraw. SJ

Jack Thriller x TCOHH pt 2

Posted by tcohh — Wed, 23 Aug 2017 15:15 GMT

We hear stories all the time about artist - urban artist in particular - who basically got "got" - whether it be due to the mismanagement of funds, bad contracts or what have you. A lot of this can be contributed to a lack of financial literacy and business savvy. What are your thoughts on the mis-education of artists and how this hurts their careers? When I was coming up and I was looking for managers and stuff like that I would sign any damn thing. I just wanted to be famous, and I wanted to make some money and whatnot. And when you''re young and desperate and shit, and you ain''t got no money you just wanna get on you like: ''I''ll figure all that other shit out later. Because once I''m famous I can gon'' and pick up the pieces and make money off my fame. How long is my contract? I''mma be famous forever''. That''s how you think when you inside of it, but that''s not really how it goes because sometimes when you get in that certain space and you realize that you''re supposed to have this and you don''t have that and somebody who started off at the same time as you they do have the fruits of their labor because they did better business than you. You will feel salty and you would start being bitter and stop working and being creative because you can''t function inside the industry and you''ll start to resent it. So, it''s very important to get your business together and understand the business right off the rip, or just stay independent, man. Cuz like I said, they making it so easy for you to do it by yourself now. Back in the day when you had TLC and stuff, they wanted to be famous, and it cost. But they didn''t care and they didn''t educate themselves on the business until they were hanging around other people who were just as famous as them and they was like ''Girl you ain''t got no house? You still got a roommate?'' You don''t be knowing no better. Somebody could be giving you a check for $100,000 and you pick up some cash from party to party and you doing features and stuff and picking up $25,000 here and $25,000 there in cash, and you''re thinking you''re rich already, like: ''This will hold me off until the big check comes in'', but when the big check comes in you didn''t realize how much stuff you had signed away and that''s when you start feeling salty. A lot of people would say that them girls was stupid, but no they weren''t. Anybody would have did that, especially if people had said to you ''You know what? If you don''t sign this we can find three other girls.'' That could have been anybody. TLC could have been anybody. What has the transition been like going from being a solo host on This Is 50 to now having a full staff on Party and Bullshit? It''s very liberating. I don''t have to ask nobody - I don''t have to ask 50 what he think about it. ''Can I have this person up there or that person?'' because he don''t get along with them or no bullshit like that. Because I''m not in no gang. I''m a comedian. I ain''t supposed to be not liking nobody because the dude I''m working with not liking somebody. That''s some bullshit, right? I remember one time I tried to shake Rick Ross hand - that nigga looked at my hand like he wanted to spit in it. It ain''t have nothing to do with me and I thought that was so unfair. And I couldn''t be on the episode of "Wild ''n Out" that he was on because he didn''t want me on there. I didn''t do anything to this guy, but guilty by association. But it don''t go that way when I have beef with somebody. Like me and 2 Chains had got into it. I was like ''Ay 50, you betta tell that nigga 2 Chains that I ain''t fucking playing with him''. So, he call the nigga up, the next thing I know they doing a song together. I''m like ''What the fuck? Yea, let me gon and start my own shit.'' I''m glad I got my own stuff and I''m trying to create more platforms for more people to get on. I''m married now. My wife is my co-host on the show and we''re doing a podcast with Tidal called "Funny and Fine". We have a show called "16 or Better", for up-and-coming emcees. I''m just trying to create my own brands. It''s very important to be your own man and create your own lane. It''s way more rewarding. Because one thing I''ve always hated is when I''m out in the street and somebody points to me and goes: "Ay there go the 50 Cent nigga right there". I wanna be Jack. How do you balance married life and your career in entertainment? I''m still trying to figure it out. It''s hard because before I was married I was super far away from being married. Suuupppper! Like people don''t even believe I''m married. I''ve been married for about four months now and I still got women texting me and hitting her in her DMs and trying to see if we really together and stuff. It''s very frustrating. And I didn''t even realize how many hoes I had before I got married. I kid you not, it''s been over 60 something girls, different ones curse us out and all type of shit. So, how do I balance it? My fans. A lot of my fans didn''t want me to be married. They wanted Jack "The Sex Room" dude that interview the porn stars and have all the girls and stuff. They were living through me. Now that I got my wife, I try to find a balance to where I can give the people what they want without disrespecting my wife. She learning how to deal with it too because on the flip side of that now that I''ve made her famous a lot of guys be trying to hit her up on the low cuz they think ''Well shit, if she out here and married a nigga with one eye I know she''ll like me'', but that''s not the case. Usually when you see a woman dating a man with one eye or one leg.... If he got her that mean he really got her and you ain''t got not one chance in the world. It''s pretty extreme. It''s something over there that you''ll never understand. Leave that shit alone.

