“Manners and Why They Matter In The Ruthless Corrupt Music Industry” New Article 3.21.08
Heres the new article I did for BeatDynasty.com (Click Here For Article). You can read the official version here on the BeatDynasty.com website; I’ve also copied the text below. Enjoy, this one is a classic.
Producer’s Perspective: Manners and Why They Matter In The Ruthless Corrupt Music Industry
By Christopher “Soleternity” McGill
Most people do not realize the true purpose of tact and therefore misuse it. People tend to wear a generic polite exterior when they want something (for example, making reservations at a restaurant), when they are forced to (for example, corporate policy tells a telemarketer to end each conversation with “have a great day”), or in a formal setting (for example, school or work). People tend to either be completely courteous or entirely informal. Yet this severely limits the potential of intentional, calculated, strategic civility. Courtesy only makes sense when it is a relief from informality or when it is done creatively and stands out. Some of the best times to display your manners are in situations where it is least expected–it will have the most dramatic effect and create mystery. It is imperative to design a seductive and exotic type of courtesy: use a polite vocabulary but spoken in a suggestive voice; borrow colloquialisms from foreign charmers. The purpose of courtesy is to gain a level of influence over a person or group of people. Therefore, when using or not using courtesy, always act based on the interests of those in your presence. This means you must learn to anticipate what people want and then how to represent that desire, which has applications well beyond the realm of manners, although it certainly applies here as well. It is not a tool to distance yourself from others, rather quite the opposite, it is a gateway to intimacy. It is merely a weapon in the arsenal of a gentleman.
As depicted by movies such as Hustle & Flow or Be Cool, the music business is shady. Guns, drugs, money and bi***es. It’s a fiercely emotional game of pride, ego, money and fantasy, ran by hardened criminals, slippery fast talkers and wealthy investors. This is why the proper use of courtesy and its cousin humility are doubly effective in the music business. When the normal atmosphere is corruption, go against the grain by using creative politeness to captivate, disarm, and influence. When doing business, people want to feel like they got the best deal–a deal better than yours. So let them. The macho “I don‘t give a f**k” style of negotiating in the music business provides the perfect opportunity to charm them into thinking they have won without much effort. Furthermore, do it from behind an exterior of a calm, humble reserve: your actions do not reek of attention-seeking behavior like most wannabes, instead you are patiently confident in your talents. You are self-reliant–this isn’t your dream, this is your calling. Be as humble as the foot soldier and you have armed yourself with the most potent weapon on the battlefield.
A fundamental part of charm is outlasting your guests with consistency. If you even so much as hint that your courtesy is a facade, your guests will go to unusual lengths to lure out the dark side you have suggested lurks beneath. Betraying a dark side can be a great tool as well, but it must be controlled and used appropriately in contrast to politeness, never when rebounding from fatigue or emotional distress. Bragging and arrogance will break the spell of courtesy instantly.
Never be aggressively courteous, always patiently courteous–true humility is not concerned with what other people think. Use light flattering phrases: “I am so appreciative of your time,” and “it is great to be collaborating with you” and “I simply look forward to the opportunity to contribute to your success.” The best part: these things are true. Socializing, collaborating, networking–co-existing with other people makes the world turn. It is to your advantage in a cold unappreciative world to share this with your associates. It will be a surprise, an ego-boost, and an invitation for intimacy and ultimately persuasion.
To put it bluntly: artist, equip yourself with tact. You still must flaunt your rebellious persona and eccentricities–but make them most effective by balancing them with humility and courtesy: the contrast will enhance both sides to your character. Allow politeness and discipline to be your mind state when working in the recording studio or negotiating. When recording in the booth, never become aggressive, impatient or worried, instead be humble, receive feedback, remain reserved and confident. Detach yourself from your emotional inclinations in order to free yourself to be indifferent. Resist the attempt to directly crush the onlooker who knows little but continues to offer tips. Instead, crush them indirectly through strategic humility: “My friend, thank you for the intriguing insights. I do consider some of them to be quite useful. In the present moment I must complete the song as I prepared it, for that is also how I rehearsed it, and unfortunately we are operating on the clock. If it is acceptable to you, allow me the opportunity to record in isolation and privacy for the time being, and when it is convenient and intelligent, we will come together strategically to collaborate.” Now you have gained the admiration of the room–what patience and humility! Now people begin to deal with you with a new level of respect and tact. Now you have gained control.
