If you’ve followed a link to this blog post (it would be quite a feat to be reading this if you haven’t), I must begin by apologizing for interrupting your regularly scheduled line-up of internet consumption. Right now, you could be watching a silly video made entirely with flash, updating your LiveJournal, or even connecting with friends on Friendster.

What’s that? You say all of those things are completely outdated and no longer relevant to the young people currently surfing the interwebs?

Then answer me this — why are you reading a blog post about MySpace?

Weird, right? Don’t worry, it’s not just you — it’s all of us. When MySpace was sold somewhat recently for a fraction of what News Corp originally paid for it, MySpace was once again the laughing stock of the business world and the internet. I don’t remember hearing much about LiveJournal’s net worth recently, do you? So why the fascination with MySpace?

Part of it is just a matter of time (or lack there of). It’s easy to forget (and even easier to want to forget) how recently we all still had a MySpace page.

Another part is that unlike any other social network in the history of the internet, MySpace was among the first true behemoths of the social space. There was a time not that long ago when no one was without a MySpace page, which meant you had one, too.

MySpace’s user adoption reached what is often referred to as a “critical mass” — a point at which so many people were already on MySpace that it was hard not to be there too and still be social in the modern era. That “critical mass” is a trait now most commonly associated with Facebook, generally in the context of being described as an impossible obstacle to potential competitors. MySpace had it, and they fell. Hard.

Perhaps our continued mildly-surprising interest in MySpace stems also from the fact that, unlike so many other fading phenomenons, it simply refuses to either find a comfortable niche of faithful followers and be content with its small sliver of market share, or flat-out die.

Maybe it’s Justin Timberlake.

For you, reading a music industry blog, it’s also because MySpace was probably a part of your life more recently than some of your less-cool friends (ironic, right?). The last frontier MySpace owned was the music space. But alas, it all seemed too little too late.

When I close my eyes now and think of MySpace, I see squandered potential, I see big mistakes, and ultimately I think of collapse. What I don’t see when I close my eyes is any information regarding MySpace’s current positioning or plans for the future, so all I’m left with is doubt.

Ladies and gentlemen, my eyes have been opened.

Recently, MySpace accidentally (or so the story goes) leaked a deck detailing their plan to turn the proverbial ship around, and information to support their theory that they can actually pull it off. I know this sounds crazy, but they don’t make a terrible case.

Let’s try that eye-closing exercise again.  Close your eyes (after you’re done reading this) and try to imagine a made-up company. More specifically, imagine a company that already has something Spotify (in America) spent a ton of time and effort trying to get, Google Music still doesn’t have (though rumor has it they’re closer these days) and Amazon seems to have given up on pursuing (for now) — agreements with all 4 major music labels (and, in this case, 20 thousand other independent labels) to stream music and video content.

Now imagine this company has brand name recognition (albeit not entirely positive) and over 70 million global consumers online each month.

We both know where I’m going with this, so just admit it — what I’ve just described could potentially make for the core foundation of a formidable player in the music streaming market — a market that, for better and for worse, is still coming into focus.

If you’re looking at just assets and not execution, all conventional wisdom would have said that MySpace should be ruling the internet right now, not Facebook. But as they say in sports whenever there’s an upset, that’s why you bother playing the game. If you were to tell me some young company had the deals in play with the big 4 that MySpace has, and access to the kind of content library that MySpace does, and was preparing to position itself as a key player in the ad-supported streaming space, I’d be out buying stock right now. But I’m not. Partially because it’s MySpace.

They have the tools and their plan isn’t half crazy, but the only word that matters in business is execution. I almost wish this company wasn’t called MySpace so I could focus on my optimism rather than being forced to recall that this is the same company that lost control of the future of the social internet. Then again, how did this blog post begin?  With you clicking on a link about the future of MySpace, followed by me wondering aloud why we all still care enough about MySpace to read a blog post about it.

But that’s the thing — we do still seem to care. Aren’t you curious what MySpace does next? Come on, we all are.

And now that you mention it, this post really began with a “leak” by MySpace. Ok MySpace, clever move, I’ll give you that.

So here’s how I see this shaking out. MySpace, you have one more shot. You have all the tools you need to do something big in a brand new space, and you have a limited amount of our attention left. Your move MySpace — just this one last time, we’ll all be watching.

Don’t mess up.

Vicki and Suz have had the pleasure of doing business with PremRock a few times, and the experience was the same every time – a collaboration was completed with a driven, respectful, appreciative, and punctual artist.

After seeing him break away from the herd last April to go out on his own and experience all that Europe had to offer an indie MC from Brooklyn (via Philadelphia), it was clear he’d be perfect for IXiiV’s Spotlight On… series. When PremRock announced he would be leaving on another European tour, Kill Your Idols, this fall with producer and friend Willie Green to promote their latest collaborative effort (they officially set off across the Atlantic this past Monday), the Boss Ladies knew they needed to convince him to fit in a quick interview. Ever the professional, Prem made the time, offering our readers an insight into his recent successes, touring outside the US, and what it truly means to be a Do-It-Yourself artist.

We now turn the Spotlight On…

Earlier this year you changed your name from Premonition to PremRock. Was there any meaning behind the change, or was it just a natural evolution?

There were a few reasons behind the change. One being a lot of folks called me “PremRock” anyways, as a nickname that kind of naturally occurred. I always dug it. There are also quite a few “Premonitions” around the globe, and it’s a name I chose very early in my career and doesn’t necessarily reflect me as much anymore. I am no longer the stoned kid who chose the name in the back of 10th grade Chem. class.

How would you describe your sound?

I get the oddest of comparisons… None of which I ever seem to agree with. Personally I think my sound has the sensibilities and backbone of the classic hip-hop sound but with a new-age understanding of where the culture is now. I don’t like being called “boom-bap” or a throwback style, but if people fail to find a better description I guess it is what it is. I think I am creating what is the natural progression of an artist raised on every kind of music, but shared through a hip-hop medium.

How did you get your start?  

I simply loved hip-hop from the earliest moments I can remember hearing it. The syncopation of word and drum mesmerized me since age 5 or earlier even. I grew up in the suburbs, so as I got older I had to dig a little deeper for the things I wanted to hear. But, my paycheck went to vinyl, CD, live shows, and magazines every week. I practiced every night in my room, bought a beat machine at 16, and just everything became a work in progress from that point on.

What inspires you?

Everything. Everyone. Pain, doubt, smiles, cries, all of it. But, inspiration and creativity for me are not exactly hand-in-hand. Creativity is a chore at times and inspiration can come from the most unlikely places. I’m inspired by my peers, my friends, family, travel… all of it.

This past April you embarked on your first European tour. What was the overall lesson you took away from that experience?

Wow. I took so much away and I am still piecing everything together to be perfectly honest. The world is just a vast, vast place, and to not take any opportunity to see it firsthand is a mistake I refuse to make. I think absolutely anything and everything in the world is attainable. It sounds foolhardy or whatever but anything is possible. I mean I was unsigned, funded by fans, friends, and family, and rocked from London to Istanbul, making fans and friends along the way. And I just did it. Put in the work necessary and made it happen. Suddenly, things seem less intimidating.

How do you feel that experience affected your music, and you as an artist in general, if at all?

It’s changed me a lot. It’s changed the way I look at definitions of success and the opinions of my peers. The scene just shrunk when I returned. No offense to anyone in particular, but I just don’t care about the same things I did before I left. Getting attention from the music world’s gatekeepers who supposedly I “need to” just means nothing to me anymore. If I keep doing what I’m doing I’ll gain that recognition, and, I mean, goddamn traveling the world and performing? Meeting incredibly interesting people, drinking the local ales, and meeting beautiful women in like nine different countries kind of trumps being on blog X or opening up for MC so and so. If your goals aren’t these things then that’s fine, but I’m living a hell of a life and I’m doing it myself and on my terms.

