Business of Hip-Hop panel breaks down the rap industry for students.

By Brian Coleman
Berklee.edu Correspondent
March 23, 2007

Prince Charles Alexander
Photo by Phil Farnsworth

That's one piece of advice offered at the recent Business of Hip-Hop panel.

"Every time music—your music—gets played somewhere, somebody gets paid," offered John Kellogg, assistant chair of music business/management. "So, you've got to pay attention and make sure you're the one getting paid, not played."

Kellogg's words set the stage for the panel, held February 28 at the David Friend Recital Hall. The panelists didn't waste much time getting down to business, often returning to the themes of getting paid and paying dues.

"It's your job to understand the business, so take it seriously," instructed music production and engineering professor Prince Charles Alexander, who has worked with stars like Mary J. Blige, Diddy, and the late Notorious B.I.G. "Don't just understand the music business. Try and understand all business. Watch the stock market; know how to spend money when you get it."

An impressive array of guests filled the stage, including a student moderator (Shant Koutoujian '07); educators (Berklee's Kellogg, Alexander, and Martin Dennehy alongside Northeastern's Emmett Price); members of the media (the Boston Herald's Chris Faraone); and industry experts, including activist/promoter Cindy Diggs of Peace Boston, the Boston Hip-Hop Alliance's Darcie-Nicole Wicknick and James Auburn (both Berklee alumni), and Lyvingston Bien-Aime and Hector Solano from the promotion/production alliance Mass Industry Committee.

The event started out with Koutoujian, a music production and music business/management dual major, explaining the genesis of the panel. "I was looking for answers about the hip-hop business, and I couldn't find exactly what I was looking for," he said. "And before I knew it, this panel was coming together. It's great to see Berklee addressing student needs like this."

Among the topics the panelists discussed was the sometimes difficult decision of whether to sell a composition or beat for more money up front (for rent money, for example) or to hold out for a better deal that will bring in future royalties. All panelists seemed to nod in agreement that getting proper credit on a release (being mentioned in the album's or single's track info) could be as important as money. "Your name can be worth a lot of money over time," explained Solano. "Get credit every time and build your resumé."

Faraone of the Herald pointed out another important fact: "Just because you're on an indie label, don't think that they won't screw you just as bad as a major label will."

Later in the discussion, the music industry itself took center stage. Panelists agreed that as CD sales continue to skid, the need for artists to take control of all facets of their careers is more important than ever. "Now that the major labels are seeing these slipping sales, they're going to have to listen to what artists and music fans really want," said Kellogg. Solano chimed in, "As an artist today, you have to think outside the box. Change things up, do something that moves things in a different direction. Make music to place in commercials. Do anything you can to get heard."

Music Business/Management assistant chair John Kellogg and student Shant Koutoujian Photo by Phil Farnsworth

After about two hours, the discussion began to wind down, as panelists were asked for their overall thoughts on how young musicians should deal with their own music and the music industry itself in 2007. Alexander led the charge: "The bottom line is that this is a business. Once you leave your bedroom, you're in the commercial sphere. And your career should be like a wheel. Make sure that all the spokes—artistic, monetary, promotion—are in balance."

Wicknick also offered advice: "Be legit. Don't screw people over, because it will come back to you. Mean what you say, always. And celebrate everything you accomplish." Diggs encouraged the audience to "demand more of the artists whose careers you are paying for. Support positive music and positive young people." Solano advised, "Don't forget that you are making music because you love it, not because you are just trying to get paid. Always keep that in mind."

The panel discussion itself ran longer than expected, and after a truncated Q&A the assembled students and panelists split into four different breakout sessions in different locations in the 921 Boylston Street building: Concert Production and Promotion, Hip-Hop Production, [Record] Collector Culture and Retail, and Media Publicity.

After the event, Wicknick, one of the panel organizers, said, "I think that students came away with a strong overview of hip-hop from multiple angles. I hope that this event will spark conversation and even more in-depth hip-hop studies at the college."

Boston-based journalist Brian Coleman is the author of the upcoming book Check the Technique: Liner Notes For Hip-Hop Junkies. He is a regular contributor to publications including Scratch, Wax Poetics, URB and Boston Metro. His website is waxfacts.com.