Allow humility to be your charm–the people it attracts will not surprisingly be the most pleasurable to collaborate with. Allow it to be your defense as well–you are in control and can change the atmosphere. You will find, however, that the atmosphere cultivated by humility is highly desirable with the appropriate contrasts in place.
Bear in mind that there are some people who will not respond to courtesy. Courtesy must fill a void, not create one. Thus, always anticipate the desires of your guests so you can flip the courteous switch on or off without anyone noticing.
“Ace Club” Music Video is Here!!
One of the perks of my blog… you get to see the Ace Club Music Video 2 days early;) Here it is, Directed, Edited & Filmed by Nick “Young Spielberg” McGill (my brother). I produced the song. The artists are Brotherly Love (Big Mountain & Soleternity), Macadoshis, and the All Nightaz. Ace Club is a new international clothing line that we were brought in to brand & market through a theme song and music video. For more information on Ace Club visit AceClubEnt.com.
Here is the video!! (For Business Inquiries On Music Video Production, Music Production, Consulting, contact Soleternity@gmail.com)
McGill Original Films Soleternity Productions Brotherly Love
Ps… Brotherly Love Album Coming Soon
MOF: Ace Club Music Video Debut March 17th!!!
My Brother’s company, McGill Original Films, is debuting the Ace Club The Music Video Debuting on March 17th on youtube. The music video features performances by artist Makadoshis, Brotherly Love (Big Meezy & Soleternity), and the All Nightaz. The video also features key LA players Johnny Matrix (Ace Club clothing line owner, international promoter), Dj Liks (LA premeire club DJ), The Ace Club Girls, and more. You can get more information on new clothing line Ace Club by visiting AceClubEnt.com. Ace Club is a new style of trendy hollywood clothing, slightly similar to Ed Hardy, with its own flare.
Today is March 12th. There are 5 days remaining until March 17th, which is when the music video debuts on youtube. You can watch my video count down below, or you can click on the link below to go to the youtube site to watch it.
You Tube Countdown: 5 Days until MOF Ace Club Debut
Compiling *FULL* Discography..Help!!
I’m compiling a full discography, which I hope will contain every project I have ever appeared on. I’ve sold beats to over 1000 clients worldwide–I only have records of the projects that my clients kept me up to date on (I actually have a physical copy of all of the items listed in my discography now) Which means that there are many projects out there that I produced, mixed or appeared on that I am not aware of. If you or anyone you know has featured Soleternity on their project, get at me!! I have a special reward for anyone that does. I’m not requesting you to send me the project (although I would gladly purchase a copy for my collection), but I am requesting that you send me information about the project, specifically when it was released (or will be released), what song(s) I contributed to, what record label released the project, the name of the project, the artist(s), reviews of the project, and any other information about the project (website, bio, press etc). Here is where the list is at thus far, so if you’re already on there, thanks!! Contact Soleternity@Gmail.com
Major Distribution Album Placements: Bone Crusher “Release The Beast” (845/VainGlorious) (July 2006); “We Are..” (Producer/Mixer), “Stomped By The A Town” (Producer/Mixer), “Lights, Camera, Action” (Producer/Mixer), “I Do It” (Producer/Mixer), “Southern Gorillaz” (Producer/Mixer), “Danger” (Producer/Mixer), “Pistol Fo” (Producer/Mixer), “Gotta Get That Money” (Producer/Mixer). Khujo Goodie “Mercury” (July 2007); “Dirty South Nigga” (Producer/Mixer), “We So Dirty” (Producer/Mixer), “I Am” (Producer/Mixer).
