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  • Ben Carson Releases Hip-Hop Radio Ad for Candidacy

    Dr. Ben Carson is one of the many Republican candidates that is running for the White House and he has decided to try and reach out to the youth using hip-hop as a medium. The sixty second urban radio advertisement is schedule to hit the radio waves this Friday.

    Normally, I wouldn’t see this as such a big deal since candidates are always trying to get youth involved with politics, especially if it ends up being in their favor, but Dr. Carson has come out and specifically labeled the hip-hop community as one of the major culprits in destroying communities.

    “We need to reestablish faith in our communities and the values and principles that got us through slavery, that got us through Jim Crow, and segregation, and all kinds of horrible things that were heaped upon us,” he said. “Why were we able to get through those? Because of our faith, because of our family, because of our values, and as we allow the hip-hop community to destroy those things for us, and as we grasp onto what’s politically correct and not what is correct, we continue to deteriorate.”

    Take a listen to the ad below and let us know if he has your support in the Primaries.

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  • Sean Price Has Passed Away | @seanprice @duckdownmusic

    Emcee Sean Price has passed away this morning in Brooklyn. The official cause is not yet known, but the rapper left us in his sleep at his home and was discovered earlier today.

    Sean was a favorite of the entire BDTB family and our thoughts/condolences/prayers go out to the family and Duck Down Records during this difficult period.

    Price started out in the duo Heltah Skeltah with partner in rhyme, Rock. Then, back in 2012 Sean released a solo project and took the world by storm with his album, Mic Tyson. After that we started getting some of the most hilarious viral videos that the web has seen. One of my personal favorites is included below.

    He will be greatly missed. Rest easy, Mr. Price.

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  • BABA: Soundcloud Announces Daily API Stream Limits – Not Including Embed

    As many of you already know, Soundcloud is a top choice for both blogs and musicians alike in how we all prefer to showcase content. As of July 1st, Soundcloud will only allow 15,000 API requests per day, which means that once an artist’s song reaches 15,000 plays in your custom API design, you will have to navigate to Soundcloud to listen to the song. At first glance I can see how some people would be concerned and/or upset, but reading more of the fine detail they mention how their embed player is not affected. So, unless you’re doing something really special and custom, you probably won’t be affected by this.

    You can read Soundcloud’s statement below, and head over here to read it on their site. Be advised though, only the first 15,000 people who read this post will be able to read it below on our site. Yeah, jokes.

    At SoundCloud, we’re building an ecosystem where creativity thrives. Developers are an important part of that ecosystem. We’re continually inspired by how you use the SoundCloud API to support creators and listeners in innovative ways.

    But as the ecosystem has grown, we’re dealing with an increasing number of applications that abuse creator content by violating our developer Terms of Use. To help control this type of behaviour, we’re introducing a daily rate limit on API play requests.

    Beginning July 1, client applications will be limited to 15,000 play requests per 24 hour period. These limits are applied to developer applications using the SoundCloud API, and have no impact on the SoundCloud embedded player.

    Only a small number of developers will be affected by this change, and we’ve contacted them via email to ensure a smooth transition.

    What this means for you:

    1. You should review our developer documentation on rate limiting. Limiting API access is common for API providers. If you’re unfamiliar with rate limits or how they work, we’re here to help.
    2. You should monitor your play requests.
    3. Make sure the email account associated with your app is up-to-date, and keep an eye out for communication from our team.

    This change does not affect the SoundCloud embedded player, and if you have not heard from us, your app is unaffected.

    In the coming months we’ll be introducing an application process for developers who’d like additional access.

    This change is an opportunity for us to refocus our efforts and renew our commitment to developers. You’re an integral part of the SoundCloud community, and we look forward to seeing what you build next.

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  • BABA: Bandcamp Interviews Mello Music Group Founder Michael Tolle | @MelloMusicGroup

    Browsing around today I came across an interview that Bandcamp did with Mello Music Group‘s originator Michael Tolle. Being a fan of what MMG has been doing for the last few years, it’s very interesting (and inspiring) how he and his team have formed an organic label that thrives on doing music they love, without compromising who they are. Read the entire article here on Bandcamp. MMG’s Persona compilation will be released on March 10th. Pre-order here.

