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THE DAY REPORT: Conferences, Seminars, And Award Shows

mannie_fresh1

These days, it seems like everyone is doing a conference

and/or awards show in Hip-Hop.  What is

up with that?  I guess people see one or

two people do it, and they think they have the proper connections, knowledge,

and opinions to do it their damn self. 

The problem is, most fail.  It’s

also not a money maker and most people seem to think it’s a quick come up.  It’s really not.  Ask anyone who has done a real conference or

awards show.

 

I believe strongly in knowledge, so in the past three years,

I have attended every seminar, conference, and summit that seemed worthy, and

that fit into my schedule.  This kept me

on the road, speaking live, for at least 10 days a month in the past few

years.  I now have enough frequent flyer

flight miles to go to Hong Kong in the Summer.  That’s a lot of conventions and seminars, and

yet only a handful were worthwhile.  I

have attended so many bullsh*t events, that I am now officially burned out on

seminars, award shows, and conferences. 

 

Most of the events lacked the proper funding to advertise

and promote the event properly, so numerous times I ended up with other high

profile panelists, speaking to rooms with less than 50 people.  Almost all of the events were done in

nightclubs, which confused the attendees when they were told to shut up and

listen to the folks on stage speaking.  As

you can guess, most didn’t shut up, so we ended up speaking to ourselves and

the first 10 feet

of attendees with the dull hum of voices in the background to thoroughly

distract and insult us.

 

And at almost every conference, I ended up speaking along

side of people who were more interested in self-promoting their company or

crew, or who gave wrong information to the attendees.  My favorite was a local lawyer who told the

crowd that artists didn’t need to copyright their music.  Idiot!! 

I’ve sat next to “managers” and “label owners” with artists I’ve never

heard of before or since, and who weren’t qualified to flip burgers at

McDonalds, let alone speak to folks about creating success in this industry.

 

Somebody, somewhere, must be telling folks in our industry

that they can put on a conference or award show with no upfront money (wrong!),

without advertising or promoting it, and without having panelists that people

would be willing to pay $100 or more to hear speak.  Seems more than a few of the conventions

trick folks into coming by offering showcase spots (for $500 to $2,000 a spot),

telling the artists that they will get to perform in front of industry folks

(yeah, folks like me who wouldn’t stay for a showcase even with a gun to my

head) who could sign them and make all of their dreams come true.  Very often the people advertised don’t even

show up.

 

These suckers who pay for showcase spots are obviously the

people who are talking through the panels in the back of the room because the

majority of panelists actually tell artists exactly how to get signed to a record

deal (if you were listening, you’d know too). 

Hell, I spoke over 60 times in the past 2 years, and at every event I

talked about how to get a deal and how ineffective it is to hand out demos.  At the end of every panel, I was bombarded

with demos.  I also skipped every

showcase (while it’s important for artists to practice their craft and perform,

doing so in front of the industry with the intention of getting signed to a

major label is a waste—doing so in front of consumers who will buy a CD is a

better move; more strategic, and the sales are more likely to attract a label

to sign you).

 

The importance of a local seminar in smaller towns and

cities that don’t have access to a music industry, is its ability to bring together

like-minded people.  A seminar brings

together local radio people, DJs, retailers, artists, etc, into one place so

they can network and interact with each other. 

It’s a great way for new people to get to know who is who, and an even

better way to plan to work together on projects and build relationships.  This is a who-you-know, relationship

business.  In a perfect world, these

events may even bring in national or regional folks from the music industry who

are proven successful and willing to share their secrets of success.  At least share them with the folks who aren’t

standing around rudely talking to each other in the back of the room.

 

I built my career at conferences and seminars that matter—that’s

how I learned much of what I know about this business.  I met folks, kept in touch, and learned from

their experiences.  I’m fortunate that I

came up in this industry when there were a handful of conventions each year

that mattered, that everyone attended.  That

no longer exists.  We seem to have split

into sub-regions, and the South seems to have taken the focus.  Plus the major labels no longer spend money

to sponsor or attend conventions—probably because they’d have to actually leave

New York.

 

Instead, we now have hundreds of little seminars that no one

attends, with panelists who don’t really matter, and with attendees who didn’t

come to learn.  When I am the most

powerful person in a room, something is horribly, horribly wrong.  This means the seminar organizers fu**ed

up.  Hell, folks can come to the SEAs

(Southern Entertainment Awards weekend) every year (March 19-22) and hear me

speak—even spend time with me over the weekend. 

And the SEAs are free and have far more important and powerful folks

than me in attendance. 

 

So, if you are planning a conference or seminar in your area,

please make sure you find the perfect venue (nightclubs are for showcases, not

panel discussions), and sponsors who are willing to invest in your vision.  Make sure your panelists are a nice mix of

successful people who genuinely want to share useful information (as opposed to

airing out others or pumping up their own businesses).  Your panelists should consist of local

successful people, regionally established industry people, and nationally

significant people—all with proven track records of success.  The panelists should be people willing to

give back, not people coming into your marketplace to “rape” the local artists.

