e clusive

Songwriting legend Kenny Gamble along with President

Jimmy Carter, unofficially deemed June Black Music Month in

1979. It wasn’t until the year 2000, that the House Concurrent

Bill 509 co-authored by Dyana Williams and Chaka Fattah was

passed to recognize June as Black Music Month under the law.

The hurdles that Black music has overcome are tremendous.

Black music has become, in fact, the mainstream, but it never

hurts to take a little time out to reflect on the legendary artists

and industry professionals that went through the back doors

so artist today could walk through the front. This issue is jam

packed with a crowd that is propelling Black Music forward

and showing the world why we should celebrate Black music

365 days a year!

Dyana WilliamsAn Advocate for Black Musicby Shauntae Agnew

Poducers' CornerCarvin & Ivan talk about giving backby Ashley Colemen

365. 24/7.Elroy Smith of Radio Oneby Shauntae Agnew

Who Got Next?Young Steff has an answerby Shayna Safford

Go IndependentStep-by-step directions to independenceby Aashir Nuri

Musical ChessA Pawn’s Story

Copy WrongedCopyright Law Demystifiedby Heny Sauter

What do you Do?Maurice James is the man behind your computer screen. by Ashley Coleman

Blues PeopleBlack Music’s impact is exploredby Aashir Nuri

June is Black Music Month

Contents

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13

9

7

17

1

2

8

11

Get 'em while they're

hot!

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“I’m excited about this magazine’s ability to share positive and accurate

information about the business of entertainment. As an organization that is dedicated to educating

youth about the industry it is only right that we provide exclusive interviews, informative articles, and important resources for future

music executives.”

Reviews:

Chrisette Michelle’sEpiphanyby Ashley Coleman

Elektrik Red’sHow to be a Lady Vol. 1by Shauntae Agnew

Thembisa Mshaka’s Put Your Dreams Firstby Amarachi Utah

Lakisha Jones’ So Glad I’m Meby Shayna Safford

Student Spotlight:

Samantha is KRUNK!by Ashley Coleman

Justin & the rhythm sectionby Christina Fisher

“FUTURE MUSIC EXEC” Tees are available now

for just $20.

Stop by Space 75 to pick yours up today!

Located in the Piazza in Northern Liberties

1050 N. Hancock Street

Aisha Winfield Founder of Junior

Music Exec

15

3

Join The Biz Exclusives!

We are currently and always looking for talented young people to join our

team...

If you are interested in journalism, creative writing, photography, art or design;

we could use your help!

Send a resume and two samples of your work tothebizexclusives

@gmail.com

Are you a Future Music Exec?Well, it's time you start dressing like one!

????

A day after fierce rain, we embarked on a mission: Project Interview Rappers. The task ahead seemed simple, arrive at Broad and Washington at 2:00pm, interview three rappers, get in; get out, like an O.G. classic. Why would I ever think it would be that simple? So after getting a little turned around in my own city, 2:00pm turned into 2:45pm. Rode clear past Washington Avenue when I realized there was no way Washington was near the stadiums. Getting that entire thing straight was stressful with the impending lateness. But at least I found a spot right down the street from the interview site. Entering the gates I was relieved to see my contact for the interview as well as one of the subjects right at the front. Mr. Can’t stop, won’t stop, greeted us with warm smiles. The contact told my counterpart and I to grab VIP passes so we could move all about. And things were looking up. We hustled around to find a somewhat quiet place. After waiting patiently for our turn after more prominent media, we were able to interview Can’t stop, won’t stop. He was personable, gave good

answers. We laughed and joked. Talked about the new albums coming out. Exchanged hugs at the end. All we had to do was find the other two subjects, who were nowhere to be found. After standing around in the beaming sun, waiting for the others to arrive. We realized that we had VIP passes and should see what was going on in those parts. That’s where we ran into Super Producers, Budding Star, and you guessed it, Mr. Highway and The Truth. But no sooner than we went over

to them, they were whisked away to do their part in this community event. Three hours later we were able to interview Highway and The Truth. While The Truth had good answers and charisma,

it was a little hard for him to stay focused. And when we were just finishing up, Highway arrived. Annoyed, tired, and dreading speaking to us, qualities similar to what we were feeling at that exact point. So we received mediocre rehearsed answers that probably won’t even make the story. But I got a pretty good tan waiting.

Musical Chess: A Pawn's Story

I got a pretty good tan waiting.

The Interview: a hot day &

race cars

1

????

1. It takes a lot of work to get a copyright.

Actually, copyright subsists in original works of authorship fixed in a tangible medium. This is really just legal language, which means that once you write or record something, the copyright exists. You don’t have to register the work with the copyright office to be protected, however, if order to sue for infringement and get monetary damages the work must first be registered.

2. If there is no © on the work, then it is okay to copy.

It is not necessary for an author to put the copyright symbol on a work for it to be protected. The only times that it is “okay to copy” is if a work is in the public domain (meaning the author died over 70 years ago) or if it is “fair use.” Purposes such as criticism, comment, news reporting, teaching, scholarship, or research, is not an infringement of copyright. Parody is another example of fair use. When the

rap group 2 Live Crew did a version of Roy Orbison’s song “Pretty Woman” that made fun of it, their use did not infringe because it was considered a fair use as a parody.