    Founded in 2007, the Mello Music Group is now one of the healthiest independent hip-hop labels around. It’s a diverse musical family that includes producers, MCs, and musicians such as: Washington, D.C.-based Oddisee, Los Angeleno Open Mike Eagle, Detroit’s Apollo Brown, plus West Coast freethinkers Dudley Perkins and Georgia Anne Muldrow, and East Coast classicist Rapper Big Pooh. Not a bad roster for someone who, by his own admission, didn’t know what he was doing. Perhaps his naiveté during a period of change made building a new kind of label possible. I got the scoop from Tolle this past month, as he readied some heavyweight releases from the likes of Red Pill (of Ugly Heroes), L’Orange & Jeremiah Jae, Oddisee, Quelle Chris and many more.

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  • Converse Rubber Tracks Sample Library Launch | @rubbertracksnyc

    Converse Rubber Tracks launched their free Sample Library with Indaba this past week, which includes over 11,000 free high-quality sounds for you producers to browse through. Read more about it below, and check out their website and get to work! Click here.

    Welcome to the Rubber Tracks Sample Library, an ever growing collection of free, high-quality audio samples recorded at Rubber Tracks.

    As the culture of music changes and as technology evolves, creative power is increasingly concentrated in the hands of individual musicians. There is no more need for the multi-million dollar budget to make a record; a hit can be produced in a bedroom, a garage, or even in transit.

    The Converse Rubber Tracks Sample Library is a royalty-free library of one shots, loops, and stems recorded at Rubber Tracks studios. Created in partnership with Indaba Music, the library will provide a unique resource for musicians all over the world at no cost. Creators are free to explore, download, experiment, and create using library samples and are empowered to utilize the resulting works in unlimited ways.

    Converse Rubber Tracks is a community-based professional recording studio in Brooklyn, NY. Emerging musicians of all genres can apply for free studio time. If selected, artists record at no cost while maintaining the rights to their own music. In addition to our Brooklyn studio we partner with local recording studios in San Francisco, Boston, Toronto, and Los Angeles to provide free recording time for local musicians. Follow this link to fill out an application.

    Indaba Music is an online community over 900,000 musicians and a place for musicians to gather, get feedback, and hone their craft. Indaba presents its community with incredible opportunities to create and submit original, cover, and remix music. Submitted music is then connected with millions of consumers as well as major record labels, film/tv, video game studios, and some of the largest consumer brands in the world.

    Indaba Music has partnered with Converse Rubber Tracks to power the technology behind the Sample Library, produce the recording sessions, and chop them up into over 10,000 samples, loops, and stems.By signing up for either the Converse Rubber Tracks Sample Library or the Indaba Music community you’ll have access to both sites – always free of charge.

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  • Nuvo Interviews BDTB About 5-Year Party this Weekend | @NUVO_net

    As you hopefully already know, we’re celebrating our five-year anniversary this weekend at the Hi-Fi in Fountain Square (Indianapolis). While I was out at Bangs Nicely’s listening party on Monday, I got to chat a bit with Kat from Nuvo, and we did a little impromptu interview about the party and such. Big thanks to her and Nuvo, and we hope to see everyone this weekend!

    Read the whole story here.
    Facebook event information.
    Get $5 presale tickets here.

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  • BABA: Talib Kweli Pens “Why I Left The Major Label System” | @TalibKweli

    It’s been a little while since I’ve had anything to contribute to our Be A Better Artist series, and this piece penned by Talib Kweli is definitely one that is relevant to that. You can read a little bit from the article below, but make sure to head over to Cuepoint to check the entire article, which has a lot more to it than what I shared below.

    Full disclosure: I am an analog dude. I am “mature” enough to remember a time before the internet was prevalent in our daily lives. I dropped out of school to start my career before laptops replaced spiral notebooks. My first foray into cyberspace was visiting a chatroom on The Roots’ Okayplayer.com in 2004, and I learned a swift lesson in internet etiquette when I was trolled by anonymous fans for putting out an album they did not like, Beautiful Struggle. Also, I am aware that my use of the word cyberspace makes me sound like a character from the movie The Lawnmower Man.