Independent Album Placements: Epiphany F/ Saigon “First of A Dieing Breed” “If Game” (Conduit) (2002); Finesse Starz “Real Fiction” (Starz) (2004); Instant Legend “Suzie Q And The Horse She Rode In On” (Absynth Recordz) (2003); Rare Blend “Press Play” (La Lo Records) (2003); Jackknife “Hip Hop Is Dead” (JKP) (2004); Phact “The Dirty Phact” (2004); Jackknife “Visions Brought To Life” (JKP) (2003); Mistaken Identity “Beautifully Absurd” (2004); Fiyaboy “5000 Farenheight” (Entourage) (2007); Woo Child “Bridge The Gap” (Omnypotint Records) (2002); Raskal “The Secret” (3000 Ent) (2004); Babylon Renigg “Babylon Reniggotiated” (2003). DVD: “Universe 2: Implosion Factor” (2003).
Mixtape Placements: Dj Rip…Best of 2pac and the Outlawz “4 Timez”; Dj Whoo Kid and Lloyd Banks SWAT Mixtape “Young Buck – Sleep With An AK”; Dj Smallz and Pimp C Souther Smoke 25 “Bun B – Walk That Walk“; DJ Smallz and Bone Crusher “Bad To The Bone Southern Smoke Special Ed”; Paul Wall, Trae “Hatin On Me” “Live From The South Mixtape”; Joe Buddens “Grand Finaal Mixtape”; Lil Scrappy “Haters” “Live Wire Dj Whoo Kid”’; Dj Rip… Adina Howard “Let U Hit”; Dj Rip…Big Meezy “Double Mixtape Classic”; Dj Rip Presents Hydro “Smokin Da Game Out”; Kinfolk “From 900 To Palm Beach”; Trap Boiz “Crunk Trap Music”; Stack Do “Either Way It Go”; Enfo “Bronx Story”; True Da Hustla “Philly 215”; Don Cerino “The Rap Game is A Joke”; Science Camp Compilation and Remix Cds 1-2; Bone Crusher, ET Young Hawk “Get My Gun” Bomb Squad Vol.1; Pint -n- Plex “Workin’ Trifecta”; Da One Irie B “Take Off Your Clothes”; Main Man “A Class Of My Own”.
TV Appearances: MTV Next (Feb 2008) Guest Host, Producer of Music For Show. MTV America’s Best Dance Crew (Feb 2008). Vh1 Celebrity Fit Club: Bone Crusher Supporter.
DJ SOLETERNITY
Eh.. wasn’t much good music this week fro the record pools. These songs are from the Beatology Record Pool.. They are a Good Record Pool, they get a lot of the singles from Warner Brothers, Sony & Interscope to name a few. It seems like Warner uses them the most, I think they send every single through under their imprint, including Blacksmith (Kweli, Jean Grae) and Asylum. Its interesting to see the projects that Warner is putting money and resources into. Helps as a producer to understand what direction the new A&Rs are headed in and enhance my marketing towards them. My main observation is that the Atlanta formula is in full effect.. the catchy hood dance records are running the clubs and strip clubs right now.. this is Warner’s main formula anyway.. I was talking with one of my partners Dj Liks about what type of music he’s spinning right now, and he said the ladies are all about the Timbaland/Nelly Furtado/Justin Timberlake movement.. If I were a major label, I’d be headed in that sound too.. Tempos about 109-118.. Seductive female voice…… time to get in the lab.. Heres the songs:
KeAnthony – I Ain’t Tryna Cool R&B song with a classic chord progression..
Kay L – Go To Work Good Example of a Knockin Simple Beat
Shawty Lo – Dey Know Shawty Lo displays swag
Jean Grae – Love Thirst Impressive Beat
Whiz – Youngin on His Grind Interesting Beat
..new beats coming soon..
“Producer’s Lifestyle” New Article 3.3.08
So I’m writing a bi-weekly column for beatdynasty.com for a new edition to their website called “Producer’s Perspective.” The article was also picked up by beatcreators.com. Click here to read the article on beatdynasty.com. The text is also copied below.