3. I can copy a Copyrighted work as long as I don’t try to sell it.

Commercial use is only one factor that a court would look at in determining whether it is a fair use. If a court finds that you infringed a work, then you can be held liable for actual damages or statutory damages. Actual damages are usually computed based on your profits, while statutory damages are a number set by law. In most of the P2P file sharing cases, the RIAA went after statutory damages since most downloaders weren’t selling the mp3’s.

4. It is legal to use samples as long as they are short.

There are two ways that music is protected under copyright law. Copyright protects the musical

work and the sound recording. Samples use the sound recording and there is no de minimus use allowed. De minimus is a Latin term that basically means a very minimal amount. In one instance where NWA sampled 2 seconds of a Funkadelic song and shifted the pitch and speed, the courts ruled that this was infringement, saying only the owner has the right to duplicate the sound recording. If you want to use a sound it must be licensed or you have to create it yourself.

5. I can send my recording to myself in an envelope and as long as I never open it, I can prove when my work was copyrighted.

This is a very common misconception. An unopened envelope will not be accepted as evidence in an infringement case as proof of when you created a work. In order to sue someone else for infringement of your work, you need to register it with the copyright office first.

©opy W®onged

Our legal eXpert Henry Sauter breaks down

copyright law in laymen's terms

2

Justin Faulkner Drummer of The J Tyme Experience Student teacher at The Clef Club.School: Girard Academic Music Program (GAMP) Age: 18Interesting Fact: Can play the piano, saxophone, he can also sing but prefers to write and play music

When you listen to jazz, or go to concerts, you wouldn’t think the drumming powerhouse would be a senior in high school. Justin Faulkner is a young man from Philadelphia that has made a name for himself in the music business. He will be continuing his education at Berklee College of Music in Boston and majoring in music composition and production. When it comes to doing shows, he would rather stay here than go to New York. “I’m already getting calls to do gigs, more than

experienced guys have been getting.” He said. Justin started playing in church and has been playing for 9 years. The young prodigy plays with the Bradford Quartets Group, one of the most famous jazz groups in the world. Great musicians such as Daren Metz, Bernard “Pretty” Purdie and Dennis Chambers have also mentored him. Justin has music running through his veins. He comes from a family of musicians where his mother and grandmother were classical pianists, his father is a vocalist, and his cousins play the drums as well. “My mother calls me every hour of the day to make sure I’m keeping up with my school work. I turn my school work in online when I’m on

tour or fax it in, my teachers are cooperative and flexible.” Justin talked about balancing school and music. In five years Justin sees himself still playing drums, winning a Grammy and showing people how real music is played. He also wants to have his group signed to a major or independent label. “Music is for you to enjoy yourself, it’s not just about the money, it’s suppose to be played not used,” He explained. When asked about advice he would give to other young musicians, he had a simple answer. “It’s kind of like building a house and not having any tools, being focused and staying in your craft, learn it before you get into the industry and go hard all the time.” Justin’s ambition and determination to be the best with his group, has helped him be able to perform in different areas across Philadelphia and he’ll soon be touring in Europe. Look out for Justin playing in Doylestown, PA during Black Music Month.

STUDENT SPOTLIGHTSHOWCASING GIFTED YOUNG PEOPLE

Samantha Rise Roberson Sultry lead singer of Erronius Krunk Grammy U RepresentativeSchool: Temple University Major: Voice Performance/Jazz Age: 21Interesting Fact: Can solve a Rubik’s cube in less than 5 minutes.

Sitting in with her friends’ band Erronius Krunk, at Rembrandt’s restaurant, Samantha met Craig White, the president of the Philadelphia chapter of the Recording Academy. A casual conversation with White made her a shoe-in for the Grammy U Representative position that was left vacant by a student studying abroad.

Grammy U is an opportunity for college students to join the National Academy for Recordings Arts and Science (NARAS) at a discounted rate. NARAS is the organization responsible for the Grammys as we’ll as a host of other charitable initiatives that have changed the face of music. Samantha informed us about past events as

well as events to come including, Speaker Series, an Independence Day Music Conference (Fall), a Protools 8 Demo, and the infamous Soundchecks with artists on tour.

“I was at a board meeting the other day and I couldn’t believe the amount of talent in the room, people who have been Grammy winners and nominees.” Samantha explained the benefits of being a part of an organization like NARAS.

Samantha is taking it all in while working with NARAS. She learns from talented board members and her co-workers and applies it to her budding career. In the fall of 2008 Samantha got her official “Erronius Krunk jacket and hat.” The name is a play on the legendary Jazz pianist, Thelonius Monk.

The influence of their music is very eclectic. And when asked about the type of music they play, Samantha crafted a detailed response.