    Regardless of my lack of knowledge about how the internet worked, I have always maintained a large online fan base, due in no small part to the wonderful folks who run OkayPlayer. Early in my career they included me as a flagship artist on their site, placing me in the company of seminal acts like The Roots, Common, D’Angelo, Slum Village, Bahamadia and more. To this day I continue to be associated with this group of artists in the minds of many.

    These associations, along with a good work ethic, a focus on music that has a message and a willingness to embrace new sounds while staying true to the sound that I’ve been successful with, helped me to remain relevant in an ever-changing market for a long time. However by 2008, it was no longer enough to let someone else control my online presence. As the music industry began to drastically decline, partially due to an ignorance about how the internet worked, it became clear to me that I’d better gain control over how I was being marketed and promoted digitally.

    Myspace is what got me online in a real way. Their focus on music as a connector of ‘friends” made perfect sense for artists with an independent mentality, and I flourished there. Once I began to spend a lot of time connecting with fans on Myspace, I noticed my shows selling out more consistently. I was able to create an awareness around what I was doing that fans hadn’t been able to attain in a while. After the indie label that I started my career with, Rawkus Records, was swallowed and then eventually evaporated, the major labels I found myself doing business with had no clue how to market and promote me, so they would often not even attempt to. It’s easier to sell things that are placed in neat little packages and boxes, and no one could figure out what box to put me in. Myspace allowed me to reach my niche fans directly for free, rather than have some label invest hundreds of thousands trying to canvas the entire market.

    In 2006, I dropped a collaborative project with acclaimed producer Madlib called Liberation, for free on my Myspace page, as a thank you for my truest fans. At this time, rappers were dropping free mixtapes where they were rapping over established hits, but hardly any artists signed to major labels dropped free albums. It wasn’t a thing. This free album galvanized the die hards and set the stage for 2007’s Eardrum, which featured guests as diverse as Justin Timberlake, Norah Jones, KRS-One and Jean Grae, which I also promoted heavily thru Myspace. But I knew that the social networking site would not be around forever.

    After watching Warner Bros Records drop the ball on the follow up to my Train of Thought album with Hi Tek as Reflection Eternal, 2010’s Revolutions Per Minute, I decided that I no longer wanted to be associated with major record labels. In 2011, I got with Dru Ha and Noah of Duck Down Records— an underground label that I had been a fan of since a teenager that found ways to make money staying true to their aesthetic, even as the marketplace became increasingly fickle. Dru and Noah run a record pool for DJs called 1200 Squad, but they also were starting a distribution service called 3D. When I came to them to ask them to help promote the singles I was planning to release thru my newly-formed label, Javotti Media, they suggested allowing 3D to distribute the album. It was called Gutter Rainbows. It cost me 20,000 dollars to create, it dropped in February of 2011, and by May of that year I had tripled my investment. READ MORE HERE

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  • Run The Jewels “Oh My Darling” Video & Killer Mike Op-Ed Piece in USA Today | @KillerMikeGTO @therealelp

    Killer Mike and El-P are getting ready to start their oversea tour next week, and today we get a new video from their latest Run The Jewels 2 album. You can check all of the dates below, and bump the video above. You might also be interested in Mike’s new column with USA Today about hip hop in the courtroom, which you can read by clicking here. Video directed by Timothy Saccenti.

    Produced by Garen Barsegian
    Editor – Ryan Mckenna
    VFX – Hey Beautiful Jerk
    VFX – Kevin Stein/Wolf and Crow
    DP – Hunter Baker

    12/10 – Glasgow, UK – Glasgow Garage
    12/11 – Manchester, UK – Gorilla
    12/12 – London, UK – Koko
    12/13 – Paris, FR – La Bellevilloise
    12/15 – Oslo, NO – BLA
    12/16 – Stockholm, SE – Debaser Strand
    12/19 – Copenhagen, DK – Pumpehuset
    12/20 – Utrecht, NL – Tivoli Vredenburg
    12/21 – Dublin, IE – Opium Rooms
    12/30 – Lorne, AU – Falls Festival
    12/31 – Marion Bay, AU – Falls Festival
    1/1 – Sydney, AU – Field Day
    1/2 – Byron Bay, AU – Falls Festival
    1/4 – Busselton, AU – Southbound Festival
    1/7 – Sydney, AU – Enmore Theatre ^
    1/8 – Melbourne, AU – The Forum ^
    1/9 – Brisbane, AU – Hi Fi ^
    1/10 – Auckland, NZ – Town Hall ^