Jack Thriller x TCOHH pt 1

Posted by tcohh — Wed, 16 Aug 2017 01:37 GMT

Jack Thriller has come a long way since Soulja Boy''s 2007 hit "Crank That (Superman)". After years of being the face of This Is 50.com, the comedian has created a lane of his own during his rise from the stage of the Chris Tucker Comedy Club to our TV screens on Nick Cannon''s Wild ''N Out. A recent newlywed, host of The Sex Room and Party and Bullshit, Jack sat down with TCOHH to talk about marriage, his transition from This is 50 and his upcoming album, and podcast on Tidal. Tell us a little bit about yourself and how you got your start in entertainment? I''ve been in the entertainment industry since I was 12 years old. I had been going to performing arts camps in Huntsville, Alabama and Montgomery, Alabama and I then joined a gospel play called "A Will to Survive" starring Fred Berry from the TV show "What''s Happening". He played the character Rerun. I then left there and came back to Atlanta, GA to pursue a career in comedy. So, I started off at the Chris Tucker Comedy Club and there were a lot of greats and stuff - Bruce Bruce, Earthquake, of course Chris Tucker, Mike Epps. Everybody that''s big names now - Kat Williams. After that I started going on the road with Lil Duval, Roland Powell was his name at the time. I became his roommate, opening act, bodyguard, personal assistant.... anything that I had to do to just sponge up the game because he was already doing well. This was like 2001 at the time and we use to shoot a bunch of skits. Matter fact we was the first ones doing skits before any of these other little YouTube sensations or Instagram sensations. We started all of that. What comedians would you say inspired your comedic career? Richard Pryor. I love Richard Pryor as a comedic actor. I never really was into his standup like that. I really love Eddie Murphy. I seen "The Best of Eddie Murphy" when I was five years old. I''ll never forget it. I think I was in kindergarten at the time, and I understood everything that was going on. It was like 1986, ''87 and I was watching that shit and I was like "I think that''s what I am right there. I''m a comedian". When I said I was gonna do this shit before I went to the Chris Tucker Comedy Club I went to go see the Kings of Comedy in 1998 or something like that. I went to 2 shows back to back. And one of the local DJs, named Ryan Cameron, opened up for them and I was like ''''Shit if Cameron can do this, I can do this''''. He was kind of funny, but he wasn''t like crazy funny. It wasn''t nuts, he made me feel like I could do it. Now you know when a comedian is good and you respect him you''re like ''''Nah, I can''t do this shit''''. Like Dave Chappell or Chris Rock, he''ll make you say ''''I can''t do that shit'''' because it''s so great, it''s so groundbreaking, and when I say groundbreaking, it''s like you ain''t never heard none of this shit before. Jamie Foxx is like that too. And I think he''s dope because he''s an entertainer. He sings and he plays instruments and stuff and it takes you to a whole other place. It ain''t even like you watching a comedy show, it''s like you''re watching a concert. A lot of people have been very vocal about the entertainment industry, especially in regards to hip-hop - some of it positive, some of it negative. What are your thoughts on the current state of not just hip-hop, but the entertainment industry in general? I think it''s in an interesting place right now because you ain''t even gotta be good no more. Your grand mama could blow up. Look at that girl what''s her name...? Mama Dee - and Jim Jones mama too. It can happen, like easily. Like you don''t have any choice not to make it in 2018. It ain''t no excuse for you saying niggas is hating and they ain''''t putting you on. The gatekeepers are gone, we are the gatekeepers now. It''s homeless people with Facebook, Instagram and the access to the internet and whatnot, and your life could change overnight. So, if you don''t at least take incentive to at least record yourself and post it up, you don''t deserve to make it. So, I like it in that sense, but on the same token the curse of that is the people that produce quality stuff don''t get a chance to see the light of day sometimes people aren''t paying to go see them... The record sales are horrible. It''s a new kind of system that makes it hard to monetize it the way you use to be able to monetize the game. So, I think that''s where the conflict comes in at. I don''t think the music today transcends. When I say that, I mean, I''m 35. In 15 years, I''ll be 50. I don''t think I''m gonna be listening to "Look at My Dab". I was at a cookout the other day with some old folks, I was like the youngest one there. I think the oldest person there was like 56. And they were listening to like Kendrick''s album and stuff. And Kendrick''s album is good, but I felt like they were trying to be young and shit. When I''m around older people I want to hear mature older music - 90''s at the least.

