Total Pageviews

Sunday, September 18, 2011

Bennie Black of Black Tag Media Speaks Industry Insight On Negotiation and Life

Written, Interviewed, and Edited by: B. Needam for B-Needam's World.
(Photos Courtesy Of: Bennie Black of Black Tag Media)



Last weekend, amongst a crowded house of over 2,000 hysterical fans of rising artist Wiz Khalifa, J.Cole and Mac Miller, I was able to interview and get in contact with Bennie Black, one of the next great entertainment industry Photographers and Graphic Artist, and have a heart to heart conversation on his path to success, how negotiating effectively put him in the perfect position for anything that he creatively desires to do moving forward, and how surprisingly, how life's twist of fate can push you to the same destinations of your destiny if you have the right drive. This is Bennie's story, as told to me, in the mist of the moment:

Bennie Black: Yeah, we can do an interview. Off the record, though. But yeah, we can definitely do it.

B.Needam: Oh, No. This is definitely for a school related project. This interview is not affiliated with any party that I work with whatsoever. Let's get that clear.


Bennie Black: Ok, Cool.

B.Needam: Nontheless, we are here at the House of Blues in Dallas, Texas for the Wiz Khalifa and Friends Concert, and its about to go down real crazy tonight. Over 2,000 fans for this concert, and it was sold out in an hour. Amazing turn out. And I am here with the lead photographer for the whole Wiz Khalifa and J. Cole concert, my man Bennie Black of Black Tag Media. Bennie, its a Pleasure.

Bennie Black: What's Up,B! All man, the pleasure is all mine.

B.Needam: Everything is good with me! Bout to finish my masters, crazy concert about to go down, but let's get right into it. For a lot of people who don't know, give the readers a brief overview of yourself, and how you eventually migrated over into the photography scene.

Bennie Black: It's funny that you put it like that, because I was doing photography before I was doing rapping, producing or any of the things fans may be familiar with from me. So, really what it came down to is me wanting to get back into the film and photography field, because its a broader field with a longer industry lifespan, plus its another form of art and my creative expression. And honestly, In my opinion, its one of the best. As a photographer, you one of the only individuals that has complete creative control over the elements of the event or moment at that time. So if you even have more than one photographer, you are catching a glimpse of time at an angle that no one else will have, ever! And with that photo, as an artist, you are attached to that event for the rest of your life. That's a feeling that is hard to replicate in other art forms. Anybody can make a mixtape cover, and anyone can create a flyer. Not everyone can take a photo that is stuck in time.
B.Needam: That's a great analogy and response.

Bennie Black: Perfect example. The Notorious B.I.G., Jay-Z, and Tupac photo that was taken in the early 90's. Its all over the Internet; its in books. Most people do not know that the guy that took that photo wasn't paid for the event that night. So, now, after many years later, and Tupac and Notorious B.I.G. are deceased, and now Jay-Z is at the top of the pinnacle of the rap game, that picture is worth over an estimated $250,000. And he negotiated it in a way, moving forward that he always gets a chunk of whatever media outlet uses that photograph for their works. Whether its T.V., in a book, he is the owner of a work, that everyone is demanding in regards to the artist, yet no one else has.

B.Needam: So, in essence, you can create a whole career off of one picture in the photography industry?

Bennie Black: Definitely. But that is not the only reason I am in it. It is also for a love and a passion for something that you cannot replicate anywhere else.



B. Needam: Right. In addition to the photography, you are actually working on another mixtape to be distributed as well as a album that is projected to be pushed as a joint venture with 50 Cent's G-Unit/G-Unit South, as well as a couple distribution deals to have the album pushed nationwide in stores and on iTunes. Can you speak more about that, and as far as your musical influence, do you take that same approach that you do as a photographer into creating and making your music?

Bennie Black: You have to. Because you have to be completely mindful of the people that appeal to your music, and who want to support you. Or even individuals that have gone through the same things that you have in life. Those are situations where, in the music industry, you have to be mindful of this amongst other things. So, if and when I drop the album, it will be focused more on the fans, more than me. Some of the songs are memoirs about me, but the whole album is structured toward the fan base and what they desire from it. You always have to be mindful of who you are catering to in this industry. If not, your not going to sell, and no one will listen. 60% of the industry right now are not being played, because they are so worried about their image and not directly speaking to the fans, and being you. In addition to not being a business man or woman and pushing your creative vision and getting what you want out of your deals.

B. Needam: Its funny that you should mention that, because deal negotiation is one of the biggest things that we are discussing in my masters classes right now. What, can you say, is one of the biggest misconceptions about brokering deals, especially working within two facets of the industry, like yourself?