    ^ with Joey Bada$$

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  • Nuvo Selects Four Indiana Artists to Interview Slug (of Atmosphere) | @DJKyleLong @atmosphere

    In an article today put together over at Nuvo, DJ Kyle Long asked four different artists from Indiana to come up with a question for Atmosphere’s Slug. You can read the entire interview here at Nuvo, but I’ve quoted my favorite question and response below, which was asked by Diop. Atmosphere will be here on November 20th, which we shared along with a bunch of other upcoming Indianapolis events earlier today.

    The last question comes from Diopostle who dropped his superb debut album Driving on Faith earlier this year. Diopostle asks: “What are a few critical steps to building a sustainable and independent local music scene in a city where the market doesn’t currently exist?”

    Slug: That’s a good question, and if I had that magic answer I’d write a book and get rich. For us it was accidental. We didn’t know what we were doing. Truthfully the steps we took in the ’90s probably wouldn’t even work today because the landscape has evolved. When we were building Rhymesayers there was no Internet. It was all about showing up with a stack of fliers and tapes to give away or sell. The things we did back then are obsolete now.

    But the main thing I try to tell people is to always be honest with everybody, especially yourself. If you have to lie to get where you’re going, then you’re hustling people. And hustling people works, but it’s temporary. All hustles are temporary. If you want something that’s sustainable it has to be honest and true. I’ve always tried to be as honest as possible in my music and outside my music. I look at it like this, if you don’t want my truth, if you don’t want my honesty, then you probably don’t want me. If you can’t respect me for being myself then we don’t need to work together. I don’t want colleagues or even fans that can’t accept me for who I am. I ain’t here to trick nobody.

    I also think you need to stay community-minded. The funny thing about mixing art with commerce is that it becomes very insular. It makes it hard to stay communal. I think that’s the thing that most people bang their heads against when they’re trying to establish a scene. There’s a short list of people in hip-hop history that have been able to keep it communal as opposed to keeping it focused on self. I would point to Afrika Bambaataa, or Proof out of Detroit. Proof was known for creating a space where people could come and freestyle or just kick it. And it wasn’t about Proof it was about the community. Luckily I was working with a few people who were really good at staying community minded, and I think that’s why we were able to get where we got in Minneapolis.

    There’s a dude there in Indianapolis named Rusty from the Mudkids (Last IV, Birdmen of Alcatraz) who everybody there knows. That means there already is a community in Indianapolis. Every time I talk to him or see him I can see that he is a leader. I don’t live there, so I have no idea if he’s regarded as a leader by the younger kids. But if not they should really look to this guy because he’s got a lot of history,

    inspiration, and charisma. Those are the types of things that create a leader. So Indianapolis has the leaders, you’ve got the soldiers, and you’ve got the people with talent. That’s all it takes to spark interest from people outside the scene to look in and make it a larger scene. The energy is infectious. This hip-hop shit is contagious. It just requires people to not be so insular, and to put their ego in the backseat.

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  • BABA: You Really Must Have Great Music & Great Perseverance

    It’s been a while since I’ve written anything for our Be A Better Artist series, and today I wanted to touch on something that most of us artists tend to overlook. Well, it’s really a rambling of thoughts that I’ve collected through my 12 years as a hip hop artist and producer, mixed with my last five years as a blogger, kind of focused with a general point, but you know what I mean. The main point: you really must have great perseverance at what you do to have longevity in the music business…as an artist. I hate even calling it “the music business” because quite frankly, most are nowhere near the etheric plane on the business aspect. I know this because I’ve lived it. Let me rewind a bit first.