What is your least favorite part about being an independent artist (i.e. social media upkeep, constant touring, lack of funds, rehearsing, etc.)?

Well… In a perfect world, I would be paid enough to sustain myself off of strictly creating and performing, but we all know that is a rare case these days, so I have adapted by learning the ropes of social networking and marketing myself. Of course lack of money is an issue, and it always has been for the artistic community, but I would say the frustrating part has a lot to do with the way independent artists are treated in this country. We had the courage to spurn stability in order to follow our dreams and we are expected to give away our music for free. Having seen other circumstances in Europe where they truly value the arts (and believe it or not support them!), it becomes a little frustrating, but nevertheless seeing so many joined in the struggle, and when [those] people succeed, it’s encouraging.

What is the biggest sacrifice for your craft?

At the risk of sounding super pretentious, the answer is everything. I kind of sacrificed everything I possibly could to take a shot at this. I certainly could have pursued a number of different avenues career-wise but knew in my heart of hearts I wouldn’t be able to give it the attention that it deserved while making a legitimate push at my passions. Relationships suffer, finances suffer, and although I’m sure there is a way to make it all work together, that’s what I’m living in right now which is a state of transition and figuring things out and that’s what’s coming through in my music.

What’s been the best advice you have received thus far in your career?

The best piece of advice has come through a number of people, both in the music world and on the outside looking in. Anything to the affect of “never stop doing what you’re doing” to “just be yourself” certainly rank very high. But leaving home and taking my music elsewhere was the best decision I could make and the best advice folks had ever given me. So I salute those who made the leap before, and I will help those who choose to take it next.

What’s the worst criticism you’ve received and how did you react?

The worst criticism I received was from a blog who reviewed my first album, The Build, and it was an unfavorable one. The thing that stuck out was that they said something like I “did little to separate himself from the pack of indie rappers out there.” And that was tough for me to hear, but hey, it’s fair for that person to feel that way so I built from it. The worst thing you could ever call me is ordinary. I actually printed out the review and hung it on my doorway so I saw it every time I left my apartment. I’m weird like that, but it motivated me.

Tell us about your best “Damn the Man” experience.

Haha well… Let me start by saying “Damn the Man!” I’m not sure I have a definitive moment, as I believe my career has become one big “Damn the Man” narrative haha.

Earlier this year you took on Europe as a solo artist. Now, with Willie Green, how do you think this second go-round will differ from your first tour? Are you approaching it differently than last time, and, if yes, how so?

This go-round will certainly be more efficient. The first trip was a lot about me experiencing other cultures with a touch of cliché “finding myself” as an artist and whatnot. This one is about calculating the spreading of a piece of music and reaching fans and places we simply can’t do over here in NYC. I approached it more business-minded with a product I have enormous confidence in, and knowing a lot of people from the previous trip has provided a softer landing in some respects.

Where will you and Willie Green be touring while in Europe? What are you most looking forward to?

Myself and Willie Green will be beginning in Paris, then moving on to other cities in France such as Le Mans and Strasbourg, before moving on to Prague and various cities in the Czech Republic, and finally ending in Bosnia!

I’m looking forward to Bosnia the most, no question. They have a great energy out there and a scene that is ripe with enthusiasm for hip-hop – that, to me, is all you need. It certainly isn’t a popular stop for touring artists, but it’s supposed to be a beautiful and unique culture and certainly is one to add to the resumè of dope places seen and rocked.

Will you be connecting with anyone you met during your last tour while over in Europe?

Yes. A lot of relationships I built with the last trip are helping to cultivate this one. Folks like Submass Crew in Paris, Dees Chan from Tours, France and Oliver Lowe from Domazclic, CZ have been instrumental in making this particular trip happen. Oh… and we get to link with NY MC iLLSpokinn who hosts Freestyle Mondays here and set it up in Prague as well, that’s going to be dope!

You recently signed a one-album deal with west-coast-based Isolated Wax Records. How did that come about and how have things changed for you as an artist since then?

Myself and Willie Green had the idea of pitching the record to a few indies we had in mind. Isolated [Wax Records] stood out because it is run by artists we respect and they have a presence on the West Coast, which is a tad out of reach at the moment. They expressed great interest and thought the relationship was ideal, we agreed.

To be honest I wouldn’t say much has changed. I still push myself as consistently as I always have, working on my set, emailing fans, and trying to create music. It just has helped the overall confidence knowing I have someone across the country that believes in my work like they do. And being signed to a label just sounds cool… as long as they’re good folk and not completely jacking your artistic life.

Your latest project, a full-length collaboration with Willie Green, aptly titled PremRock & Willie Green, was released on Wednesday, September 28. What do you want fans, both new and old, to take away from this record?

I want the fans that have been there to take away the growth that’s being displayed with this piece of work. And I want new fans to hopefully recognize the quality of music we’ve made here, have been making, and will continue to make in the future. As an objective listener I want you to take away different things from the record. I want the listener to take away the struggle put into it but, more importantly, that hope is the reason the album exists and the push behind it is so strong. I definitely bled a bit on this one and I hope it isn’t lost on the listener.

What does the name “Kill Your Idols” Tour (the same name as Track 7 on your new album) mean to you and what made you both choose this name for the tour?

“Kill Your Idols,” aside from being the name of NYC punk band from a while back, is a name we decided we both liked enough for the name of the tour. The phrase means be yourself. Don’t try to be a second rate version of the artists you idolized. They are and were people too, they made mistakes, they mad bad records, they weren’t perfect. You could never be them, the same way they could never be you. So “Kill your Idols” is not a negative statement in any way, it is a cry for individuality. It’s not meant to disrespect any one of mine or your idols, let the reason you loved them be the reason you create. If you’ve got to kill them to do it, then so be it.

What is the biggest mistake, in your opinion, independent artists make?

Becoming independent artists. Bazzzzzzzing! Just kidding. I think the biggest mistake is a lack of professionalism by independent artists and blaming it on being indie. Like if you go to an indie hip-hop show and it’s sloppy, late and unorganized and they just say, “well that’s indie hip-hop for ya!” No… it isn’t. Just because you do it yourself doesn’t mean you can’t do it yourself right.

What advice would you offer other artists trying to accomplish similar success (i.e. touring across the pond, signing with an indie label, collaborating on an LP with a fellow artist)?

My advice is pretty simple: work your ass off, be professional, and if you have a shred of self-entitlement in your DNA, please lose that. Respect your fanbase, the culture, and the venues that host your performances. Carry on a tradition of being talented and respectful of those who did this before you. The world doesn’t revolve around you, you won’t be “discovered,” you have to earn the title of “MC” and be a good person. No matter what people say, it is entirely too hard for humans to separate the art from the artists… so don’t be a dick.

There is no doubt this tour will be a great success, but we all know getting through it is half the battle! An artist goes nowhere without the support of those around them. How can folks here be a part of this exciting tour? (i.e. how can they help out)

Folks can donate to our Kickstarter and receive all kinds of great stuff from the road, as well as some unreleased stuff we’ll send out prior to, or during the trip.

How can people get in touch with you?  

I’m pretty accessible and love to interact with folks. So gimmmmmeeee a shout!

Twitter: @PlanetPremRock

Facebook: PremRock

Youtube: PlanetPremRock

http://www.PlanetPremRock.com

“Having bono on the show shows how far americas morals have dropped. gay is in and now transgendering. whats next? people who have married their animals? or how about dancing with hookers, that would really be popular.”

“Promoting a Transgender is the next step in normalizing the LG&T life style. If you disagree you are a bigot; another falsehood. Chaz is a very confused person due to their celebrity parents who spent no time in the kids life. This is a common life path for celebrity kids who are adversely impacted while they were young. The fact that ABC has selected Chaz confirms in my mind that the producers probably had the same experience. Misery Loves Company.”

