The record companies also know that MP3 downloading on the internet is a factor that has negatively affected their profits. Put that together with their inability to find sustainable new acts and you have the two main reasons why so many record companies are losing money. The ones that are not losing money are the ones that have a library of popular artists from the past who continue to sell. The record companies now understand that the internet is the new communications medium, it’s here to stay, and they are all trying to figure out how to take advantage of it. Their pattern has always been to watch the numbers, analyze the trends, and then try to jump on board and ride the wave for as long as it lasts. If I told them what the answer is to the problems they face, they simply wouldn’t know what to do with the information.

The new formula for success is to have the right factors in place first, and then to use the internet’s full potential to bring the artist to the attention of the entire world.

Step 1: In order to create a hit record it is necessary to have a hit song. So what is a hit song? It’s a song that is so blasted catchy that after hearing it one time people cannot get it out of their minds and they will spend money to own the CD. The best producer cannot produce a hit record without having that kind of raw material. My old friend Gary Kelgren said it best – “You can’t polish a turd”.

Step 2: In order to create a hit music artist on the internet, of course it is necessary to have one or more hit songs that have been properly produced, but it is also necessary to have a “hit web site”. So what is a hit web site? Obviously it’s one with thousands of “hits” per day but that’s not the point. The point is that in the same way that a hit song works for a listener, a web site must grab a net surfer’s interest within the first 5-10 seconds and hold their interest long enough for them to find the hit songs and listen to them. But it should also contain entertaining content for people to read and enjoy because a good web site is a much more complex form of entertainment. The best web sites are the ones that have great creative writing and cannot be digested in one sitting, so people will keep coming back for more entertainment. This kind of web site cannot possibly be designed by a web site design professional because real creative and entertaining writing is not for sale at any price. That means the successful artist of the future needs to be more than just a musician in order to take full advantage of the new medium because the web site needs to reflect the artist’s personal expression, and nobody can do that except the artist.

Step 3: Creative internet promotion. The new formula for success may not even require an advertising budget for proper promotion of the web site in order to achieve thousands of hits per day if the promotion is creative enough. But the two previous steps are absolute prerequisites for success in the new medium. A money-losing promotional road tour will be pointless and unnecessary until a large audience is developed by building an internet fan club and selling enough CD’s to warrant a road tour that will turn a profit. The new formula also contains the potential for making the old costly distribution networks obsolete because purchasing directly over the internet could eliminate the necessity for retail mark-ups and thus maximize profits for all concerned. The Recording Industry Association of America has the correct statistics on what music is actually selling as opposed to what is being played on the radio and what the record companies are trying to market. They list The Beatles as the best selling act/artist of all time with 166.5 million albums sold in the USA alone. They list Elvis second with 117.5 million units sold, Led Zeppelin third with 106 million units sold, and the top 25 are dominated by classic rock acts including The Doors, The Stones, Pink Floyd, The Eagles and many others.

I think it’s very significant that those statistics are becoming geometrically times greater than the number of albums that they sold during their performance lifetimes. What has happened and is happening is that the young people of today are discovering them in droves and buying their music. Traditionally, the record buying public has always been young people between the ages of 12-25 and those demographics have not changed. What this means is that the potential for profit in new classic rock and roll music is beyond calculation.

Peter Cross is a singer/songwriter/producer/Web Master. You can find this article at: The New Formula for Success in the Music Business and his home page at: Rock and Roll with an Immortal Soul. The “best of” Peter Cross CD is A Hard Day at The Orifice. All work protected by Library of Congress Registration No. TXu1-257-177.

A case in point is Estelle and her hit single American boy, despite the track being a hit on both sides of the Atlantic the album has not been selling so, as all record companies do these days, they panicked and have pulled the single from the US iTunes in the hope that people will turn their attention to the album if they are unable to download the single. Kid Rocks Album was not sold on iTunes and he sold a very respectable 1.7 million. So, I guess the companies are thinking ‘let’s follow the same path and make it impossible to get the music on the worlds biggest download site’. The fact that there is a policy iTunes have where you can not just sell full album which in a sense encourages people to just purchase the individual songs they like. As an artist I look at the album as one piece of work and would love it to be bought as a whole, however the musical landscape has changed and I believe if you don’t make what your fans want available to them then you are cutting your own throat.