“We’re a Frankenstein

of everything you’ve ever loved. We’ve got George Clinton’s arm and John Coltrane’s other arm. And James Brown’s legs, both of them, you can’t do the dance with one. I guess we’ve got Roberta Flack’s head. It’s just what we do.”

Erronius Krunk has gigged all over the Philadelphia region. Networking is one of the key factors, Samantha attributes to securing gigs. Her professionalism and confidence have led Samantha and the band to places like The World Café Live, Chris’s Jazz Café and a host of other venues. The band plans to release an LP by the summer of 2010. But in the meantime, take a listen to their tracks on their Myspace page and look out for them performing live at some of the best venues in Philly. www.myspace.com/erroniuskrunk

You can look up Justin Faulkner on his MySpace page www.myspace.com/jfexperience, YouTube, and Facebook.

4

“I am a die-hard radio person, it’s what I was born to do. Radio allowed me the opportunity to combine my profound appreciation for music and people. Every time I get on the microphone, it’s a privilege and an honor,” said Dyana Williams. She is a woman that is doing it all. Williams is not only a radio personality for Radio One’s 107.9 WRNB station, but an entrepreneur, journalist, media coach and an activist for Black music.

Williams was a consultant for Cathy Hughes since the beginning when Radio One used to be Almic Broadcasting, almost thirty years ago. She was also the first program director for Radio One’s first FM acquisition station MAGIC 102.3. Williams has succeeded in all aspects of media including print, television, and radio. Although her resume for communications may be quite impressive, her contributions to Black music are historical.

“I wrote the draft that became legislation in Congress known as the African American Music Bill (House Concurrent Bill 509). I worked closely with Congressman Chaka Fattah and lobbied the Senate and Congress and after several years was successful in getting the legislation passed. In 2000, Congress officially recognized Black music and its power and that’s part of why we celebrate Black music month today.”

In the midst of waiting for the African American Music Bill to get passed, Dyana Williams founded the International Association of African American Music (IAAAM) in 1990.

“I established IAAAM in an effort to promote, protect and perpetuate Black music throughout the U.S. and around the world. That’s my position

Advocate for Black MusicDyana Williams by Shauntae Agnew

5

as a music advocate; to recognize, celebrate and appreciate Black music for its majesty, its economic strength, and power and to make it easier for the generations that are coming,” said Williams.

Using her knowledge of the media and music, Dyana Williams started her own company called Influence Entertainment in an effort to teach celebrities how to communicate with the media.

“I was approached by a woman named Sharon Heyward, then the head of Urban Music at Virgin Records. She said I was good with artists and would make a good artist development media coach. So Sharon Heyward was the one who planted the seed in my mind. Then I was hired by Jimmy Jam and Terry Lewis’ company to coach a group called Solo, my next client was Angie Stone and her group Vertical Hold, my third client was D’Angelo and from there my phone has not stopped ringing.”

Influence Entertainment allowed her the opportunity to work closely with celebrities from all different genres of music, nationally and internationally. Ranging anywhere from pop stars

like; Rihanna and Chris Brown to rockers like the Dave Matthews Band and even former Philadelphia 76er Allen Iverson.

“I love my work because no day is the same. I’m working with an eclectic mix of talented people from all over the globe. I’ve been very busy these last 17 years and it’s a great way to make a living doing what I love.”

For people that are interested in working in the music business

or becoming the next Dyana Williams, some strong

advice she gives is to set goals for yourself, maintain balance in your life and to learn your craft. She says her experiences

and knowledge are part of the reasons why she gets

hired.

Check out Dyana Williams every Sunday from 9am until 2pm on Radio

One’s 107.9 WRNB to hear what she considers the vintage sweet soul music of the 60s, 70s and 80s. She will also be saluting singer Florence Ballard of the Supremes on TV One’s Unsung series June 28th at 8pm Eastern Time.

"I

am a

die-hard

radio person,

it's what I

was born

to do."

The Biz Exclusive Magazine caught up with the smooth Sagittarius hailing from Vineland, New Jersey, Young Steff. The 20-year-old R&B sensation is about to make a major mark in the game.

Born Stephen Goldsboro he has proven himself worthy of becoming a star. We asked Young Steff why did he want to get involved with music? He said.

“My dad Big Steff put it in me as a baby and I just fell in love with it.”

He has worked with so many artists such as Cassidy, Maino, and Hurricane Chris so we asked if there’s an artist he would like to work with that he hasn’t yet. “ “Timberland,” was his simple response.

He was signed to the Roc at 12 years old and had a hit single featuring Bow Wow called “Can I Holla.” After years of traveling with his father, Young Steff realized this was what he wanted to do and he continued to shine and show off his God given talents.

Young Steff is the total package when it comes to singing, writing, and choreography. He has the motivation and skills to be very successful. Although he has grown since his “Can I Holla “ days, he is still dedicated and true to his passion as an artist.

His new single and dance “Slow Jukin” off his up and coming album Jump It Off is a smooth and addictive slow jam that will have you wanting more of the swagger filled young man. The “Slow Jukin” video recently aired on BET’s show 106th & Park. Steff showed off his singing and dancing skills as well as charming looks. He also does some major dancing in his single “Professional.”