“ABC doesn’t know what “family” or “child-friendly” means. Have you ever seen their ABC Family channel? I would never let children watch that homosexual lust fest. It’s sickening that they try to promote homosexual lust, portray it as something equal with Christian love. But ABC is owned by Disney, purveyor of homosexual entertainment that makes its money off of children.”

In case you have been living under a rock, Chaz Bono was born Chastity Bono, daughter to pop legends Cher and Sonny Bono. After years of intense therapy and hormone injections, Chastity went through life-altering surgery last year to become the man she had always felt she was – Chaz Bono.  For what he says started pretty early on in his life, Chaz had suffered from gender dysphoria, or gender identity disorder, as it is also known.

While many people assume transgender is simply an extension of being homosexual, it is a completely separate issue. Homosexuality is just that – sexuality. Being transgender, or having gender dysphoria, has to do with how one identifies with his or her own gender, not sexuality. “I’m going to be dancing, I’m not up on there talking about anything other than dancing. People who don’t have gender dysphoria aren’t going to catch it by watching me dance on television.” Chaz was recently on The Ellen Show and explained the difference to Ellen’s audience in the clip below.

http://www.hulu.com/watch/278261/the-ellen-show-a-heart-to-heart-with-chaz-

Ellen also spoke at the end to express her own disdain for the clear ignorance and hatred that has come from the recent protests stating, “Until we take responsibility for how adults treat one another, until we see that we are doing the same thing we are asking children not to do at school… politicians do it, adults do it… to say that he’s different and that he’s wrong and to try to make something of it is is… shame on us for doing that and be an example for kids.”

Cher, who may have even had more surgeries than her own son by this point, has vehemently defended her son against the harsh and unwarranted backlash since announcing his appearance on the show, tweeting on September 14, “I Understand that some people will NEVER b able 2Understand Chaz’s choice 2b tru 2himself,but There is 1 Life, must he Go thru it n misery [sic].” Respected activist for equality of all types and noted hip hop legend, Russell Simmons, took to his website, Global Grind, on September 7 to plead with Americans to be responsible with their words,

“Transgender youth often suffer from depression, victimization, harassment, discrimination, sexual assaults, beatings, taunting and are even more prone to being victims of homicide… That is what judgment does. That is what fear does. That is what hatred does. The call for a DWTS boycott is a dangerous step backwards in our quest for human liberation and equality. Sadly, these very parents may very well have their own Chastity/Chaz at home desperately looking for a sign that says ‘I’m OK,’… A viewer could be the very person that could be the voice that talks that child down from the ledge when puberty hits and that child is the most vulnerable and most likely to end their own life.”

There are others who feel this whole thing has gotten out of control, not because there is so much hatred out there being thrown at Chaz Bono and the transgender community as a whole, but because this is a show about dancing and we are wasting our time giving the show and the topic any notice at all. On one hand, yes, this IS just a dance show, and we should all just let it go and let the C-list celebrities dance and be done with it.

On another hand, the reason the debate was started is a moot point; the point is that it has been started and an opportunity has presented itself for people like Chaz to teach others greater tolerance and open the discussion to certain topics that have in the past been seen as taboo. Even though, as Chaz himself said, he is not going on the show with an agenda or plans to stand on a soap box and preach to the audience, simply watching someone in the public eye from such a misunderstood and hated community, stand up and be treated like any other contestant is enough of a message to help open others up to the idea that those suffering from gender dysphoria are no different than the rest of us.

Music, art and dance have always played a large role in shining the light on social injustices and bringing about the fight for equality and change during trying times, as all three mediums of expression consistently illustrate their ability to bring together all walks of life, no matter the language, culture or background of the participants. Dance is one of the most basic forms of self-expression. People everywhere can feel it and understand it on a deeper level that goes beyond the boundaries of language and other forms of communication. Sometimes it takes something as “silly” as a dance show to open people up to accepting things they otherwise wouldn’t understand or want to understand.

The hit 80s movie, and recent remake and Broadway adaptation, Hairspray, showcases the Corny Collins Show, a hit dance variety show filmed in Baltimore, MD, and its ability to successfully integrate the city in 1962, when racial tensions were at an all-time high. Sparked by teens’ desires to dance together on a TV show, the uproar to integrate the show shines the light on the hatred and injustices facing the black community. The debate about a dance show provides a less-threatening way to tunnel a discussion about race relations that might have otherwise ended in bloodshed.

The movie, and subsequent play, was based off of The Buddy Dean Show, Baltimore’s premiere dance variety show, and America’s most popular local television show at the time, airing from 1957-1964. Unfortunately, when the show attempted to integrate, as illustrated in Hairspray, it was not as successful as its inspired fictional show, and was soon after cancelled. In spite of being canceled, the show helped to initiate the idea of integration in a city that was far from progressive at the time.

In the case of Chaz Bono, he was born into music royalty and was beloved by the American public as they watched him grow up as the daughter of Sonny and Cher. As Chaz got older, his sexuality was often debated, his choice of fashion and friends often commented on throughout the tabloids. Unfortunately, the same has already started with Shiloh Jolie Pitt, the five-year-old child of Angelina Jolie and Brad Pitt. Regardless of who she is or turns out to be, she did not ask to be in the spotlight and is simply learning and growing on her own with two parents that seem rather supportive of her wishes to dress however she pleases. Does Shiloh illustrate gender dysphoria? Who knows, and quite frankly, who cares? Hopefully by the time she is old enough to even consider what that means to her, society will have moved past its harsh judgments and lack of understanding of such a lifestyle. As Ellen pointed out in the above clip, no one would choose to be transgender, it is not a life-choice.

In response to those who claim that regardless of choice, it is simply a crime against God’s wishes, people are entitled to their religious beliefs in regards to changing “how God made us.” However, I seriously doubt any of these people were in an uproar when any of the semi-celebrity women who have had countless plastic surgeries came to dance on the show. And to call it a “family show,” if I was a child living at home, the last thing I would want to do is sit around with my parents watching people with no shame dance on television. For those that do, I’d be more in an uproar about the skin-bearing costumes and the sexually charged dance moves my children are watching.

Only time will tell if Chaz will be given a fair chance to compete against the other contestants. Never the less, whatever your views, Chaz will dance on live television for the first time tonight at 8 p.m., EST, on ABC.

Will you be watching? Are you offended by ABC’s decision to include Chaz Bono on DWTS? Whether you watch the show tonight or not, we invite you to leave us your thoughts on this heated debate below.

So you want to be a star? You want to “make it”? Then you’re going to need a few essentials along your journey to stardom; the most important probably being consistent financial investment, a working plan and a great team. A lot of new artists shoot themselves in the foot right out of the gate because they don’t truly comprehend the financial, human and time investment needed to “make it”. I’ve come across a lot of artists who think they can do it all themselves. Meaning, they think they can effectively be their own manager, publicist, booking agent, and marketing & promotion team, and still be the artist. But, the reality is your art will suffer the more time that is spent away from it. If you are serious about “making it” in the music business, then the Do-It-Yourself attitude has to die, so that your dream can live.

Now I know, we’ve all seen and heard of the starving rock band journeying across the United States, booking their own gigs, and playing for food & gas. And trust me, that hunger and hustle is absolutely needed throughout an artist’s career no matter how big the star. Once you get on top you have to fight to stay there. But, an artist needs to know at what point in their career someone else is needed to help them get to the next level.

In today’s musical landscape, there are a lot of DIY tools, mostly online, that help emerging artists in the marketing, promotion, and distribution of their music. However, this just means artists do not necessarily need a major label as much as they used to, it does not change the amount of time that needs to be invested in these areas. Someone still has to get the work done, and it should not be the artist’s responsibility.