Bennie Black: The biggest thing that I noticed in alot of individuals trying to maneuver in this industry is that they don't believe nor know their own worth. I think, initially, going into a negotiation with major entertainment entities, or even collegue to colleauge, the average person gets intimidated by the other individuals title in the industry, whom they work for, or what they feel they already bring to the table in experience. I'm telling you, know your worth. 80% of people that you going into trying to establish an agreement with will try to get over on you, simply on the perception that they think that you are new to the game. That's why, no matter what level you are own, do your homework, know what direction and vision you are going for, and research things that are public domain, to have in your bag of weapons, to break up some of the fluff that some people will throw at you. People are more inclined to work with an individual who is knowledgble and insightful of the endeavors they are about to get into before hand, than someone who goes into a negotiation naked. Period!

B.Needam: Ok, so who important is it to stay focused on a objective criteria, to you?

Bennie Black: Aww Man, that's the most vital part. A lot of times, me personally, I am blending business as a photographer and graphic artist with individuals that I have previously have done work with or came in contact with musically. Naturally, because in the music lane, me and those individuals have a great rapport already, they assume that they can take the "buddy" approach to me as a lead photographer and designer, and get things done in a way to cut cost, or even at a discount. Again, this goes back to knowing your worth. I am big on maintaining good relationships, however, stressing the fact that we are still doing business, I am a business owner first, with Black Tag Media Dot Com, and a friend second. And friend or not, I am not about to shortchange my business, which is like my baby to me, because blacktagmedia is what feeds my baby, my son Avori, you know. So forcing people to stay focused on the objective criteria of the agreement or deal is the meat and potatoes of why were here in the first place. We can chop it up, and be friends after we tackle the business at hand. I always try to stay conscious of taking that approach at all times.

http://edge-img.datpiff.com/m2b4c9b3/Ben_Jacobs_The_Fear_Project_for_Ever_After_Riches-front-large.jpg


B. Needam: So, getting back to the photography, what can you say has been the the photography opportunity that solidified your career thus far?


Bennie Black: Honestly, I would say the Usher Concert thus Far. This concert [Wiz Khalifa, J.Cole] will definitely be in the running though. Then, I have Lil Wayne's "I am Music Tour", and Jay-Z with Kanye West's "Watch The Throne" Concert Tour as well, in Philadelphia, Baltimore, New York, Atlanta, and here in Dallas. I think once that happens, that will be the highlight. But, all in all, I am just blessed to have the opportunity to keep progressing with it. A lot of individuals don't realize that opportunities only come once in a lifetime, and if you don't jump on each and every opportunity, you are going to be stuck in the same place that you were yesterday. One of my favorite quotes of all time was by the singer Lloyd, and he said 'Last Week, I was at home, watching 106 and Park from my couch. Now, I'm on your couch!'. The only way that you can accomplish something like that in a week is to grind. You have to work for it, and take every chance and opportunity that you can to make it happen.

B.Needam: That is an interesting point. Because, even myself, I have noticed that so often within this industry, every one so pressed to be somebody, that they're always afraid to be themselves.

Bennie Black: [Jokingly] They're afraid to be euthenized by the critics. That's the thing. You shouldn't even be concerned with pleasing everybody in this industry. It can be 25 people in a room; 24 could like you, but then there is always that....

B.Needam: One person.

Bennie Black: [Winks]. Exactly.

At that time, a beautiful, caramel complexion goddess walks past, proceeds to fix and fit her dress, then looks back at us while she is walking away with her fellow lady friends. Me and Bennie Look at each other, and simultaneously laugh at what just happened. Then, Bennie suddenly frowns his face up.

Bennie Black: Damn Shame. I guess perception is everything nowadays.

B.Needam: With that being said, and what just happened, the influence of the media is that real, both in a positive and negative manner. You have all people, especially youth, that are allured by what they see on t.v. or in the media, even in photography. You are right about perception is everything now a days.

Bennie Black: Yeah! It's so true. You are right. Why I love having that kind of power in my hands, because it have the power to change that. One of mentors told me that working in the arts and media we have all the fuel we need to get anyone's attention. Its what you say, convey, or do to them once you have that attention that makes the difference. I choose to do something epic, and create a positive response around everything I shoot. Influence people to stretch their minds a bit, one picture at a time.

B.Needam: Well said. Anything you want to tell the world in addition, before we wrap up?

Bennie Black: Yeah, check out www.blacktagmedia.com, add me on Facebook- Bennie Black, and also follow me on Twitter @itsbennieblack. I definitely follow back, and am open to all questions, and business inquireies through all three platforms. Get at me, world.