Producer’s Perspective: Tools to Enhance The Quality of Our Lives
By Christopher “Soleternity” McGill
Making money is what separates a professional from an amateur. How much money you make almost always directly impacts the quality of your life. Of course, some would argue that a person who is happy is living at the highest quality of life, no matter what material possessions and capital they have. That’s cool. But when we evaluate economics, we evaluate tangible things, mainly because it enables us to measure and compare.
The perception of your lifestyle is an undeniably powerful element of your public identity. Style, class, grace, charisma, power; these are all qualities we can convey or lack. My first car was a 1997 Grand Am. My second was a 1997 Jeep. My third was a 2007 Chevy Avalanche (which was a company vehicle), and my fourth to date is a 2006 BMW. Believe me, I notice the difference in people’s approach towards me based on the car I pull up in, the clothes I’m wearing, my demeanor, my presence. Same guy, different shell. Big difference.
Do not make the mistake of assuming that I am advocating a flashy lifestyle. Rather, I’m examining the impact of portraying a certain lifestyle in order to find one’s niche as a successful, respected member of society. Of course, it takes more than just the desire to portray success. You need money, capital, or something of value in order to buy lifestyle tools. For most people, money comes in regularly through their work, and they base their lifestyle on the amount of money they make as well as what is conventional for someone of their demographic, and how they would like others to perceive them.
As producers, we play a different game. We have more opportunities and more risk. We might scrape by for 10 years and then produce a relatively successful song, and accumulate large sums of money–$500,000 or more–not only from royalties and payments from the person who purchased the music, but from the new business that results from the stamp of success that has been branded on your creation. This is a sharp contrast from the standard middle class employee who might average $50,000 in net income over the course of a year, every year, for the same 10 years. This person made $500,000 too, spread out over 10 years. As a producer, it took us 10 years to make $500,000, but we got it all at once.
One school of thought suggests that the producer and the average middle class person discussed in the example are at the same economic quality of life; they can support a similar lifestyle, particularly in terms of the quality of their home, the quality of their vehicle, the ability to provide for others (such as family).
However, from a different perspective, the one who is able to get $500,000 at once is open to much larger opportunities of investment and growth. If one is willing to sacrifice the quality of life temporarily, the possibilities instantly expand for purchasing real estate and making other purchases that usually increase the value of your money. As a producer, it does not make sense to get a $500,000 check and spend $60,000 on a new Mercedes CLK350. You just spent an entire year’s salary. You aren’t rich simply because you got half a million dollars at one point in time. You are rich if you can sustain a rich lifestyle. No one can sustain a rich lifestyle for very long with $500,000.
Last year, I made the mistake of getting a large sum of money and thinking that the money would keep coming. I was so confident that the cash would keep flowing that I decided to upgrade my lifestyle. Eat more expensive food. Buy more expensive clothes. Jewelry. Some of these things turned out to be good investments; the jewelry helps create an attractive image, the clothes help convey class and style, etc. But moderation is key. And living below your economic means is a great way to build wealth. I exercised neither, and as a result, had to backtrack in order to make enough money to support what I had started.
What I’m getting at is that we as producers have to be adaptable to the uniqueness of our income flow. We get our money sporadically. We have to build a lifestyle that reflects this. We will never experience the consistency of making $1500 a week. Instead, we will make $10,000 at one time for the next month. We might have to stretch that money for another month, so its critical we have a savings. Therefore, when we get large sums of money, we have to set ourselves up to elevate, not rise and fall over and over. I advocate buying property and making long term investments. Continue to live poor until you have built enough money that you won’t have to sell your services for a fee ever again. Now you’re free to pursue the projects that you believe in, like how Lee Iacocca took on the job of running Chrysler for a yearly salary of $1, and turned Chrysler into a profitable brand. He was able to do this because he had the economic security to follow his passion.
Be realistic about being a producer. Just because you have a hit record or half a million dollars does not mean you stop planning for the future or being strategic. Mo’ Money, Mo’ Problems. Now you will be worrying about losses and stock quotes instead of health insurance bills and car payments. Personally, I prefer to worry about the former.
“Producer’s Perspective” is a bi-weekly column by Soleternity