DJ Life - posted on May 2, 2014 by RealDJVybe.com

A Chat to Unsigned Artists

I decided to give Unsigned Artists some advice, and if they pay attention I assure you it will go a long way in helping them be recognized among the masses. My tone maybe candid but honestly too much fluff will cause many of you to not get the message, so candidness is my weapon to fight ignorance.

First, stop saying you’re the hottest rapper out or got the hottest track out — that SERIOUSLY remains to be seen. It’s corny, played out and you’re honestly nobody in the world of music. And in many ways even the signed artists with deals are small players in the game until they have their own label, distribution and rights, etc. There are only 2 things that get the attention of “movers and shakers” — MONEY. If you fail in marketing yourself to execs in terms of dollars and cents it’s the same thing as trying to get attention by pissing in the ocean — pointless.

Next, the last person that should get on the phone with a business person is anyone with a deep accent. Country, hood or whatever. It seriously burns me up when I get a call from some southern dude that I cannot even understand to any extent wanting to do business with me, and I know from conversations it burns others up as well. Find an articulate person in your ranks, or get representation to do the talking for you if you aren’t articulate or have a deep accent. If you notice, all the entertainment/business capitals in the US speak on the same plane of language if you will. The producers and executives in Atlanta, sound like the dudes in New York; the ones in New York sound like the ones in L.A. and the list goes on.

Believe it or not, the American DJ is still the cheapest and most effective resource for putting your music out. DJs are usually connected from many sides of the industry, from grassroots to producers to record pools to radio. Network with good DJs, not just local ones. Try to establish relationships with DJs in the key areas that you want to perform. In the long run it will reduce your travel and sound gear expenses in various that ways I won’t go into here. Make plenty of effort to put noted DJs and radio DJs on the tracks or in the videos here and there; (why?) for several major reasons: (a) Free airplay to make your track catch – obviously if he’s on it he’s gonna endorse it, (b) Free distribution to other DJs and media platforms – DJs are members of “vetted music pools” which is how genuine stations as well as DJs/VJs get the music before the rest of you, not to mention artist connections, and (c) although I used the word “free” gingerly in this article most things in life aren’t free, so hit your network DJs off with $$$ — compensation is motivation and if hearing your track on the radio or a party costs you bread, then be thankful cause the reality is that most top tier DJs make $200-$1000 per hour — that’s doctor/lawyer money son! So recognize the value in that small fee.

Stop seeking to “get something for of your music” and stay committed to “be something with your music”. It amazes me how many of you get turned off by the question “what’s your budget” or when someone presents a cost for service to you”. Scared money doesn’t make money and if you aren’t willing to invest in yourself and your projects then you realistically shouldn’t be asking anyone to invest in you, including the consumer — studio time in only the 1st of many expenses. And statistically speaking, music artists whom establish themselves prior to label signing or representation generally end up with more negotiating power at the table.

Touching on social media, web content and email marketing for a moment…stop thinking you’re some type of genius for buying Twitter followers. There isn’t a quick way to build a following. It makes no sense for you to have 10K followers and only 200 plays of your song. Grass roots marketing is always the best, but don’t be obnoxious with it. And if by chance you get someone to look at your account, 50 posts to the same video is not a good look. You’re not demonstrating that you are on a continuous-progressive grind, and if by chance the primary image is weed or some type of drug, then you’ve successfully demonstrated: you’re a high risk, pothead, that will waste someone’s time/money. All your marketing efforts must be diverse but still bring one objective into focus for the consumer…that song, that album, that artist.