B.Needam: I appreciate your time and insight Bennie, thanks again. Hoping to enjoy this show.

Bennie Black: No Problem, homie. I like your approach, man. You got a bright future ahead of you. Stay focused and in touch with me. We definitely can collab on some ventures together in the future.

B.Needam: I will. See you after the show. Enjoy the rest of the night.


With that, I left to go into the show, but everything that was said, will be forever etched in my mind. Its interesting how one conversation can open up so much more within a person and even answer the questions to which until then, went unanswered. Whether its great insight, or the perfect angle, Bennie definitely let me know that its all on your angle in life; and never be afraid to bring the angle you are on to the rest of the world.

Tuesday, September 6, 2011

You Know My Steez Part 2 Art Show























Antonio Mcilwaine and Sean Henry are back at it again with another art show in Philadelphia. This time, it will be better then the last time. NEW artwork, New artists, this show will be DOPE. Definitely don't wanna miss out on this. Hope to see you guys there. Please come out and support the arts!

Due to the success of the first "You know my Steez" Antonio Mcilwaine and Sean Henry decided to create a follow up with all NEW unseen artwork. The show will feature special musical performances by Anessa Lerae, Bey, Bull Dre, Melfly, and Selina Carrera. Stephanie Dawkins will be the host of the night, and Leon Barton will be the DJing the event. There will be 1.00 raffle tickets to win free artwork and special prizes throughout the night.

There will be a 10.00 Admission fee, which includes unlimited drinks and food throughout the show. Come out and Support the arts!

The PhilaMOCA Art Gallery
531 North 12th Street
Philadelphia, PA
September 23rd, 2011
8pm-12am
--
Sean Henry
www.seanhenryart.com
302.299.8395

Tuesday, August 2, 2011

Before You Sign A Music Production Contract!


A contract with your producer is an important part of the recording process. Music producer contracts protect everyone involved in the recording by explicitly detailing duties and compensation. Many times, up and coming musicians are tempted to sign a production contract that they don't understand just to get a big name producer on board. Bad move. Production contracts are famous for being one of those little things that sneak up and bite you when your career takes off. Before you sign a contract with a producer, make sure you understand it. This guide will help both musicians AND producers figure out a fair deal.

Learn the Lingo
Before you jump into the world of record producer contracts, there's some vocab you'll need to know. Check out these glossary definitions before going any further.

•All In Deal
•Record One Royalties
•Points

Know the Job Description
Some producers are VERY hands on, and others, well, aren't. What kind of producer do you want on the job? The production contract should specify exactly what is expected of the producer. Will they be arranging songs? Creating beats? Or, do you want a producer to basically make sure the songs are being properly recorded and stay out of the creative stuff? The nature of your relationship with the producer should be decided up front, and it should be spelled out in the contract.

Pick Your Points - Part One
Points are a producer's bread and butter. Each point represents a percentage of income from record sales that a producer will receive. The number of points a producer gets is commensurate with their experience and track record. Some big name producers get 5+ points on an album while a producer trying to get started in the biz may work for no points at all.
When it comes to points, not only do you have to decide how many the producer will get, but you
need to decide if these will be record one royalties and if the points will increase if the album
passes pre-established sales goals.

Pick Your Points - Part Two
When you settle in on the points to be awarded to a producer, you also need to figure out if the
points will be payable on retail price or dealer price and if the producer will be subject to the
same manufacturing "charge" by the label that you as the artist pays.

Producer Advance
Your contract should state whether or not the producer will be paid an advance for their work. A
producer advance is common, but if you are working with an up and coming producer rather than an established one, you may be able to work out a deal that does not include an advance.

Mixing Rights
Some production contracts include a clause that gives a producer first refusal on remixes of a project. If this clause is in place, it means that if you are unhappy with the final product and want to take it to someone else to mix it, you may have to allow this producer to try and make some changes first. This clause is not ideal for you as a musician - try to negotiate it away.

Who is Paying for All This Anyway?

Your contract needs to state who is responsible for paying the producer. Is it you, or do you have
a record label footing the bill? If a third party is paying the bill, a producer will want some kind of written clarification of who will be responsible for settling up if the project goes over budget. If you have an all in deal, that could be you, the musician. The ideal set up is for you to take the hit for budget overages that you cause and the producer to take on the overages that they cause.

You Don't Own Me

A few misplaced words could give your producer a piece of the ownership of the finished product. Avoid this conflict by stating clearly that any finished recordings and masters are owned exclusively by you.