Now I’m not saying go forth and get a manager, or spend money on a publicist, booking manager, etc. I’m saying, take stock of where you are in your career and truthfully ask yourself: What areas do I need help in? How do I get from point A to point B to point C and beyond? If you’re an artist who’s just starting out, you probably do not need a full team, but you will need someone at the very least to help you get a plan together, hand out promotional materials at events, get a basic website up, etc. A major issue with new artists is that before even thinking about putting a team together, they are either ignorant about what they need or ignorant of the music business period.

GET EDUCATED. I can’t say it enough. The music business is as transparent as it will ever be. The excuse, I don’t know, is no longer valid. There are many resources available, free at that, for new artists to be able to learn. If you don’t know, Google it, go to Barnes & Noble, go to the library (yea, I know, what’s that?), or go to a free seminar or workshop. If there is anything an artist should do using the DIY method, it should be educating oneself on the music business. Do not let anyone take advantage of your naïvete. Being new to the game doesn’t equal being ignorant. Yes you will learn a lot along the way, yes mistakes are bound to happen, but you shouldn’t walk into this business blind or thinking you know enough.

In the end, I understand relinquishing power over your art and career is hard. Trust is a major issue and there are a lot of snakes in the grass and knives at your back. But, on the flipside, there are also a lot of good business people in this industry that are truly great at what they do. You just have to find them.

Artist Check List

-       Get Educated. Utilize free resources from performing rights organizations like BMI, ASCAP and SESAC. They’re a great place to start.

-       Ask Questions. Talk to other artists, tweet at professionals on Twitter, email executives. Be honest with yourself. The only way you’ll get an answer is by asking.

-       Research. Once you’ve gotten a few referrals, conduct your own research. What worked for someone, might not work for you.

-       Take Action. Trial and error. Remember to set realistic goals for yourself and to take it one day at a time. You’re in competition with no one but you. If you want to be a star, you’ll need patience to shine.

Eric Sosa, or Mr. 505 as he is known to refer to himself on Twitter, is not an artist that can be easily labeled or pigeonholed. Unable to be contained in preexisting classifications, he has created his own field of thought and philosophy, Sosalogy, which he uses as the title for his personal blog. Much like his laid-back personal demeanor, Eric Sosa’s music easily glides in, out, and around the boundaries of multiple genres, including Hip-Hop, Dance, Reggae, and Pop, just to name a few.

Today is a big day for the multi-layered artist. Today marks the release of his first single on iTunes, One You. In honor of the milestone, you will find him hard at work, performing live tonight at the New Era Flagship store at 9 East 4^th Street in NYC from 6:00 pm to 10:00 pm. Before his big night, we attempt to uncover the man behind the mic: What inspires him? What’s behind his success? And, most importantly, who is Sosa?

We’ll let the artist himself explain his music and inspirations in his own words in our latest IXiiV’s Spotlight On… Eric Sosa.

Your promotional singles and mixtapes often pay homage to classic hip-hop and pop artists, such as Pete Rock and Madonna. If you had the opportunity to collaborate with one of your idols, dead or alive, who would it be and why?

Well Pete and Madonna would definitely be two. There’re so many but Ryan Leslie, Melanie Fiona, and Paramore just to name a few. I think I remake or remix the work of the artists I would like to work with because it’s like my chance to pretend for a couple minutes and hear what the actual collaboration would sound like.

It is difficult to box your music into one genre, as you experiment with many different sounds. How would you describe your sound?

I guess you can say my sound is everything outside “the box” (shrugs shoulders). Genres are categories, categories have boundaries, boundaries are limitations, and I don’t ever want be limited. Call it Alternative Hip-Hop if you HAVE to call it something.

You started in marching bands playing percussion. Your biography mentions your draw to rhythms and beats. What draws you to a track when making music? Is it the beat that catches you immediately, or the overall mix, or something else?

Yeah, well it depends. Usually it’s the beat that draws me in and inspires me to write. But many times I’ll approach a producer with the sound or melody or type of beat I hear in my head and have them bring it to life. Then there’re other times when I write an entire song without a beat, and just hope one day I’ll find a home for it. So yeah, it all depends.

You’ve had a lot of early success, including a feature on MTV2’s Sucker Free. What honor has meant the most to you thus far and why? What milestone do you have your sights set on next?

From a feature on MTV to a performance at a small lounge in Williamsburg [Brooklyn], I try to treat it all with the same level of importance. As far as what’s next, a lot… all I can say is stay connected, I want you to witness the growth.

What inspires you?

I’m inspired by absolutely everything. Wait, that’s a cliché answer, let me rephrase that… There is absolutely nothing that doesn’t inspire me. Better (laughs)?

What discourages you? 

What discourages me would probably the opposite of what motivates me, so not seeing results.

Seeing your stage shows one thing stands out the most – your ease and comfort on that stage. The performances are polished and you never seem lost on stage. Are you just someone who feels more at home on stage than off, or is it from preparation and a strong rehearsal ethic?

Oh, thank you. I think it’s a little bit of both. I think I was born to be on stage, ‘cause I just truly love to be up there, and it’s weird cause I’m a shy dude (laughs). But I’d definitely say practice has a lot to do with it as well, practicing and watching other people perform.

One can easily see fashion plays a role in your expression. You’ve also been a part of a few fashion campaigns. Is it something you do for fun, or do you feel fashion is yet another extension of your artistic expression?

Oh, I love fashion. I love music, I love marketing, and I love fashion. I can’t honestly say I know what I’m doing when it comes to fashion (laughs), but it’s definitely what I think is hot and just another form of expression.

IXiiV often advises artists to not only make great music, but be smart about the business as well. You seem to understand the work ethic and the business focus that is needed to make your music your career. Your logo and brand seem as very carefully thought out and executed as the music you put out. Where did that business savvy come from? Did it come easy or has it been a tough lesson to learn?

Thank you, I truly appreciate that. I’ve been rapping for about 14 years now, and I can say, aside from writing, the first 8 years was dedicated to studying the game. I definitely put a lot of time and thought into the business behind my brand, but I wouldn’t be able to do it without my team, so it means a lot to me when you say that. Shout out to Sosa Management!

Where would you like to see yourself in 5 years? 

For this business, I’m against doing the whole 5- and 10-year career plans. This industry moves too fast to have a plan that extends that far from now. No matter what, you will have to adjust sooner or later, so there’s no point. My career consists of about 1 or 2 years max, and that entails releasing my first single, One You, on iTunes, releasing my second single, Too Much, on iTunes, and going on a world tour.

What’s the worst criticism you have ever received and how did you react? 

(Laughs) You’re going to laugh, but I think the worst criticism I’ve received was, “You sound like Foxy Brown” (laughs). I mean I respect everyone’s opinion, and I know everyone isn’t going to like my music but… Foxy Brown? (laughs and shakes head).

Your mixtape series, Rhyme & Noodles: No Artificial Flavoring, intertwines many different genres of music – everything from Rock to Reggae. What was your favorite track to work on in that series? What’s been your favorite sound to experiment with?

My favorite song, and it’s funny you ask ‘cause I just came to this conclusion the other day, my favorite song on Vol. 2 is Came Along (Way). My favorite sounds to experiment with are genres like techno and house. Sonically, it’s just so worldly.

Sosa is not your last name; you’ve described Sosa as Eric’s alter ego. How would you compare Sosa to Eric? Where does one leave off and the other begin?

Sosa feels he’s the greatest of all time, untouchable, and can’t no one tell him nothing. Eric is quiet, humble, and just likes to keep to himself. Sosa usually comes out during performances, Eric is everything else.