At 20, he has a lot of years to put in to the game and for sure he will come out a winner. Finally, we asked the long-haired, talented, sensation where he sees himself in five years and he said, “Owning a dynasty baby.” Look out for Jump It Off, coming soon!

WHO GOT NE T?Young Steff: Quickly Rising and Slowly Jukin"

What exactly is your position at Radio One?

MJ - My Job title is Web Coordinator. I maintain and design content for all Radio-One websites. I provide the listeners with an interactive web/radio experience.

What is a normal day of work like for you?

MJ - Turn my computer on. Surf the web for any relevant entertainment stories. Look over the Radio-One sites update when needed. Listen to all the stations to make

sure what they say on air reflects on the web.

What do you think is the most challenging part of your job?

MJ – Keeping up with how fast paced radio is. I handle three stations, so I have to say in contact with three different PD’s (Program Directors).

Take us through some of the steps you took in order to obtain your position?

MJ – Well I worked in Washington DC at BET.com, as a Junior

Graphic Designer. Heard there was a job opening at Radio-One Philly. I showed them some of my work and the rest is history.

What type of education is required for your position?

MJ – I went to school for Graphic Design at the Art Institute Of Philadelphia.

What is rewarding about your job?

MJ – Going to events and seeing my work displayed i.e. Music Conference I did all the banners for that event.

What advice can you offer to students that might be interested in this type of job?

MJ - The best way to get better is to work with a lot of other artists.

How much of an asset do you feel the web can be for aspiring music industry professionals?

MJ – Look at it like this, everything is web driven now so you need strong web people to give you a

If you’ve logged on to the websites of any of the three stations owned by Radio-One Philadelphia, 100.3 The Beat, 107.9 WRNB, and 103.9 Praise, you know that there is a lot going on. From streaming broadcast to event pictures, and live chats, Maurice James, the web coordinator is responsible for it all. Take a look inside a job that probably often gets overlooked. Meet the man behind the computer screen.

What Do You Do?

8

“We are Black Music Month” says Elroy Smith, the mastermind behind what you hear on all three Radio One Philadelphia stations; 100.3 The Beat, 107.9WRNB and 103.9 Praise. Credited as one of the best Operation Managers in America, he comes to Philly baring his knowledge of radio and what makes a song radio worthy.

“Philadelphia is a very important top ten market. For Radio One to be associated with the city known for great Black music is a major thing. We belong in this city and we want to be a part of the voice in

this city,” said Smith, reminiscing about The Sound of Philadelphia (TSOP) and the ground-breaking tunes it created. He admits that music has changed dramatically

from the Gamble and Huff days and the early 80’s emergence of hip-hop. Smith

states that he doesn’t get excited about too many of today’s artists, but he thinks it’s important to keep Black

music relevant.

“There are some songs like Ne-

yo’s “Mad” that I find

m y s e l f

product that stands out.

Do you have any advice on how young musicians can use the web to promote themselves?

MJ – There are tons of free sites they can utilize to put their music out there so take advantage of it.

What are some of the sites you frequent and

what makes you want to go back to them time and time again?

MJ – ESPN.com, KanyeWest.com/blog , OnSmash.com, mygshock.com(blog)

I go to these sites because of the lifestyle I live, they keep me up to date with the stuff that I enjoy, Music, Fashion, Sports.

Black Music. 365. 24/7.Elroy Smith, Radio One's Operation Manager Speaks

by Shauntae Agnew

"See that's a gospel song on a hip-hop station.

You don't hear that everyday."

9

A N

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ge Sound Design, M

usic & M

edia Solutions Company

ww

w.lildrum

maboy.com

nodding to, but for me to run out and buy a concert ticket, I don’t know who would make me do that. I might play a Rick Ross song that you would never hear in my car, but I’m not here to program to me. I’m here to program to an audience and that’s what they want to hear.” Trying to please a young audience can be tricky, but Elroy Smith seems to have a formula for picking hit songs although this formula may leave some artists out in the cold. He gives a few examples of his strategy. “Think about “No One” by Alicia Keys. It’s a strong hook, it has a memorable strong beat, and it’s a love song. If a song doesn’t have a hook or a melodic feel, it’s hard for people to gravitate to it,” said Smith.

He turned on his radio to further prove his point. Gospel duo Mary Mary’s new single “God in Me” pumped out of his speakers and he let the chorus play a little bit.

“See that’s a gospel song on a hip-hop station. You don’t hear that everyday. Why did we do that? It has a hip-hop feel and fits the beat of the format. Does every form of music get

exposed? Not at all. Take the Roots for example. What format would they fit? That’s a very difficult question. Unless they created something that fits the realm of what hip-hop is about today, it would be very difficult for them to fit within these very defined formats,” said Smith.