Tuesday, July 19, 2011

Amy Tan on Creativity-Ted.com


Quotes like: "The point is that it is irrational to assume an absolute truth. If there is any absolute truth, humanity is incapable of comprehending it, or knowing certainly that it is in fact the truth", and "the value of nothing. Out of every nothing, comes something" are now words that will forever be etched in my mind after listening to Amy Tan's Lecture on the Creative Process on www.ted.com, a website based off of ideas and concepts worth spreading, with a new video lecture, discussions, and post weekly.

Within a post filmed April of 2008,
Novelist Amy Tan dug deep into the creative process, looking for hints of how hers evolved, and even sparked the subconscious mind of others to deeply define their creative process for themselves.

According to Tan, for us to embrace and fully conceptually understand the creative process, we first must be willing to accept that scientifically that their are chromosomes in the brain which triggers our mind to shift, and the other half is through divine intervention that is channeled through us in form of divine intuition and spiritual enlightenment, and a small portion from references and lessons learned from past lives.

Oddly enough, Tan also goes on to say that creativity can be traced to a wrongful birth principle. Simply put, you are creative due to the fact that you were not born who you thought you would be, and those creative energies are what pushes you to who you really are. Deep.

Tan's past played a huge factor to her creative process- both her father and brother passed away from being diagnosed with brain tumors just six months apart. From this, Tan was able to explain to the audience that when faced with trauma, and when faced with the notion of death, you become creative and optimistic naturally, in a survival sense.

In addition, it does not matter what your original interest are to be a creative being. All creative beings are multi-dimensional and able to filter and find their own interpretation of truth and understanding. Tan states that sometimes the answer to which you are looking for, is not the one that is factually searched by the basic observation of anything.

According to Amy Tan, most of the learning and creative process starts as a ambiguous thought, and the response being our true intent. Sometimes our true intent to do something does not match what we have planned or hoped for, but something far more creative is what comes from it. As i take a more defined look, this happens all the time within my industry or Music and Entertainment.


Finalizing her thoughts on creativity, Amy Tan states that, "Imagination is the closest thing to compassion." This is so true to me . And another word for compassion is "empathy". Imagination puts you into a story teller's own situation and allows you to sincerely feel how the person feels. That's an essential step for understanding and for being an effective listener. Also I understand why Amy talks about this, because "empathy" is an important step to creativity. My logic is: only when you truthfully put yourself into people's shoes that you get to feel the inner world and need of others, which becomes your inspiration to create. After all, creativity is, to some point, about problem solving, in my point of view.

I hope Amy Tan's " Creativity" lecture on Ted.com becomes a instrument to shift your way of thinking into having a more profound creative approach to rationalizing all that is in your reality, and all that you have aspirations to due. For me, it may very well become another insightful factor to my everyday way of life.


HERE IS THE AMY TAN "CREATIVITY" VIDEO


Hip Hop-Rap Beatmakers/Producers and Representation

One of the most important things to take into consideration when you are a producer trying to take your beats to the next level, is not even the quality of the beats, but the individuals around you that can help you market them. Simply put, you will just be a marginal, subpar producer with a boatload of unheard tracks without the right representation.

Representation, such as a manager or a lawyer, is an essential asset to any recording artist trying to
succeed in the music industry. But for hip hop beatmakers/producers, representation takes on a wholenew meaning. For one thing, the role of a hip hop-rap beatmaker/producer is different than that of atypical recording artist. Hip hop-rap beatmakers/producers provide beats for other recording artiststo write and perform to. Moreover, unlike other recording artists, who sell their persona and imageto the public just as much as they do their music, beatmakers/producers sell their music to otherrecording artists, and they usually do not have to worry about their persona or image being in the
public eye. Instead, their primary concern is pairing their beats with recording artists who need newmusic. Thus this precarious music-matching process is one reason why beatmakers/producers need to have representation. They must have someone who can flush out opportunities for music placements; they need someone who can find recording artists and other comparable parties who are seeking new beats.

The other reason why a beatmaker/producer needs a representative, especially early on in their
career, deals with the compositional method of hip hop-rap beatmaking/production itself. Hip hop beatmaking/production is a very meticulous and often arduous craft that is usually orchestrated in a solitary environment. It is this solitary dimension to beatmaking/production that prompts the need for representation. Beatmakers/producers need a representative, someone to pitch and/or broker the sale of their beats. So just as with the music-matching process of the beat-selling world, here, it’s easy to see why a representative—or better yet a “beat broker”—is absolutely critical to the chances of beatmaker/producer landing the much sought after placement on a commercial release.