    Most of us that have been making music for a while understand the levels of our growth. I remember when I started making beats and rapping, and how good I thought I was. I remember thinking a couple years after that how bad I was before, but how good I was then. This cycle recurs and continues to do so to this day for the most part. Granted, there are always gems, but the process and knowledge behind everything becomes advanced to the point where I understand myself and path more than I did before. This can only be accomplished through time, in my opinion. You know, that whole “find yourself” as a musician thing.


    It’s important to note, as I have in the past, that I’ve lived through a couple different eras in the music business. I was “coming up” when the digital age was taking off. I started making music in 2002 and didn’t put anything out online until 2005. That’s three years, and although it seems like a lifetime in today’s standards, I really wasn’t shit until about 2006 (just as much of the music that is submitted to us at BDTB today seems to be so). Sure, I had flashes of genius, but I didn’t truly know what was good and what wasn’t, and most of the time I didn’t even know how I was making the stuff that was good. It was just like, an accident. Sure, I liked stuff I was doing, but I was kind of oblivious outside of my bubble. Granted, not everyone grows the same as me, but not everybody has my understanding because of the way I chose to grow. I remember when all I did was make beats and try stuff out with my homies, and it’s cool to see some younger cats I know do the same stuff that I was at their age. I was that Kanye West “lock myself in the basement for three summers” beat maker. I had thousands of beats (before that fatal dropping of the hard drive thing back in 2008). I was that guy. I think that I’ve probably officially put in my 10,000 hours 12 years later.


    Why do I say all of this? It’s not to boast, as it’s nothing to boast about; it’s to put things in perspective.

    It was literally three years of nightly work before I paid any real attention to trying to get my music out of my apartment, and a couple more after that before I really took it semi-serious. Sure, it was in the back of my mind, but I never did anything to actually pursue it. That simply will not ever happen again because of technology. Before Twitter, Instagram, Soundcloud, and modern day Facebook, there was just MySpace, Soundclick, and college Facebook. I remember trying to figure out the next big thing and how to get my music out there. I started doing remix contests online. I was in forum beat-sample-flipping-battles on Stones Throw’s website back in the mid 2000’s, and I joined many message boards including ones where I’ve created some really cool acquaintances (shouts to all of my Access/Ban’t homies). This was before blogs were “the thing” to allegedly get on for independent artists. I was feeling around for the best way to get my music out because I honestly had no idea how to share my music moving forward, and I wanted to figure out what the new way was going to be.

    Then blogs really started to strive. I remember the first blog I got on was in 2007, and it had no relevance of importance for me. I was just like “that’s cool.” This was all around the same time I had the idea for BDTB. From there I moved to Indianapolis in 2008 and went to every single hip hop related event that I could find. I tried my best not to be that “thirsty” artist (a topic for another day) that demanded a conversation, but I wanted people to know I was around. I passed out my latest project and ended up striking some good conversations with some likeminded folks. Eventually people heard my music, liked it, and then things evolved. I only started doing this because it was the next logical step…I didn’t know what else to do. There was no “guideline” to success in this new digital era. I learned that regardless of that fact, that speaking face to face with people was one way to create fans and respect. It was necessary to succeed in my world.


    From 2009-2011, my group Hinx Jones was doing some really good things in Indianapolis, but we were struggling outside of the city. We were 1 of 5 acts selected to perform at the A3C Festival on their Sonic Bids stage. We actually performed there the year before too. We were in the green room like flies on the wall with Rhymefest, Tanya Morgan, DJ Booth’s DJ Z, the fellas at 2dopeboyz, Homeboy Sandman, 9th Wonder, Statik Selektah, and you name it. We did multiple festivals around Indiana too. We were travelling and performing in Chicago. We were featured on a national mixtape by Fake Shore Drive. We were getting booked left and right and had lots of local anticipation for our next album, “Frozen Liquor.” On the surface, that looks amazing, yeah? Well, there’s more to it than that.