You new single, One You, drops today on iTunes. What do you hope people take away from it when they hear it for the first time?

On One You is actually a snippet off the first volume of Rhyme & Noodles. Whether they like it or not, I just want the general public to recognize how transparent I’m trying to be as an artist.

We interviewed Danielle Thornton for our Boss Lady Spotlight series. You two seem to go way back. How would you describe working with her and what role has she had in your success as an artist?

We go waaaaay back (laughs). Danielle is my best friend, she understands me as much as anyone is probably ever going to be able to understand me. Working with her is not only an honor, but a pleasure; she’s an amazing manager, and even better person. She plays a big role in my success. Lets just say she’s the engine of the car, and if it weren’t for her, I’d have to use my feet on some Flintstones shit (laughs).

What’s been the secret to your success so far? Your team? Your music? Your work ethic?

Now you know I can’t tell you thaaat (laughs) ;o)

What’s one thing you want people to remember you for as an artist? 

I want people to remember me for being 100% comfortable with being myself.

I met Danielle on December 4, 2009. I didn’t need to reference my G-Cal to recall the date because you don’t forget moments like meeting an energetic force like Danielle Thornton. Danielle immediately stood out from a crowd of talented, creative, and driven souls at a fundraising event to send our mutual good friend, feleciacruz, off to Cambodia for another Fighting For Futures expedition, but not for the reasons you may think. There wasn’t a vibe of naiveté or nervousness emanating from her that made you turn and look, it was quite the opposite; there was a sense of confidence and assuredness that Danielle exuded that made everyone take her and her dreams of making it very seriously. There was a new girl on the block that acted as if she had been there for years.

After holding down various corporate jobs as a teenager, Danielle turned to the legal field to find work as a paralegal. By age 24 she was running Sosa Management Corp., but I’ll let her explain how she got to that point in her own words below. Calling upon her strong work ethic and negotiating skills learned in the corporate world, she learned to use her experience to her advantage in order to navigate the music industry.

Maybe is not in her vocabulary, neither are the words can’t, won’t, and no. Danielle doesn’t allow anyone to dismiss her or those she works with; when she has something to say, she will be heard. When there is an obstacle thrown in her path she will figure out a way around it without breaking a sweat (or at least not allowing you to see her do so!). As she says on her Facebook Page, “It is my goal to give an artist the opportunity to do what they do best and leave the rest to me. “

The above only begins to scratch the surface of why IXiiV celebrates Danielle Thornton as a true Boss Lady. I now invite you to read her story in her words in our Boss Lady Spotlight.

How did you get your start? 

This is my favorite question. My best friend and now artist, Eric Sosa, takes all the credit for this one. He saw potential in me that I didn’t. Knowing my love and support for unsigned talent and my experience in the corporate world since my early teens, he approached me to represent him as his manager. I was nervous and thought he was crazy but trusted his judgment. Besides, I was just doing him a “favor” LOL. Who knew, huh?

What inspires you?

What inspires me is knowing that so many don’t have the opportunity to make their dreams come true, or even strive for them like I can. There’s so many who aren’t on this earth anymore, or are still here, with dreams and goals and, for reasons out of their control, can’t keep striving. Although it’s a bittersweet thought, it’s something that reminds me that I will succeed and keep striving for those I know can’t. -(10:18)

What discourages you? 

There’s very little that discourages me at this point LOL. I think the two years I’ve been doing this has definitely made my skin tougher. My ears, eyes, and mind are always alert to any breaking news pertaining to this industry. I’ve seen and heard too many instances where people catch their big break, whether it be after years and years of working or a few months LOL. So I just know anything that would normally discourage another I flip it into more of a reason to keep on moving forward!

What has been the most challenging in your career thus far?

Hmm, the most challenging, well that’s easy, getting some individuals to see the bigger picture. If I dissect that last statement we would be here all night LOL.

What’s been your biggest sacrifice for your career? 

Technically my biggest sacrifice is probably that of a financial sacrifice. We are independent and the revenue we expect to come soon just doesn’t coincide with how vast and innovative our ideas are LOL. Mind you, I say that proudly and with no regret! It’s a do-it-yourself generation, we get that. Eventually things will change, but I don’t sweat it too much, I’m just careful.

What’s the best piece of advice you’ve received about achieving your goals? 

I’ve met so many great people who’ve dropped many pearls of wisdom on little ol’ me. But one that stands out was from that of a certain well known legend in the A&R world who quoted a line from Jay-Z’s Decoded. He quoted, “But in business, like they say, you don’t get what you deserve, you get what you negotiate.” He quoted that line after realizing that’s how my artist and I operate our business. I take that as a compliment.

What’s the worst criticism you have ever received and how did you react? 

Easy, it was about me being a good manager, but not good enough due to my lack of hands-on experience or relationships with established individuals in the music industry. That was said when my artist, Eric Sosa, and I first started receiving well-deserved recognition from many media outlets and peers. It had me a bit shocked, though there was truth to that statement (I lacked a lot of common aspects of the music industry) I knew there was so much more that goes into being a great manager.  My fearlessness, my belief in my artist, and my passion for what I do and can accomplish is enough to take any artist with any great talent to where they want to be. Might I add applying MYSELF as I expect my artists to do was all it took to catch up on all that history LOL.

If you could wish one thing for yourself right now, what would it be? 

I honestly wish I could do more for those around me or even those I see “working” from a distance. I have the comfort of knowing one day I will be able to help so many other talents.

“The one thing I wish people would know about me before approaching me is I’m 100% and sincerely about my business .” 

Tell us about your best “Damn the Man” experience. 

Pshhhh! An awesome venue, awesome sponsoships, awesome host, awesome gift bags, awesome team, awesome response to the event and a big fat NO said in too many words deeming the convo’s/emails to be border line offensive! LOL. That’s all I can say about that. But we’ll be back!

Where would you like to see yourself in 5 years? 

I like my life planned, especially anything pertaining to my business, but even I had to come to grips with knowing at some point it’s just not worth it. In a business that’s constantly evolving into different versions of the original blue print, 6 months to a year is as far as I go with planning. The fact is that I’ll be wasting more time planning my 5 years when I could stick with making my more short term plan still relevant to the evolving music industry.

Who is your ideal client?

My ideal client is an individual that understands you have to bring more to the table than just your talent. Sosa Management Corp isn’t a puppeteer. It’s your talent I want to help move, but it’s also your DREAM that I want to help come true.

What’s your next project and why is it important to you? 

My next project is with Eric Sosa and it’s going to stray far away from his recent mixtape series Rhyme & Noodles: No Artificial Flavoring (in which he released two volumes). The importance of this next project is almost hard to put in words. Some may say Sosa’s last project was a short cut and raise the question, “Is he capable of putting out a full album or mixtape?” This next project will answer that question.

What’s been the most fulfilling part of being a Boss Lady?

Realizing that anything is possible. And I truly believe that through my personal experiences and keeping tabs on this business I’m engulfed in. I recently saw that Rolling Stone Magazine featured it’s first ever unsigned band on it’s cover. As I shared with my social networks, it gave me chills. That alone opens up so many doors to the unsigned artist.

What would you like to say to those who discouraged you along the way?

Hope nothing but the best and I’ll see ya around.

What would you change about the industry you are in?  

Nothing.

How can people get in touch with you? 

I can be reached at SosaMgmtCorp@ericsosa.com. I do prefer to conduct business via email although social networks like Twitter are convenient (@SosaMgmtCorp).

The summer of 2011 has been a roller coaster ride for me, and I am sure some of you can agree. Since I’m a music blogger, I decided to put a list of all of the events that would come to mind when I think of Summer 2011. Feel free to leave your Summer 2011 Moments in Music in the comments below!