Representation is varied, but the three kinds of representatives that hip hop-rap beatmakers/
producers should look for are:

  • Beat brokers
  • Managers
  • Lawyers
Beat Brokers:
A beat broker is someone who simply shops (promotes) the beats of a beatmaker/producer. A beat broker can be a friend, a music insider, or anyone that has access to a network of recording artists,in particular, recording artists who are likely to be in the market for new music material. A beat broker’s only responsibility is to shop the beats of the beatmaker/producer that they represent.They need not be skilled in negotiating the terms and sale of the beats that they’re shopping. (An entertainment lawyer privy to beat/instrumental placements can handle that). Because of this limited (but critical) scope, an agreement between a beat broker and beatmaker/producer can be rather simple, straightforward, and short in duration. In fact, a beat broker can be commissioned for a 10% finder’s fee, worked out over a per beat or per situation agreement.

Producer Managers:
A producer manager is perhaps the most ubiquitous (and undefined) kind of representative that a beatmaker/producer can have. Normally, a manager is someone who manages the entire career of a client. But as noted earlier, a beatmaker’s/producer’s career is based primarily on their ability to sell beats; beatmakers/producers are not expected to perform, make public appearances, and/or maintain a public image. And thus a producer manager’s responsibilities can fall anywhere from simply shopping beats to negotiating the terms of beat sales, to arranging pivotal meetings with prospective beat buyers, to setting up beat showcase meetings with key decision makers at record labels. But because of the scope of a manager’s role, it is likely that a beatmaker/producer will have to enter into a more lengthy and more detailed agreement than they would with a beat broker. A typical producer’s management agreement will stipulate that a manager receives 15-20% of all music-related revenue that a beatmaker/producer earns. It also maintains the representation usually for 2-4 years.

Entertainment Lawyers:
The role that a lawyer usually plays in the career of a beatmaker/producer is very different from both that of a manager and beat broker. Shopping the beats of a beatmaker/producer is not the primary role of a lawyer; though in some limited cases, lawyers do indeed pass on the music of their clients. (This practice is much more common and accepted in other pop music genres). Lawyers are mostly responsible for drafting or reviewing the legal agreements that their clients enter. It is in this capacity that lawyers can ultimately be more important than beat brokers and managers.

So What Kind of Representation is Right for You?:
Though the kind of representation that you choose depends on your individual situation, I contend that most beatmakers/producers only need a lawyer, and at times a beat broker, but NOT a producer manager. Beatmakers/producers are already self-contained and usually very organized. We are not like other recording artists; that is, our careers depend primarily on servicing the musical needs of other recording artists rather than performing ourselves. Furthermore, given the nature of the general openness of the beat shopping process itself, it’s not terribly important who gets your beats into the hands of decision makers. In fact, increasingly, recording artists are accepting beat/instrumental submissions through other outlets, namely email, social networking sites, and national contests.

Moreover, it’s important to keep in mind that once you sign with a producer manager, they are
entitled to a 20% cut of all the music-related revenue you earn. And typically, the representation
period will last for two years or more. All this for essentially doing exactly what a beat broker could do for a much cheaper rate and a less restrictive representation period? That being said however, I think that as your career grows, and as you become a more sizeable figure in the recording industry, then it may indeed be not only advantageous but necessary for you to get a manager, mainly because you will be eligible for opportunities outside of selling beats to other recording artists.

But in regards to just starting out, well, the decision to get a manager can go both ways. Here,
it’s important to point out that hip hop-rap beatmaking/production is a relatively new and rather unique phenomenon in the recording industry. And as such, many recording artists are still trying to navigate their way through the current model of obtaining beats. Moreover, because of the aforementioned solitary factor of the hip hop-rap beatmaking/production craft itself, beatmakers/producers do not typically need the guidance of a producer manager. Though a producer manager can help a beatmaker/producer gain exposure early on, it’s important to remember that once a beatmaker/producer is established on any significant level, the task of successfully shopping their beats themselves actually becomes rather easy. In fact, should you reach a point of acclaim, people interested in your brand of beats will often reach out to you. So if you’re a beatmaker/producer just starting out, the question of whether or not to go with a producer manager is really a question of exposure. If you feel that the exposure a producer manger can get you is above and beyond what a beat broker can provide, then getting a producer manager might be the way to go. Just make sure that the producer manager’s responsibilities and obligations are well-defined in writing. It’s also a good idea to include benchmarks (set goals) within the language of any agreement that you enter into with a producer manager. But before you actually commit to an agreement with a producer manager, remember this:
savvy beat brokers are more likely to go to better industry parties than producer managers.