Meet the Founders via The Quintessential Gentlemen Magazine

Posted by tcohh — Thu, 10 Aug 2017 01:12 GMT

Be sure to read the new story about the College Of Hip Hop via The Quintessential Gentlemen Magazine https://theqgentleman.com/2017/08/college-hip-hop-app/

Booking Agents 103: The Contract & Performance

Posted by tcohh — Wed, 2 Aug 2017 22:44 GMT

Booking Agents 103: The Contract & Performance Once the contract is processed by the booking agent he then sends it directly to the promoter to be signed. Once the promoter receives the contract he reviews it to make sure it contains the exact information he agreed too. If the contract is accurate, the promoter must sign the contract and forward the contract containing his original signature back to the booking agent. In addition to sending the contract back, the promoter must also send the artists deposit as stipulated in the contract. Upon receiving the contract and deposit, the booking agent then forwards the contract directly to the artist for review and counter signing. If all well, the artist signs the original contract alongside the promoter thereby making it fully executed. In simple terms, it means both parties agree and the promoter can begin to promote and sell tickets. When the Booking Agent initially receives the deposit, it is held in the booking agent's escrow account. An escrow account is a bank account specifically set up to hold money in trust specifically for artists. In years past, the deposit is normally held in escrow until after the artist has completed his performance. Nowadays, many booking agents release the deposit to the artist prior to the show provided they have a fully executed contract on file. After the performance contract has been fully executed the booking agent still has work to do. So you understand, the performance contract is usually signed several months prior to the concert happening. During this time the booking agent must begin confirming that the promoter has begun to fulfill the artists travel, hotel, local ground, production, hospitality rider. This is extremely critical. The rider is almost as important as the performance contract. A promoter is also required to sign the artist's rider thereby acknowledging that they agree to provide those services. The rider is always signed at the same time as the performance contract is signed. This is important because If the promoter does not take care if the artists production rider, that means the artists will not be able to perform. As far as the hospitality rider, sometimes the promoter can negotiate items on that. The hospitality rider generally consists of food and beverage - artists generally need this to relax and prepare them for the show. Once the booking agent has confirmed that the promoter has successfully taken care of the artist rider. He then will begin to focus on how the promotion and ticket sales are going. Why, you may ask. Well, a booking agent you must try and make sure that his artists will have a well-attended show. Remember, the artist is also concerned with his brand and how it's being promoted. A badly attended show could potentially hurt the artist's brand. If the show has bad ticket sales, there may be discussion of canceling or rescheduling. However, if sales are good then the booking agent only has one task left. On the day of the show the booking agent must verify that the artist has arrived in the city and is prepared for sound check and the show. Sound check is a dress rehearsal of the live show to come. It is also the opportunity to complete vital transactions stipulated in the performance contract. At sound check, the promoter is generally required to pay the artist the 2nd half of the deposit. The transaction is usually done in cash or certified bank check. After sound check and payment it's on to the show. Once the show is completed, the next business day the booking agent gives follow-up calls to both the artist and promoter to make sure there were no issues or breach of contract on either part - believe me sometimes there are issues. Maybe the artist didn't perform a full set as required in the performance contract. Or maybe the production equipment failed. If there are issues, the booking agent generally tries to mediate and resolve the matter. If the booking agent can't resolve the dispute, then a court appointed arbitrator usually hears the dispute and gives a ruling. As this is happening usually the booking agent continues to hold the first half of the deposit in their escrow account. If the show was successful and had no disputes, then the booking agent releases the first half of the deposit held in their escrow account to the artist. I hope this information provides some insight and knowledge to how a Booking Agent operates.... thank you.