With most Black, up-and-coming artists getting their chance to shine, most of them are first promoted through Black radio stations. Artists such as Usher, Alicia Keys, and Jazmine Sullivan all got their breakthroughs on radio. According to Elroy Smith, 100.3 The Beat was the first to play Jazmine Sullivan’s first single “Need U Bad.” So there is room for creative music, it’s all about how it’s composed.

“Everybody is trying to survive. The economy has hurt radio as well. So have the Internet and iPods, so there are a whole bunch of things that we are competing with besides our contenders. That’s why we need to do special things like playing “God in Me” on a hip-hop station and have great personalities entertain you because you can pop us off at anytime and go to another station or go back to your iPod.”

Radio One encourages listeners to email thebigboss@radio-one.com

with feedback about what you think of the stations.

"We are Black Music Month"

Black Music in American roots can be traced back to Africa. During slavery Negro Spirituals were songs that Blacks would sing for encouragement and spiritual upliftment while working on the plantation. These songs were also used as code messages for planned escapes and revolts. Different genres of music can be found in Negro Spirituals.

E v e n t h o u g h N e g r o S p i r i t u a l s are the foundation of Black music in America, it was actually the minstrel shows where “Black” music became popular to a white audience and had commercial appeal. Minstrel shows consisted of white actors in blackface pretending to “act Black” through song and dance. It is still up for debate on whether or not minstrel shows actually constitute as authentic Black music, but minstrel shows popularized the concept of marketing Black music to a white American audience.

Shortly after the minstrel show explosion, Jazz became popular as a more dignified form of Black music around the late 1800’s. Jazz has its roots in New Orleans, Louisiana. Jazz has many distinct elements such as improvisation, syncopation, and

call and response that are found in almost any genre of Black music from the Negro Spirituals to hip-hop.

In the 1940s and 1950s, cover songs of Black music, especially Blues and Rock and Roll, became

very popular. Cover songs were rooted in Hypocrisy, because White artists remade versions of some popular

songs that were created by Black artists. Many of

these cover songs topped t h e music charts. Black artists such as

Bo Diddley and Chuck Berry helped to create Rock and Roll but weren’t credited for it.

In the 1960s, the creation of Motown Records, a Black owned record company founded by music mogul Berry Gordy, changed the perception of Black music. Motown had control over their music and the marketing of it. They were able to popularize the genres of Soul and R&B to a mainstream American audience. With acts such as Marvin Gaye, Diana Ross and the Supremes, Aretha Franklin and countless others. Motown became the most popular record label in the History of American music.

In addition to Soul and R&B, the emergence of funk

Blues PeopleThe History of Black Music and its Impact

on American CultureBy Aashir Nuri

11

in Black music became a force as well. The legendary James Brown revolutionized Funk. The genre incorporated elements of soul, R&B, and Rock and Roll with more improvising involved.

During the 1970s there were a lot of social and political issues that inspired Black music. The social messages in Black music helped to bring consciousness and influenced some Blacks to engage in political activity. Artists such as Gil-Scott Heron, Marvin Gaye, and Curtis Mayfield sang songs about the struggles for equality and justice. Also, Jazz began to incorporate more funk elements, like legends Ahmad Jamal and Donald Byrd. The 70s also saw the explosion of the Blaxploitation era, where independent and mainstream Black films became very popular. These films contained soundtracks and scores from some of the most popular artists of that time such as, Curtis Mayfield and Isaac Hayes. These soundtracks and scores were epic, allowing soul and funk to dictate the mood of the film. The 70’s marked the release of underground soul records that never achieved national or commercial success. One classic underground album is called “Free Your Mind” by Amnesty.

In the 1970s hip-hop was born. It was formed as an alternative to the disco era in South Bronx, NY. During that time, there were a lot of serious issues facing Black youth such as poverty, gangs, drugs and poor schooling. As a way to positively deal with these issues, youth would come together for what was known as “Jams” or

outdoor dance parties. Many of the youth were not big fans of disco music, but didn’t have many other alternative genres of music to dance to. As a result, they developed a technique to dance to the break beats of old soul and funk records. DJs such as DJ Kool Herc (The Godfather of hip-hop) mastered the art of looping a 4-8 bar section of a song by continuously using 2 turntables. Coincidently, those that danced to these break beats became known as “Break Boys and Break Girls.’’ Break beats became the foundation for sampling, it’s a technique of producing used by the majority of hip-hop producers today. The Emcee would keep the crowd entertained through improvised call and response techniques that would later develop into more complex lyrics called rap. Today, hip-hop is the most dominant and popular form of Black music worldwide.

There is no way that this article could summarize the History of Black Music. The subject is too vast and contains historical roots and influences from every part of the world where Black people reside. However, one common theme that appeared while researching the History of Black music is that Black music has always been created with a purpose to send messages of inspiration and information about what was going on in the world.