    We wanted more people to hear our music. I submitted our music to blog after blog, but really didn’t take the time to do it the right way. I’d find emails and send music to a bunch of people (never do this). I didn’t know anything of formatting emails or how to appropriately create relationships (learn this). This was before BDTB was really jumping; I learned it all on the fly. I remember thinking “we got a video on Kevin Nottingham a year ago so we’re good there,” yet they wouldn’t post any of our new stuff. It was a trying time because we thought we were making great music, and doing everything we should be, but couldn’t get anybody to really pay attention to us outside of Indianapolis. That’s the musician dilemma, isn’t it?

    In retrospect, years later and thousands of music submissions reviewed by me, myself for BDTB, maybe our early recorded material “quality” should have been better if we wanted to reach a larger market. Sure, we were the new guys to like in Indianapolis, but we weren’t just competing with Indianapolis anymore. We were competing with the world. We were competing with hundreds of thousands of submissions and people just like us, and nobody knew who we were. We were competing with media outlets, individuals with lives, time, and so much more. We all want to be heard. I’ll touch more on this later, but what we artists don’t initially understand is that we bloggers have lives too.

    It’s important to read that a few times and let it sync. I am an artist and musician, producer, entrepreneur, boyfriend, friend, son, and I have a job on the side. I have a mortgage. Artists like to assume that it’s the job of the blogger to share great stuff the moment it’s given to them, but that’s just a pipe dream at best. You might get lucky and I might have a Wednesday where all I have to do is go out and search for the greatest talent abroad and find you, but it’s more likely that I’ll go through our submissions, delete the stuff I don’t like, forward the stuff I do to the queue, check a few sites to see what just dropped, work on my business, and if I’m lucky be able to make a few beats before I cook dinner. There are certainly blogs where the owners can truly dedicate most of their work-space-time towards these things, but the point I am making supersedes this. It’s important to keep in mind that you are not living in a utopia, and that no matter the blog, person, store, producer, artist or whatever – people will always have other things to prioritize. Let me simplify this a bit.


    Why should I pay attention to you more than someone else, or hell, even myself?

    I mean, really ask yourself: what are you offering that will make me want to stop what I am doing and focus on you? I’m not talking about me per se, I’m talking about anybody that you want to pay attention to you. I’m not talking about money either, I’m talking this: is your music really bringing value to the website you want to be featured on, or to the person who is listening? You need to stop thinking as if you’re deserving of a charity post from these sites, and that people are blessed to be able to hear your words. How about a step further: is your music going to stimulate me to a point to where I really want to know more about you? A decent song is not good enough because anybody can make a decent song, and the web is OVERSATURATED with decentness. Not everybody can make a great song that you can feel. Ask yourself: seriously, is what I am doing forgettable?

    That’s not all. Let me take it a step further and a bit to the side: what do us as people do when we are overwhelmed? You know, you want me to check out your stuff, but I’ve got bills due, hours to pick up, and this article to write. I would either completely ignore the extra stuff or, perhaps, really focus on what is really worth my time. Where do you fall in that situation? Keep these things in mind.


    We at BDTB realized that the submission and music race was one that we were never going to win. We can’t nitpick between handfuls of “decent” songs; we simply must make it so that everything shared is something we absolutely enjoy. That’s why we have the submission guidelines and form we have. We eliminated email for a reason. We want to cut all of the guess work out. We press play, and if there’s a hint of doubt of if we like it or not, we delete it. It’s that simple now.

    It has to be like this.

    It has to be like this because otherwise we are not doing the submitter, ourselves or our fans and followers justice. You need to feel honored to be shared. Not because of any type of power trip, but because we as artists need to know what we are doing is appreciated, and that what we are doing is going down the right path (for a lack of better terms at the moment). We need to be held accountable if we put out subpar music. We need to be told about ourselves from people that actually have taste. That can be a friend, blogger, producer, DJ, or anybody worthy of such in between. It’s up to you to determine who that person is, and if you submit music to a blog that you do not respect, your selection is the main problem. At that point you are not doing yourself justice.