TCOHH x DJ Big Juice

Posted by tcohh — Wed, 26 Jul 2017 12:57 GMT

As the host of radio shows like The Afterparty and The Universal Soul Explosion on WORT 89.9FM in Madison, WI Julian Holt, better known in the industry as DJ Big Juice, initially got his start in the industry on the business side of things as CEO of Sugar Sandwich Entertainment Group, LLC. Currently the co-owner and programmer of 103.7 Da Beat, as well as the host of THE EI8HT on Da Beat, Big Juice sat down with The College of Hip Hop to talk about the current state of hip hop and what he defines as success, as well as offers up advice for those seeking to pursue a career in the entrainment industry. TCOHH: Could you introduce yourself to The College Of Hip Hop's audience. DJ Big Juice: Good day! It's an honor to be interviewed by The College of Hip Hop first of all. I am Julian Holt aka Dj Big Juice hailing from the great state of Illinois by way of Wisconsin. I am co-owner of the hottest radio station in the Midwest 103.7 Da Beat out of Rockford, IL. TCOHH: What initially attracted you to the entertainment industry? DJ Big Juice: What initially attracted me to the entertainment industry was a friend of mine, Nate had brought the idea of opening a recording studio to my best friend and I back in 2005. We bought a building and the fire was lit! I didn't know anything about the industry at all but kind of threw myself in the fire. Ended up going to Madison Media Institute in Madison, WI. and acquiring my degree in Music Recording and Technology. From there moving on to do radio on WORT 89.9 for the past 5 years hosting several shows. TCOHH: What are your views on the current state of the entertainment industry? DJ Big Juice: The current state of the industry is kind of weak in my opinion. Not much authenticity or much thought given to the culture as a whole. a lot of microwaveable, right now stuff. looking for quick gratification. Also, I feel there is an emasculation of the industry as a whole. No real strong male role models. TCOHH: What is your ideal of success and why? DJ Big Juice: My idea of success would be to be a leader and a major force in my community. To build up those around me to be A role model for the youth and my family. That's success. TCOHH: What advice would you give a young executive looking to enter the entertainment industry? DJ Big Juice: My advice for anyone entering the industry is just be true to yourself and stick to your guns. Keep your focus and always be evolving and growing in your knowledge and trends of the industry. And build lasting professional relationships is probably the biggest key! TCOHH: How do you feel under education or miss education has hurt artist with in urban music? DJ Big Juice: The miseducation/under education is a major problem of the urban artist, because it affects his vocabulary, his experiences, his knowledge, wisdom and understanding of the world which in turn limits his music and experiences and thought process that he's forced to talk about. TCOHH: How do you feel hip hop culture has impacted the world on a positive and negative level? DJ Big Juice: Well we all know its effect positively because it has made multimillion dollar entrepreneurs of individuals that without this form of expression wouldn't have any other chance of success. The negative effect In my opinion is some of the negative messages it sends out of, drugs, violence and misogyny. TCOHH: How has becoming a DJ changed your life? DJ Big Juice: Djing has changed my life because its put me into a career path I never would have thought of from being on the radio to doing shows and traveling with the stars!