 

Plan out the panels so the panelists can speak to your

market.  If you have an abundance of indie

labels in your area, make certain you have panelists who can share knowledge on

putting out an indie record and maybe a LEGITIMATE distributor on the panel.  If your market has no great producers but a

ton of rappers, make sure you have some regional and national producers on the

panel to help both the artists and the up and coming producers learn.  Fill the void!  Whatever your community is missing is what

you should be offering access to.  You

will most likely need to fly key people in and put them up in a hotel.  That is standard unless you have the

connections and power to ask people to come at their own expense (for the SEAs,

I ask the panelists to pay their own way so the conference can remain free and

open to everyone).

 

Panel discussions should last longer than 45 minutes.  You need at least an hour to get a real

discussion going, and almost as long for the audience to ask their

questions.  Make sure you post a schedule

on a website so people know where to go and what’s going on.  It’s a good idea to print that schedule and

hand it to your attendees as they come to your event.  Make sure the panelists receive it ahead of

time so they can attend more than just their panel—I spoke on a panel recently

and missed a panelist dinner because no one told me there was one.  I was sitting in my hotel room with nothing

to do. 

 

Have a moderator who can control the crowd and keep the

discussion moving along in a lively fashion. 

Have a strong moderator no matter what. 

Last Spring in Houston, at

the Go DJs/OG Ron C event, Mannie Fresh and I did a one on one conversation for

90 minutes (in a nightclub).  This event

was historical because I shopped and negotiated the Cash Money deal 11 years

ago, based on Mannie’s excellent hit-making production (as well as the

outstanding rappers and the owners’ vision for the label).  Mannie and I had not seen each other or

spoken for those eleven years.  Also, in

that time, we both had done some amazing things in our careers.  You’d think the 70 people in attendance would

have wanted to learn from us (especially the producers, artists, and DJs in

attendance) but the talking and murmuring from the audience was distracting

us. 

 

Finally, one of my friends (Rick Edwards, who used to run

Suave House back in the day) decided to moderate the conversation, grabbed my

mic, and told the audience to shut the fuck up. 

He pointed out that between Mannie and I, we had earned (not necessarily

made, but earned) millions and millions of dollars in this industry.  Mannie’s production has sold over 30 million

CDs and singles, and my deals have sold over 100 million CDs worldwide, netting

a larger share to the artists than ever in the history of rap music.  The crowd let Mannie and I continue without

any more distractions after Rick broke it down for them.  I would have NEVER imagined that someone

would want to talk through Mannie sharing secrets of his success, but that day

proved me wrong, and proved the necessity of having a strong moderator.

 

Make sure you spread the word about your event.  Just using free MySpace and FaceBook blasts

are not enough.  Radio ads, flyers and

posters, and advertising to the urban music community at least two months ahead

is key for a small event.  Six months

ahead if you are trying to attract attendance from a larger area like your

entire region.  The SEAs begin

advertising the next year’s event the week after the SEAs end.  You don’t have to be that thorough, but maybe

that’s why the attendance there always breaks a couple thousand.  If your event wasn’t worthy of people

attending this year, there won’t be a next year.  I know I won’t be back. 

 

And lastly, if there’s already a successful event in your

area or region, find another avenue.  Why

try to copy or compete with something that already works and works well?  TJsDJs springs to mind.  Every Quarter, his event attracts 3,000+

people to Tallahassee, mostly key

artists and industry people.  If you are

in that region, why would you want to compete with that?  You’d end up looking bad, unable to attract

the volume and the key people that his events attract.  Don’t follow, lead.  Find what’s missing in your region and supply

that.  And then be sure to do it well.

 

And if you advertise that someone is coming to speak or

judge your ineffective showcase, they damn well better be there.  You can’t ever repair your damaged

reputation.

 

Events that I’ll be attending this year, if anyone cares:

·       

Southern Entertainment Awards

Weekend (Tunica, MS March 19-22)

·       

The Core DJs Event (Atlanta,

GA April 24-27)

·       

One Stop Shop Producer’s

Conference (Phoenix May

9-10)

·       

Tampa Music Conference (first week

of June)

·       

TJsDJs/Ozone Award Weekend

(usually the second weekend in August)

·       

TJsDJs Record Pool (usually in late

October)

·       

The Diamond Awards (Jacksonville,

FL usually the second week of December)

 

And of course, I moderate the In The Know Seminars (dot com)

that are on-line monthly (the third Saturday of the month on the internet), so

I’m always there.

 

I do not attend any of the traveling “minstrel shows” that

move from city to city charging exorbitant rates for artists to perform.  If it smells like a scam, it probably

is.  Find the cities that any event has

already been to, and ask artists on MySpace in that city if it was worth

it.  I find that when folks get burned

out of money, they are more than happy to tell others about it.  Don’t be fooled by recognizable logos—and if

you attend an event that is bullshit, write to those “sponsoring” companies

whose logos are plastered all over everything and tell them it was bullsh*t!!!

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