[youtube http://www.youtube.com/watch?v=Exjn6eHKP98]

Before starting I.M.G., Anastasia paid her dues through numerous internships at marketing firms and major record labels in New York. Always working towards her goals, she viewed these internships as invaluable opportunities to learn and network. Now she is running her own business and has a clientele that includes some of today’s hottest emerging recording artists such as New York emcee Dremur and Chicago rapper The Boy Illinois. Through brand development, public relations management, and event planning, Anastasia and the I.M.G. team create unique consumer experiences that connect clients with their target audiences.

I was introduced to Anastasia through mutual friend and fellow Boss Lady feleciacruz. We quickly developed a friendship through Twitter based on our similar backgrounds and views on the music industry. Besides, how could I resist following someone with the username @BossLadyA? We tweeted about everything from our personal experiences as female business owners in the music industry to our thoughts on the latest music videos. I loved how frank and opinionated she was about the music business. As two female entrepreneurs dedicated to helping artists with marketing and branding, I felt like Anastasia and I were always on the same wavelength. It didn’t take long for me to gain a deep respect and admiration for her. When she came to Philly a few months ago (on business of course), we finally had the chance to meet up. Not only can I confirm that she is indeed a real person and not a sophisticated Twitter bot, but I can also say that she is one of the most genuine, passionate, and hardworking people I know. Her dedication to I.M.G. makes me want to become a better businesswoman.

I recently sat down with Anastasia to not only learn more about I.M.G. and her journey to becoming a Boss Lady, but to also find out what advice she has for both artists and female entrepreneurs.

Running such a fast-paced and creative company must be very hectic. What’s a typical day like at I.M.G.?

There really is no such thing a “typical day” but, I usually start my day checking emails and setting up promotional tweets for our clients. Other daily activities include conference calls or meetings, I talk to all of my clients at least once a day, venue walk  throughs, updating client marketing materials and media lists, a lot of researching and brain storming sessions, and most likely have an event or two to attend in the evenings. I am also the one who handles I.M.G.’s finances so also add book keeping and taxes to my list of tasks!

Did you always want to work in the entertainment industry?

Yes and no. I’ve always loved music. Music was always in my home. But growing up my first love was writing. I got my first taste of the business while a senior in high school. We had to complete an internship to graduate and I ended up interning for It’s Done Promotions in Harlem. They handled street promotion for a lot of the labels and emerging urban brands at the time. I worked street team in Harlem for projects such as Usher’s Confessions and Lil’ Kim’s La Bella Mafia. I got to also go to shows for free and events I had no business being at, at my age (laughs). I saw N.E.R.D and the Black Eyed Peas live for the first time too. Good times man. In college I eventually went on to intern for Island Def Jam, and Capitol Records, and I also interned for Alloy Media & Marketing and Colgate Palmolive, but I always came back to music somehow.

Speaking of college, you founded I.M.G. while still an undergrad at Baruch College (much like how Suz and I founded IXiiV Records while attending Drexel University). How did it all start?

Ah the story of I.M.G. So I.M.G. was Imperial Entertainment at one point. I wanted to make some extra cash in college throwing parties. Yes I wanted to be a party promoter! However, while negotiating a deal with a club in Brooklyn, their promotions manager overheard me selling my experience (probably embellishing a little (laughs)) and ultimately ended up hiring me to do the college marketing campaign for Reggae Carifest, which at the time was a huge reggae concert they used to host on Randalls Island. So I had my first “client” technically and no real company (laughs). I literally went to school the next day and asked four friends if they want to make some money, and the rest is history. One of those friends is still my partner to this day, Karsten Venna. He’s like a brother to me. I honestly could not have gotten this far without him.

Wow you must have been thrilled to have your first client!

It’s better than sex I tell ya! I’ll never forget the day Karsten and I got our first check. We were in between classes and our client came to Baruch and signed it right in the lobby. You just can’t work for anyone else after that.

Between classes and clients was it difficult to balance school and work?

No. I was one of those kids who had a schedule on the fridge since the age of 6. Piano lessons at 2, swimming at 4, dedicated reading time 5-6. (Laughs). My mom always kept me busy. So naturally as I got older I always kept that development pace. Always looking for a new challenge, always wanting to do more.

Well you have clearly mastered the art of time management. Ok, let’s get into the nitty gritty. You’ve developed and executed marketing campaigns for a variety of recording artists. How important is it for artists, especially in today’s digital age, to have a solid marketing plan?

It’s imperative to their success not only as artists but also, also as business people. How can you market something without having a plan to market it? Talk about hustling backwards! Marketing is often overlooked and viewed as a task that “I can do on my own, why would I pay for it”. Reality is, it’s not something people typically can do on their own. It’s a skill. It’s a damn college major! Marketing is extremely important for an artist especially in this climate when the music isn’t really what sells the artist anymore; it’s his/her brand. And you will need a skilled professional to first build your brand and increase your brand equity, and then go out and broker your brand to others.

Yes! Suz and I are constantly stressing the importance of branding. Artists need to think beyond the music and view themselves as businesses. What do you think are the most important skills/qualities an artist needs to succeed in the music industry?

The most important piece of advice I always give to artists is “know thy industry”. Do not enter into this business ignorant of its inner workings. You’re setting yourself up for failure. It’s called the music “business” for a reason. Also, I find artists are very ignorant as to what exactly are the roles and responsibilities of the people in their camp. An artist should know what the role of a manager is, a publicist is, a producer is, a booking agent is, a lawyer is, etc, so they can assess what to expect and whether or not everyone is doing their job correctly.

Great advice. Just like the founders of IXiiV, you embrace the term “Boss Lady”. What does it mean to you to be a Boss Lady?

In all honesty it’s not fun being the boss all the time. The stress and amount of pressure can be overwhelming. When people entrust their careers to you it’s not something to be taken lightly. Of course I enjoy the autonomy and at the end of the day I owe no one. Success, as well as failure, is something that I control. No blame game. Also, I think the term Boss Lady sometimes transcends into personal life. A lot of people think my business persona is my personal, when in fact I’m completely different. I do not want to be the “boss” in my personal relationships; I prefer a more traditional role. But overall I enjoy the level of respect and what it represents.

How would you describe your Boss Lady style?

I’m half boss, half lady. (Laughs). As I said previously, in my personal life I am literally Susie homemaker. Business life is a different story. You have to be tough. Being a woman in business, much less a woman in the music business, you have to maintain a level of femininity while, also being quite comfortable to tell a male executive to go fuck himself. You have to know your shit because they automatically assume you don’t. I work extremely hard and I expect a lot from the people who work with me, reason being why I.M.G. is a small family. Our work ethic is crazy and will probably kill us one day. (Laughs). At the end of the day I try to keep it light, laugh, and always give 200%. Yes I’m a boss, but I’m still a lady. And as a woman I’m still naturally a nurturer and have that natural ability to be tough but still make people feel like I care.

Being the boss definitely comes with perks. What is the most fulfilling part of being a Boss Lady?

When people want to be apart of what you started. That is always the greatest compliment.

On the flipside, what is the most difficult part of being a Boss Lady?

A damn near nonexistent personal life.

What advice would you give other female entrepreneurs looking to start their own businesses?

Be prepared and do your research. Do not walk into this entrepreneur life blindly. Know what you’re getting into; know the sacrifices that you’re going to have to make.

When things get stressful, what motivates you to keep going?

My partner and my clients. At some point it’s not about me anymore. I have so many people who depend on me. I have my OMGFUCKINGGODICANTTAKETHISSHITANYMORE moments, and then I just suck it up, pray and keep it moving. Shit has to get done at the end of the day regardless of how I’m feeling.

Tell us about your best “Damn the Man” experience. 