TCOHH x DJ K Mean

Posted by tcohh — Wed, 19 Jul 2017 20:34 GMT

If female MC's are rare, a female DJ is a unicorn. However, there are exceptions and DJ K Mean of Mean Girls Media is living proof. Rarely do we get to hear the female perspective of the entertainment industry, so TCOHH sat down with the St. Louis, MO native to get her take on everything from what motivated her to pursue a career in the industry to the impact hip-hop has had on the world. TCOHH: Could you introduce yourself to The College Of Hip Hop's audience. K. M: I'm K. Mean, brand, promotional, marketing, & project management specialist for my company Mean Girlz Media based in St. Louis. Occasionally, I DJ radio, events & mixtapes too. TCOHH: What initially attracted you to the entertainment industry? K. M: I don't know of one specific thing but for as long as I can remember I've loved music and was organizing childhood family performances with my siblings and cousins. One day while in high school I looked up jobs and roles in entertainment and decided to specialize in A&R. Being that isn't as prominent anymore, I've been able to diversify by teaching myself about the business from interning on a street team to having the first music blog covering St. Louis hip hop. Through travel and relationship building I've been able to carve out a niche and continually build my company. TCOHH: What are your views on the current state of the entertainment industry? K. M: I believe the business is still alive but that too many people are cutting corners. Everything is rushed and the end products show it. It's similar to the difference in when a product is first released as opposed to when it's made quicker and cheaper as demand rises. It makes business sense but the art suffers. TCOHH: What is your ideal of success and why? K. M: I think success is relative. Not only to the person but also to the place the person is in their life. Success at 21 is not the same as someone at 35. Success for me is not static so it's hard to pinpoint because I continually move the goal line. But I guess the simplest answer is, Peace. If I'm able to sleep soundly without any worry, I've succeeded. TCOHH: What advice would you give a young executive looking to enter the entertainment industry? K. M: Keep Going. Be Patient. All They Can Say Is No. Money isn't the only thing that matters. Learn Balance. Take Risks. TCOHH: How do you feel under education or miss education has hurt artist with in urban entertainment? K. M: Urban entertainment is not much worse off than other demographics as far as business knowledge goes. It just seems worse because the products aren't as widely accepted so there's less money and the flaws are easier to see. In both cases, sometimes the bad business is a lesson. Our problem is that urban acts rarely learn the lesson and repeat the cycle. TCOHH: How do you feel hip hop culture has impacted the world on a positive and negative level? K. M: The culture has been able to give a real voice to disenfranchised people worldwide. I don't think the negative impact is a result of hip hop. The culture is a response to the circumstances of the people. Once the circumstances change, so will the culture. Every part of Hip Hop is about rebellious expression. It's blamed for things that it did not create only because those stories are reaching people that are not born in it. TCOHH: How do you feel about how women are treated and portrayed in the industry? K. M: I am indifferent. I do think I am often underestimated and overlooked because of my sex and low key demeanor but I also think that you get from people the energy you give. Many women make the mistake of starting off a certain way and then are upset when they can't shake that public perception. Regardless of sex I strongly believe in working hard, remaining consistent, and staying the course.