Chemistry couldn’t have produced a reaction as explosive as the connection between super-producers Carvin Haggins and Ivan Barias. Under the umbrella Karma Productions, the duo have worked with all of the industry’s who’s who including Chris Brown, Jill Scott, Musiq, Jazmine Sullivan, Mary J. Blige, and a host of others. With numerous Grammy nominations, chart topping placements, and the world at their fingertips, they still find the time to give back to other up and coming talent. Recently, Haggins and Barias partnered with Dreamstream TV, a networking site designed to bring together aspiring professionals in a host of entertainment fields, to give a songwriter, producer, and artist the chance to come into the studio and record a song with the talented duo. Even with their unyielding success and busy schedules they talk about how important it is to give other aspiring producers a chance.

“We like what Dreamstream stands for.” Ivan starts out.

“When we came into this business, we had an open door and someone was willing to just take a chance on us. To be able to give that back is like the greatest thing.” Carvin adds sincerely. Many hopefuls uploaded videos and music on the Carvin and Ivan feature group on Dreamstream TV to await the decision that would be made by both members of the Dreamstream networking site and Haggins and Barias themselves. But getting selected won’t be a walk in the park. These guys are some of the greatest at what they do and they are definitely looking for the best of the best.

“Talent is still what drives this business … we’re looking for somebody who embodies all those qualities: talent,

determination, spirit and strong faith.” Ivan said.

Their 13-year partnership began under Jazzy Jeff at the legendary A Touch of Jazz headquarters, which

Producers' CornerIvan and Carvin

getting big and giving backby Ashley coleman

"I never really had an argument with this dude.

We don't take it too serious."

13

Haggins calls their “School of Hard Knocks.” It was there that they were given the same chance they are offering the members of Dreamstream. “There we learned how to engineer, we learned what a producer actually was … that is where we honed our skills, watching everybody. So if Ivan made a dope beat, I went in to try to make a beat that was doper.” Haggins said.

It was this fierce competition and determination that got the duo where they are today. Barias stressed the importance of being ready at all times. “Whoever you meet in the music industry, be ready at any given moment if you’re a singer, songwriter, producer, you got to make sure you have a catalog and be ready to go.” When it comes to making it in the game, both Haggins and Barias hold strong to making a good product. Citing that as the only thing that will give you longevity in the business. “It’s all about writing a great record. If you write a great record that’s timeless and means everything, then anybody can basically come in and sing it.” Haggins iterated. Timeless music is the driving force behind June being observed as Black Music Month. Barias referenced some of the greatest musicians of our time when asked about the significance of Black

Music Month,

“A lot of music today doesn’t educate, teach, or move people in ways like the music of Leon Huff and Kenny Gamble were doing, there’s not enough positivity. And it doesn’t have to be a preaching thing, it can be entertaining, but you have to be able to have accountability for your music.”

With the turbulent climate of the music industry, it is unusual for duos and groups

to stay together as long as they have without parting ways. Their

philosophy over the years seems very simple in their eyes. “I never really had an

argument with this dude. We don’t take it too serious.” Barias said.

“We understand each others strengths and weaknesses. Whatever I can’t do, he does and whatever he can’t do, I do. We are also a faith-based duo. Our manager is faith based. So it ain’t about us anyway.” Haggins finished.

Keep your eyes and ears open for all the great tunes to come from Karma productions and check out mydreamstream.tv, to follow your dreams like the winners Tim Halperin, Donovan Jarvis, Miss T, and Mike Nappi.

"It's all about writing a great

record."

14

S oul is back, from

sabbatical, maternity leave, or wherever it was. Chrisette Michele is vying for the title with her sophomore effort, Epiphany. Michele is frank with love in tracks like “Blame it On Me.” Michele belts out these lines on the airy, piano and drum track. “You can say whatever you like, as long as we just say goodbye, blame it on me, say it’s my fault, say I left you outside in the

cold with a broken heart

… as long as it’s over. “ It’s a refreshing female perspective that shows women can be okay after relationships fall through. The album is full of slow to mid-tempo tracks, telling love that the affair is over. There’s a steady pulse that beats throughout that keeps your head nodding. In the mid-tempo tracks like “Playin’ Our Song,” and “Another One” Michele keeps the vocals strong as well as including imagery and wordplay that up-tempo songs are often missing today. After expressing all the details of heartache, the album ends with “I’m Okay.” Her performance is convincing, and the album does seem indeed therapeutic. Epiphany is a change in pace from Michele’s debut I am. She

put away the alternative soul for a more classic R&B album. The influence of Ne-yo can be heard on the 6 tracks he wrote and co-produced including the title track Epiphany. Michele also worked with producers Chuck Harmony, Rodney “Darkchild” Jerkins, and Claude Kelly. Chrisette Michele’s distinctive twang, great writing and production make Epiphany a great listen for the summer. Hopefully by the third album, Michele will figure out a balance between the eclectic creative I am and the heartfelt classic soul sound of Epiphany.