Hm, well “the man” and I have never really been fully acquainted. I have never had a permanent full-time position. I.M.G. keeps me grounded and focused, so I never really absorb the workplace fuckery around me because I always have a greater goal in mind. At the end of the day the only person I really report to is me.

Where would you like to see yourself in 5 years? 

Married with kids. Living completely and solely off I.M.G. My clients on TV and radio everyday. (Laughs). That would be life.

So what is next for you and I.M.G.? 

My next project is actually I.M.G. We’ve been so caught up with building our clients’ brands; I.M.G’s brand has kind of fallen to the wayside. So come 2012, major brand upgrades in store for the company; non-music clientele, new website, 30 sec ads, a full on ad campaign with our clients, and *knocks-on-wood* a physical address. (Smiles).

Finally, how can people get in touch with you? 

Google me. Was that cocky? (Laughs)

While it’s of course preferable to designate others to carry out and handle certain aspects of your music career, sometimes you may find yourself being the one to drive the car up the hill while simultaneously pushing it from behind.

Over the past five months IXiiV Records has provided its readers with blog posts related to staying organized and making informed decisions as musicians. We’ve provided most of the information you need to be your own publicist, manager, social media team and more, and now I will show you how to put it altogether. Let us take a tour of your multi-faceted business to better understand what each department entails.

You As The Salesman:

• Business Cards: There are many options available these days when deciding to create a business card. If you are not skilled in the area of graphic design enough to print your own cards, affordable and professional business cards can be printed using sites such as 4Over4. You may even want to use your business cards as coupons or discount cards for others to access your music online by providing a link to where your music can be purchased. As another alternative, using your smart phone you can create an electronic business card that can be swapped with others using the Hashable App. Transferring information between smart phones is a quick and easy, not to mention cost-effective way to make connections.
• Making the Pitch: Having the materials is half the battle. You never know when an opportunity will arise to make a great connection or to promote your music. Having a 30-second elevator pitch for all occasions ready with your business card is crucial. After making connections, make sure to send an introductory email to the contacts reminding them who you are and where you met, attaching your electronic press kit (EPK) for their reference and review with a suggestion to set up a meeting to speak further if needed.
• Bring Your A-Game: Don’t ever assume you can rely on your talent to “wing” it. They say practice makes perfect for a reason; work out a way to find time each day to work on your craft and stay dedicated to your end goal, whatever that may be.

You As The Project Manager:

• Give Yourself Deadlines & Leave Room for Mistakes: It’s easy to say, “My album drops this November, stay tuned!” It’s something quite different to execute. In order to stick to your goals you have to find a way to think your projects through and realize that even if you stick to your deadlines, many of your projects will depend on others to be as timely. Allow yourself some breathing room to take care of possible obstacles that may come your way when trying to execute a project such as an album release.
• Think Long Term: If you plan on making your music your livelihood, you must think about the long-term benefits. Will a big payoff now mean a forfeit on opportunities down the line, such as selling rights to your music to another artist or company? On the opposite end of the spectrum, don’t be quick to discount smaller opportunities before looking at the bigger picture.
• Mark It Down: If you’re in charge of your own business, you’re going to have a lot to juggle that has nothing to do with actually making the music you love. With multiple meetings and project deadlines it is best to set up reminders on your phone and computer to stay prepared. Keeping a calendar that you’ll have constant access to is very important. Google’s calendar allows for tracking multiple projects, scheduling reminders and sending out invites to contacts.

You As The Accountant:

• Set Realistic Pay Goals: When negotiating a door deal with a venue or royalties from a project figure out a baseline amount for yourself by taking into consideration your social media stats (page likes, twitter followers, newsletter subscribers, etc), the press that you’ve received in the past twelve months, the number of albums you’ve sold, and any prominent collaborations or projects in which you’ve participated. Making a list of these bargaining tools and keeping it updated is a great way to track your growth and better analyze what your performance can be worth to someone else.
• Budget For Your Future: This is critical not only for knowing how much money to raise for the project, but it will also help you determine how much to charge people once it is finished. You must determine how much money has to be made back in order to break even, or recoup what you’ve spent, before you consider any profits. This can seem very daunting but it is extremely important when hoping to live off of your talent. Enlist the help of a friend who’s particularly good at math and finance, or someone who has done a similar-sized project and ask for his/her advice.
• Research Funding Sources: After determining what your project(s) will cost, do research on your options for funding your project. If you plan on enlisting the support of the three F’s – friends, fans and family – think first about what you can offer them to make it worth their time and money. Sites like IndieGoGo and Kickstarter allow you to set up a project page, a monetary goal and incentives for donors.

You As The Secretary:

• Manage Your Directories: Keep track of the people you meet with either a physical or electronic Rolodex, or with a spreadsheet. In addition to their contact information, designate a place to store information on the contacts such as how you met, what their latest status is and when you want to follow up with them next. IXiiV Records provides template spreadsheets for such occasions to help artists stay organized and efficient.
• The Notebook: Many musicians keep a notebook with them to jot down song ideas or lyrics. When running a business and keeping track of so many areas of your life, it is just as helpful to keep a notebook handy for taking down information from a new contact, scribbling down business ideas, etc. If you prefer to keep everything in one notebook, it may be best to separate the book into two sections – business and music.
• Staying Organized and Active on Social Media: One thing the Boss Ladies at IXiiV always push is for artists to make sure their social media profiles are completed, updated, and in sync with one another. With all the dos and don’ts of social networking out there I know this can get a bit overwhelming, but it is essential in order to create a transparent and strong connection with your fans. If this becomes too difficult to manage on top of everything else, the best thing to do is enlist help. IXiiV offers a variety of social media services that include setting up and evaluating social media accounts to help the busy artist stay connected.

You As The CEO:

• Protect Your Product: Knowing your rights and what you are entitled to as author of your music is central to ensuring your music and your income from your music are protected. This also requires a bit of research. Luckily we’ve provided our readers with a blog post that goes over the basics of copyrights.
• Keep Good Company: When it becomes necessary to enlist a team to help you get to the next level, make sure you surround yourself with people who specialize in the area in which they are helping you. Putting your best friend in charge of booking shows when he/she has no experience in doing so may not always be the best choice.
• Do You: Don’t be afraid to stray from the middle of the road when marketing yourself and your music. There are no rules, so don’t be afraid to break any. Do CDs make sense for you? Should you release an album, an EP, or just a single? Should you collaborate with an artist outside of your genre? As the decision-maker of your business you have to do what works best for you. Make sure you have all the information you need at your disposal but also trust your gut. Ask yourself, “Is this what my fans would want?” and, most importantly, “Is this what I want?”

I hope you’ve enjoyed the tour of your new company. Keep in mind this is not about corporatizing your music, or “selling out.” Your music is not what needs to change; your way of thinking when it comes to promoting your music, however, may need alterations. Thinking of yourself as a company where many departments have to all work together to put out a successful product – your music – will help ensure you take the necessary steps in getting the most out of doing what you love. IXiiV’s motto is Damn the Man. Play the Music. We in no way suggest you begin wearing a business suit and make your music all about money. However, if you want to make your music your nine-to-five, you must treat it as such. After putting your heart and soul into your music, wouldn’t it make sense to ensure you get the most out of it?

Bosco and Peck was formed in 2004 when New Jersey songwriters Paul Bosco (bass) and JPeck (vocals, guitar) decided to enter a battle of the bands contest held by a local radio station. With only a few rehearsals, they won the competition. Shortly afterwards, Bosco and Peck, joined by drummer Matt Coslop (Paul’s cousin), released their self-produced debut album A Band So Mysterious…You’ve Never Heard of Them, which eventually helped them land two shows on the 2006 Virgin College Mega Tour.