10 Steps to Profit from your Passion Chapters 1-5 audio book review

Posted by tcohh — Wed, 12 Jul 2017 14:11 GMT

Head over to the seminar section to hear chapters 1-5 of the audio version of "10 Steps to Profit from your Passion" Book Review: 10 STEPS TO PROFIT FROM YOUR PASSION (Pt. 1) By The College of Hip Hop.org By Lisa Early In '10 Steps to Profit from your Passion', The College of Hip Hop (TCOHH), provides readers with tens tips that can help anyone, from artist to CEO, take their dreams to the next level. The first three steps - Invest in Your Dreams; Setting Goals and Creating a Budget - set the foundation of any good business plan. Regardless of the of whether you're an artist looking to get signed or an aspiring entrepreneur these three steps are paramount. "...if you want people to invest in your dreams, invest in yourself first!" Once the people who have the power to push your career to the next level see that you are serious and willing to invest in yourself they will have no problem getting behind you because you have already proven that you're willing to go above and beyond to achieve your dreams. And don't be alarmed by that term "invest". Many people tend to think of large sums of money when it comes to investing, but an investment in yourself could simply mean purchasing material for a vision board. Vision boards are useful in that they allow you to identify exactly what your dream is and the best way to see in to fruition. "In life, to even chase after our dreams, we have to set goals." A wise man once said, "A goal without a plan is just a dream". It is important to set rational goals that are obtainable. To do this you must first think about your "ultimate goal", and from this goal make smaller ones that will help you reach your larger goal. Part of rational goal setting is to make sure you set a time frame for accomplishing the goal. It's also important to expand those goals, as you complete each goal, set more that will help you reach your "ultimate goal". This is a good tip because setting goals puts things into perspective, which makes reaching your dreams that much more attainable. "It takes money to make money." The worst thing you can say when asked about your budget is: "I don't have a budget" as it shows you either don't have the money for a budget or that you don't know how to create a budget, which both can cause red flags. Like with setting goals, it is important to be realistic when you are setting a budget. And it isn't enough just to developed a budget, you'll actually have to stick to it to reap the benefits. You'll see that as your amount of income increase you'll need to increase tour budget as well. "A big part of declining music sales can be attributed to the availability of music for free... You must always set the expectation that your music is for sale."

TCOHH x DJ DDT

Posted by tcohh — Wed, 28 Jun 2017 19:01 GMT

DESMOND "DJ DDT" TRAVISAs a music producer, DJ and audio mixer engineer Desmond "DJ DDT" Travis got his start in the industry at the tender age of nine. The mastermind behind local hits, such as Simple Night Groove and Nighttime Escape DDT has earned a name for himself not only as a DJ, but as a photographer as well. In an exclusive interview with The College of Hip Hop he opened up about How he got his star in the industry and offers advice to those looking to purse a similar path. TCOHH: Could you introduce yourself to The College Of Hip Hop's audience. DJ DDT: My name is Desmond "DJ DDT" Travis TCOHH: What initially attracted you to the entertainment industry? DJ DDT: That's kind of a hard question to answer, but I'd have to say seeing my older brothers playing in bands when I was a very young kid. Also, reading the credits on the back of album covers and the end credits at the end of movies. TCOHH: What are your thoughts on the current state of the entertainment industry? DJ DDT: The entertainment industry is not in a completely bad sate, but we're in a state where we don't physically own anything. It's all virtual: the music is streamed to us. The movies and shows are streamed to us. We don't own vinyl, CDs, cassettes, DVDs or reel film...let alone digital files on our electronic storage devices. To me, that says a lot. TCOHH: What is your ideal of success and why?DJ DDT: Success is loving and enjoying where you are in your life. I think that way because enjoying life should be more important than obtaining materials, looking for them to improve how you feel. TCOHH: What advice would you give a young executive looking to enter into the entertainment industry? DJ DDT: I'd tell anyone looking to get into the entertainment industry to do extensive research and know exactly what you're stepping into. Also, prepare to lose tons of sleep and to be stressed beyond measure. Also, learn how to be a dick...and when to use the knowledge of being a dick. TCOHH: How do you feel under education or miss education has hurt artist with in urban music? DJ DDT: Under-education and miseducation can hurt you in a number of ways. Moreover, it can have you wide open to being taken advantage of. Know that being educated doesn't mean 4 years at an Ivy League institution, though. You can learn so much just by reading books and watching YouTube. TCOHH: How do you feel hip hop culture has impacted the world on a positive and negative level? DJ DDT: Hip Hop has positively affected the world in so many ways. We've shown the world our views from the ghetto, before the internet. We've shown the world how to use, first, the English language and other spoken languages of the world, in bold, new ways. We've set trends in fashion, attitudes, thought processes, etc... Negatively, we've shown the world lots of ignorant ways. I don't want to expound on them because I want to be one to uplift our people and, in turn, uplift others. TCOHH: How has the Detroit rap market changed over the years? DJ DDT: The Detroit rap community has changed by melding with the rest of the Hip-Hop community in The States. The internet has brought our worlds so much closer together.