Lakisha Jones released her debut solo album So Glad I’m

Me on May 19,2009.The long awaited

album is a must have for the summer. Whether

you’re jamming to it in the comforts of your room or

cruising to it in your car this record needs to be playing. The album is very impressive and well put together. So Glad I’m Me is a powerful album that empowers and gives voice to all women. It truly defines and represents urban ladies in an honest and respectful manner. Her lyrics are so soulful and relative to everyday

life and easy to connect to. Her single “Let’s Go Celebrate” is indeed a reason to rejoice and celebrate .Not only does this album deal with love, but its motivational and uplifting. Each song has it’s own personality and distinct sound. Her voice is very soulful and classy and is a voice to remember. Each song on this album takes you on a journey. You get a little gospel, soul, pop, and R&B with this wonderfully crafted masterpiece. Lakisha Jones shows off her love for her music and her talent with her songs “So Glad I’m Me” and “Just As I Am”. Indeed this Flint, Michigan girl is more than just your average singer, she’s a phenomenal woman. If you don’t have this album, go get it today!

REVIEWS

15

Parental Advisory? Not too many girl groups, need an advisory logo on their CD covers. Under the pen of the Radio Killa himself, The Dream and Tricky Stewart, the reincarnation of Prince’s Vanity 6 has emerged and their name is Electrik Red. The girl group consists of four back-up dancers from New York and Toronto. Friends, Kyndra “Binkie” Reevey, Lesley Lewis, Naomi Allen and Sarah Rosete formed Electrik Red in 2005 and later signed with Def Jam in 2008. How to Be A Lady: Volume 1, which is entirely

produced by The Dream, is their new album and a contradiction within

itself. Their explicit content in songs like “P is for Power,” “Freaky Freaky” and “W.F.Y” use

sexual lyrics to empower women. There are a few love songs like

“Bed Rest,” and “Devotion,” that are about giving all of yourself in a

relationship. “Drink in my Cup” and “On Point,” are songs that have a Hip-

Hop feel and it’s definitely something you could blast in the car or bop your

head to in the club. Electrik Red’s new single “So Good” featuring Lil Wayne has already hit the airwaves, How to Be A Lady: Volume 1, is in stores now and it’s not bad for $7.99.

It is true that being a woman with a big mind and big career aspirations in today’s society is easier than it was five years ago. But it is also true that it is STILL a very difficult type of woman to be. This is especially true when considering a career in a male dominated industry that expects women to either remain at the bottom or use sex appeal to get to the top. Thembisa Mshaka in her latest book demonstrates how a woman can succeed in what has always been a predominantly male field without falling into any of the two prescribed roles above. In Put Your Dreams First,

Ms. Mshaka crafts a how-to guide for success in the entertainment industry. Her book provides encouraging anecdotes and real world strategies for women seeking to break into an extremely tight-knit and exclusive sect. She not only provides strategies on how to get in, but on how to stay in and become a raving success. Covering issues ranging from pay inequality to sexual harassment, Ms. Mshaka leaves no stone unturned. Her book is a must read for all serious minded women aspiring to break into the entertainment industry and

beyond. Serving not only

as a beacon for women working in the entertainment industry, it most importantly serves as a guide for women working through life.

REVIEWS

16

1. Questions to ask yourself. You should jot down a series of questions and answer them thoroughly before even starting the process of creating your CD. Is your stage name trademarked? Have you registered your songs for copyright protection? Have you signed up with soundexchange.com? Do you have any personal contacts in the music industry? Do you have an entertainment lawyer to consult with? By doing this you are mapping out a strategy for your music career.

2. Think long term and map out a long-term strategy. The reason why so many artists quit making music after releasing their first CD is because they assume their first album will jet start their career and produce longevity. This is not true. As an independent artist, you should be prepared to release two or three CDs over a period of 3 to 4 years before achieving the level of success that you

are aiming for. The great thing about this is that you are gradually building a catalog and a fan base that grows with the release of each album.

3. Set up your Business. You will need to set up your business by doing the following: Get a business license, reseller’s license, an IRS tax ID number, and a fictitious business name. Many of the expenses associated with releasing your CD may be tax deductible, so you should definitely take this step seriously.

4. Mastering your CD. Assuming that your music has already been recorded and mixed down, the next step is to have your music mastered. It will make the sound quality of your music “consistent” from song to song. If you skip this step, you take the risk of having a sonicly bad CD that is hard to listen to from beginning to end. Unless you are a

The music industry is evolving; record labels are downsizing and putting more focus and energy on their bigger acts and are pushing the smaller acts to the side. This means that the climate for successfully releasing your music independently is improving and will only get better. Some of the advantages to releasing your music independently are that you keep nearly 100% of your profits made from CD sales as opposed to making less than $1.00 per CD sold with a record label. Another advantage is that you are not locked into any devious contracts that could have the possibility of setting your career back for years (see Rakim, Bilal and The Lox). Releasing a CD independently means that you control your own destiny with your music. If your music is enjoyable, the people will buy it, you just have to determine how hard you will work to make sure people know that it’s out there.

Stop Chasing That Deal!

Go Independent

10 step-by-step instructions on how to release a CD independently. By Aashir Nuri

17

skilled engineer with experience in professionally mastering CDs, I recommend that you pay a professional engineer or company $500 to $600 for that service.