Top left to right Paul Bosco, Dave Natale, Matt Coslop, and JPeck (bottom)

Through the tour’s publicist, Bosco and Peck was introduced to Dave Natale, soundman for the Rolling Stones and Fleetwood Mac, who took an immediate interest in the group, offering to record a three-song demo at his studio Right Coast Recording. This demo led to a second album, The Burden of a Healthy Mind, which was released in 2007. The album received great reviews from fans and critics alike. Its first track I Can’t Help was chosen for channel 6 ABC’s Most Memorable Musical Moments. The album also led to many performance opportunities including a second run on the Virgin College Mega Tour, Looptopia, and the Dewey Beach Music Conference.

Over the next few years, Bosco and Peck continued recording music and performing at shows. It wasn’t until 2010, however, that the band began focusing on collaborating with other musicians through their innovative Song Swap podcast in which they trade songs with other independent musicians and record covers. The episodes feature both the covers as well as interviews with the guest artists.

With Season 2 of the Song Swap underway, we wanted to find out more about this accomplished band by speaking with the founding members about their experiences, views on the industry, and where they are headed next.

How did the two of you meet?

Paul Bosco: We were 19 or 20 and Jay joined my band to try to steal a bass player for his band.

JPeck: In 98 or so I got a call from a guitarist I’d known for a while saying he was joining a cover band that needed a singer. At the time my band was in need of a bass player, so I went to try out for the band in hopes that I could steal theirs. I ended up joining that band and Paul was the bass player.

You started Bosco and Peck after deciding on a whim to enter a local radio station competition, which you then won. It must have been a whirlwind experience. What was it like to prepare for it?

Paul Bosco: Preparation was really just a couple of phone calls and a rehearsal. It was kind of a test on how we would sound as a “soul band”, so there was no pressure on performing because we knew how to get our “soulful sound” and a couple of songs we had written were structured and finished, so it was really just a good rehearsal.

JPeck: It was a whirlwind. Even with good musicians it’s not easy to put together a band from scratch in a couple weeks.

Speaking of soul, Bosco and Peck’s sound has been described as neo-soul with a touch of 60’s soul, 70’s funk, and modern rock. Who are you biggest influences?

Paul Bosco

Paul Bosco: Donny Hathaway, Curtis Mayfield, David Bowie, Neil Young, Marvin Gaye, Al Greene, Dylan, Beatles, Stones …all the old greats.

JPeck: When I started playing music my influences were Nirvana, Pearl Jam, and The Talking Heads. But I’ve been influenced by every song I’ve heard, whether I liked it or not.

Since that first competition, you’ve received many accolades including being named Artist of the Month by the World Café Live. What has been the proudest moment of your career so far?

Paul Bosco: Chance meeting with an Engineer named Dave Natale (FOH sound guy for the Rolling Stones, Tina Turner, Lionel Richie…the list goes on). We became friends with him 4 or 5 years ago and we always have a lot of fun working and hanging out with him in his studio.

JPeck: I don’t have an answer for this one… can you rephrase this as a multiple-choice question?

Ok, let’s talk about your Song Swap podcast, which the Boss Ladies of IXiiV absolutely love! It’s such an inventive concept. How did the idea come about?

Paul Bosco: We were kicking around the idea of a “musician community”.  We all know a lot of great musicians in our area. We were trying to figure out how we could get their fans to listen to our music and visa-versa.

JPeck: We were trying to figure out better ways for bands to share fan bases. Something more fruitful than playing gigs with 4 bands we’d never heard and hoping that their fans would stick around to see our set. We came up with the idea to cover each other’s songs. That way the fans get to hear a song that they know recorded by a band they may not have heard of. The Song Swap was born.

Has it been easy to find other bands to participate in Song Swap? Do you reach out to them or do they reach out to you?

Paul Bosco: Not too easy. We stop ourselves from working too much on someone’s song until we are pretty sure that they are working on one of ours and even after that, they can still flake out. We have had a couple people reach out to us, but mostly we contact the other artist. Usually we don’t contact an artist until we are pretty confident that we can come up with a “Bosco and Peck” version of their song.

JPeck: Sometimes we find a band we really want to cover; sometimes they find us. It hasn’t been hard finding bands, but it has been difficult getting them to actually do the work for the show. When you ask they say “Sure, sounds great!” but when it comes time for them to rewrite and record a cover of one of our songs, well let’s just say there is a reason why musicians have a reputation of being flaky.

Despite these difficulties, collaborating with other musicians must be a valuable experience. Do you feel it has made you better musicians?

Paul Bosco: Absolutely! There is always something we can learn from other musicians.

JPeck: Definitely. It’s also made us much more productive in the studio. Since the show has to be released on a schedule we have to work more quickly.

Paul Bosco and JPeck

Paul Bosco: Arrrggggg!! This is a hard question.  Our version of A’s Rage song, Born in the Ghetto, was a fun session to do. Two tracks live rhythm section recording. It was fun. We made a YouTube video from the footage. The Mary Jennings interview was fun also. Jay and I took a train to her apartment in Manhattan, with our recording gear in a ShopRite bag. We had some good wine during the interview. I don’t think we got home until 2 or 3 in the morning.

JPeck: Hmmm. I’d say the last episodes of season 1 with A’s Rage was the most fun. We really got to experiment with recording the song. Rather than mic every instrument individually, we set up 2 mics in the room and recorded the acoustic guitar, upright bass and drums at the same time. As far as the interview, well you’ll have to listen for yourself. But one word sums it up…ridiculous.

Have you liked any of the covers of your songs better than your original recordings?

Paul Bosco: YES!!! A’s Rage did a great electronic version of our song As Much As I Want. Also the guys from Sounds From Atlantis did a rocking version of Lie To Me.

JPeck: A’s Rage cover of our song As Much As I Want breathed new life into a song that I had long ago written off as an album track.

So far you’ve put out an album for Season 1, when can we expect an album for Season 2?

Paul Bosco: Octember.

JPeck: We plan to wrap up the second season in August, so the CD will be released in the fall.

If someone is interested in participating in Song Swap, how can they reach out to you?

Paul Bosco: E-mail, or phone, or stalk us. We are always looking for some up and coming artist to do a swap with.

JPeck: The best way is to listen to the show or go to www.thesongswap.com.

After 7 years of performing together as Bosco and Peck, what advice would you offer others looking to start a band?

Paul Bosco: Don’t worry about what kind of gear you have as much as the kind of “sound” you have or the “sound” you want.

JPeck: Do it for the right reasons, money and fame. Honestly, it’s the oldest advice that every young artist ignores. Write music you love, if you sell out to please some record company you’ll regret it.

Matt Coslop

What’s been your biggest sacrifice for your craft? 

Paul Bosco: Sleep. I sleep 5-6 hours a night if I’m lucky.

JPeck: A social life in general, and sleep. I lack both.

Where would you like to see Bosco and Peck in 5 years?  

Paul Bosco: Playing festivals and recording without the worry of having “real” jobs to pay our bills.

JPeck: Hopefully not working day jobs for a start. I’d like us to have some time to explore other styles of music and have written a couple of songs for other indie artists. Oh and have one of our songs as the theme for a reality show on MTV, but that goes without saying.

What are you working on now?

Paul Bosco: We currently have about 20-30 recordings started. There are a couple that are really close to being finished and a couple that are finished. These songs will be on our next album Just When You Thought You’d Never Smile Again.

JPeck: We’re are working with Jeff Morelli on a video for our song Pick Me Up that will be on that album. Also, one of our country songs Lila is going to be on a compilation CD Country for a Cause due for release September 1^st.

Finally, how can people stay updated on Bosco and Peck and get in touch with you? 

Paul Bosco: The Internet or email… or call.

JPeck: Sign up for the mailing list, we send out an email once every month or two letting everyone know what’s doin’. And of course check out our sites www.boscoandpeck.com and www.thesongswap.com.