    This whole segment I’ve been talking about is bigger than blogs. In the last few months I’ve witnessed the stronghold of blogs seemingly fade a bit, which is great in my opinion, as artists (for at least a good 2-3 years) were depending on blogs (and only a few of them at that) to get their music out. This is backwards because the focus is then not based around building a fan base themselves. They are then relying on people to randomly “happen upon” them on a website. You really have to stop that.

    sheep zombie

    This confusion is/was like a deadly zombie apocalypse. It spread really fast and convinced nearly everybody of its importance. Getting on blogs is/was like the old being signed. Sometimes it’s hard for an artist to switch his/her mind from art to business because when their main focus is “make good music,” all they want to do is “get people to hear it” as soon as possible. Let me tell you, I had two different remixes that had nearly 25,000 plays in a day because it was featured on a major blog(s). I woke up to the numbers the next day and felt great, but my life has not significantly changed because of this. There are a couple bumps to the ego, but otherwise it is really still business as usual and you have to keep the momentum going.

    You must realize that to keep that momentum going you have to actually have fans. Sure, I have fans, but I didn’t really have any in that aspect. I was just the producer in this case, and a remix producer at that. I then realized how finicky this whole thing is. The success fairy didn’t just drop out of the sky and scoop me up; I’ve been and still am working at it. All that it did was help me understand another level of what I was pursuing. It was a great feat accomplished, but I’m not playing the short game. I’m playing the long game, and most of you reading this are too. Don’t get caught in trying to play the short game if you are a long game artist. Sometimes the homerun isn’t available and you have to realize that a base hit can eventually accomplish the same outcome.

    All being said, having blogs share your music is great for your career, but it is not where the battle is won. Do not fall victim to “depending on bloggers (you don’t know)” and instead focus on creating real relationships with people you do know (including bloggers). Confusing eh? Well, this is how you get fans. Build relationships. Yes, it’s a long process that you have to work at. Blogs do help, but knowing the blogger personally helps more. Having a cosign does help, but making music with the consignee helps you more in the long run. Don’t get stuck on the surface. Understand why things happen, and understand the levels.

    Let me go back a bit to touch on music quality.

    When I talked briefly about how the music I made could have been better, I was a bit bland. When we (Hinx Jones) were making the “11 Piece” back in 2009-2010, we really just put it out as a feeler to see what people liked from us. We were fresh. We put it out without a lot of expectations, and although we succeeded and grew in many ways, I feel that our recordings were a bit too “raw” for most blogs (it was the first project I recorded and mixed fully in Pro Tools, so I had a bit of a learning curve). One thing you’ll notice is that most people and blogs don’t mind sharing “raw” or different sounding music from people they know, but they won’t from people they don’t know. It’s a popular and familiarity thing. It is not blog specific. Fans from “Blog A” would’ve probably rather heard Blu than us on the particular day we submitted our music, the same way our fans would have rather heard a song by us than some other act from Indiana. It’s relative.


    Learning all of that took time to really understand. We’re dealing with people, not robots. We personally had to go through it to truly get it, and it was still quite disappointing to realize that we still had to play the popularity game. I took it as paying my dues. Sometimes you have to find stuff out on your own. I am close with many artists who are trying to get over that hump, and we’ve all tried (and are trying) different things to get ahead of the curve. I think the one common denominator though, for all musicians that take this serious, is that you need to focus on building relationships. You need to build your own fan base from the ground up and through the relationships you build. You need to build relationships with people that are like you in your field of expertise, and all of the associated fields. You need to go out of your way for people. You might need to take some losses sometimes in order to build in other areas you need to, and you might need to get out and go on tour. It is important for you to get out of your comfort zone and meet people you don’t already know. For example: I have personally thrown shows for artists so that I could have the chance to build with them. I may have come out of pocket, but it was a great way for me to build and become friends with a lot of people I’m close with today. It’s not about the money; it’s about finding those people that are like you and build a valuable relationship with them. It’s different for everybody. “Let’s continue to do cool shit and try to pay our homies.” My friend DJ Castle said that recently when chatting about my Drums Bang project, and it’s exactly what I strive for. It’s what a lot of us strive for.

    To succeed in anything worthwhile, at least in my experience in life, is to tactfully try and do repetitively until something works. Not just try. Try and do. We do not always know the best way to do things, and the processes are changing all around us, but unless you work at these things and improve to the point of one day becoming great, you’re in for a hard time. Good luck.

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