5. Package your CD. This step involves getting a professional photographer to take your pictures, a professional writer to write the song credits and other information you would like to appear in the CD booklet and a professional graphic designer to make everything look nice. This step can cost you a pretty penny, anywhere between $600 to $800.

6. UPC Barcode. A UPC Barcode will help you keep track of all of the CDs that you’ve sold and will also register your CD sales with Nielsen Sound Scan. It opens up the door for your CDs to be sold in music stores such as FYE and iTunes. Also, music industry insiders actually look at Sound Scan numbers to see what independent artists are selling records. Most CD duplication companies offer free barcodes with their duplication services. Alternatively, you can pay $750 for a UPC barcode at www.uc-council.org.

7. CD Duplication. The approach that you take in terms of CD duplication depends on the “realistic” projection of how many CDs you will sell. I recommend that you only duplicate 500 CDs at a time to sell at shows and various local record stores. You will feel good knowing that you sold out of 500 copies and had to reorder CDs. As an independent artist the majority of your efforts should be spent on gaining digital sales anyway.

8. Copyright. You will need to copyright your CD as a “Sound Recording” using form SR with the United States Library of Congress. Go to www.copyright.gov for more information on this.

9. Distribution. Once your CD is packaged and copyrighten, you are ready to make money! To get your CD in local mom and pop stores and even chain stores, you will most likely have to give them your CD on consignment. Don’t worry! The fact that your CD is for sale in FYE can be used as a marketing tool to legitimize you as an artist. Digital distribution is where you will make most of your money. There’s a difference between “digital distributors” and “online retailers”. Both are essential to making money, however they both operate differently. Do your research on the terms and you will see that partnering with a digital distributor rather than going directly to an online retailer will help you in the long run. Popular digital distributors are tunecore.com and musicadium.com.

10. Marketing and Promotions. Now that your CD is complete and available for sale, the last step is to market and promote your CD. You may want to hire a publicist that is able to get your press kit (bio, press release, photos and CD) to radio stations and online and print publications, as well as music venues. You should also be promoting your music at every opportunity you get. Many artists work backwards and focus on marketing and promotions without any product for sale. Do not make that mistake because people have short attention spans and will forget about you.

Much Success! And if you’ve read this far, you are already headed in the right direction!

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June 20 Teens Rock Dance

Party @ The Enterprise Center (2pm – 6pm)

June 26 Dancin’ In The Streets @ The Outdoor Artists Piazza (6pm – 11pm)

June 28 Philly Soul Stock Tour @

Malcolm X Park

June 28 – July 6 Sunoco Welcome

America

July 11 Greek Picnic @ Fairmount Park

July 18 MAC’s Global Fusion

Festival @ Penn’s Landing

July 19 Philly Soul Stock Tour @

Arts Garage

July 25 – 26 Sounds of R&B

Weekend @ Penn’s Landing

August 1 Acana African Festival

@ Penn’s Landing

August 7 – 8 The Give Back

@Mt. Vernon Park

August 7 Penn’s Landing Jazz

Series @ Penn’s Landing

August 7 – 9 Ladies of Hip Hop Festival (various

locations)

August 8 Doo Wop @ Penn’s

Landing

August 14 Penn’s Landing Jazz

Series @ Penn’s Landing

August 21 Penn’s Landing Jazz

Series @ Penn’s Landing

On June 5th, 2009 Junior Music Executive held a fund-raising barbeque at the Friends Neighborhood Guild. The event featured great food and lively performances from some of JME’s talented members.

Thank you to everyone that came out to support the event, The Future Music Exec Staff, performers, and The Guild. The event was a great success and if you missed it this time around you better be there next time!

Some great pics from the event!

Upcoming Events

some cool things to do in the hottest season

JME BBQ

August 23 Philly Soul Stock Tour @

Malcolm X Park

August 23 Caribbean Festival @

Penn’s Landing

August 29 Gospel Music Event @

Penn’s Landing

Visit myspace.com/jrmusicexec

for updates and details on these events and

more.

The Biz Exclusives is a publication of Junior Music Executive.

Editorial Director: Ashley ColemanManaging Editor: Shauntae Agnew

Contributing Writers: Aashir Nuri, Henry Sauter, Amarachi Utah, Christina Fisher

Photography: James Smith

Cover Photo by Whitney ThomasGraphics and layout by Flavorite designs

Junior Music ExecutiveExecutive Director: Aisha Winfield

Jr Music Executive was established to inspire high school and college students in urban environments to pursue higher education, set goals, and reach their full potential by exposing them to careers in the music business. We will achieve these goals by providing students with the appropriate tools, resources, education, mentoring, and internship opportunities essential to successful entrance into the entertainment business. Through our interactive programs, Jr Music Executive promotes self-confidence, encourages peer mentoring, and increases students’ value of education. Our programs also provide a support system that fosters life and job skills for at risk youth populations.

Workshops • Internships • Scholarships • Networking Events

Thank You For Your Support

Jr Music Executive

www.jrmusicexec.com