In my opinion it’s about time the music industry died, or should I say old music industry because that is exactly what it is, the old music industry. In fact is it dead now? It seems that the lid is closing on the coffin of the industry. Its last dying breaths are being sustained by sales of easy listening, middle of the road music to house wives through supermarkets like the Asda and Tesco chains and in so doing making it easy to pick your copy of James blunt or James Morrison as they buy their weekly food shop and the latest trend of new artist that sound just like dead idols.

This is why for me it is essential to change with the times and try new ways of getting the music out there and if the means making partner ship with companies like iTunes, then why not? Unlike record companies the new digital arena is not going to sign you into a contract that robs you of your rights as an artist.

In a brave and visionary move prince recently gave away an entire album free as a supplement in a Sunday newspaper bypassing the usual distribution channels and also did a 21 night stint in London retaining the entire door takings. This is a very different approach to the industry which is, in a word genius. Prince is an example of an artist who is thinking outside of the box, when it comes to getting his music out to the public and he is a lesson to all musicians. Granted, he already has a worldwide fan base and has had major label success but the question should be asked: If prince was starting out on his career now would he feel the need to sign to a record contract?

Don’t get me wrong there are artists who have made millions out of the traditional music record deal. However, I have only met a couple of them and are they the norm? On the other hand I am in contact with countless people who currently have deals and most seem to be in the same position as me with a little less control over their output. Yes, the major companies can give you a wider exposure if they are 100% behind you and if you’re making them lots of cash then everyone is happy. But, what is it that records companies actually do? Basically they run two types of business. Firstly, they are similar to a bank or depending on your point of view a loan shark. They loan you money up front in return for the rights to your music so you have the ability to record your album. The artist then has to pay the loan back with massive interest. The second business that record companies are in is the business of distribution, shipping the music in boxes around the globe through powerful distribution channels. Both these areas are now losing money because the business models are outdated. Technology has given people the ability to record their album at reduced cost and the internet has made it possible to distribute music directly to the end user.

When Vinyl was king the companies had everything locked down, they owned it all and even when CDs took over the market the record companies still controlled the game. By having many many retailers in a fragmented market the labels were able to manipulate the market and control the value chain. Those days are gone; that’s why so many retailers and record companies were angered by what prince did when he distributed his album for free via a newspaper.

The internet is less than 5000 days old and in that time look at what has happened globally. Look at what has happened in all areas of media; music in particular has become almost valueless from the viewpoint of the record companies. Richard Branson, who had been in the music business for some 30 years, has recently off loaded his UK virgin stores and did the same in the US last year. For an entrepreneur to get out of high street music at this time should tell us all that there is no life left in high street music shops, well not for music at least.

This is exactly the reason why I am expanding to make eBooks available and linking with iTunes both of which if I wish to terminate at any time I can. In the same way a label could drop any artist at any time. All this because the power is now in the hands of the artist and will remain there as long as we understand that the playing field has changed or in the words of Dorothy for the wizard of oz “I don’t think were in Kansas anymore”.

About the Author

ELAVI is the popular musician and writer originating from Old Trafford, a small borough of Manchester. Best known, for his seminal ‘album Soul Science’ recorded in 2007.

http://www.elavi.com

You’ve made your initial contact, sent your first email, letter, or complete packet. Now the next step is crucial and often the difference between throwing money or time out the door or getting what you want. Follow-up is not fun and often I hear artists say, they made the call or sent the packet so they’re done. What was sent is so often forgotten and three months later they wonder why they haven’t heard back from the person, the label, the media contact or the venue’s booking person.

Here are 4 tips to make your follow-up more streamline.

1. Keep your initial lists to bookers, media or other industry professionals, SHORT. Face it, there is no way you or anyone else can do adequate follow-up on a 400 piece mailing or emailing let alone a 4000 piece mailing or emailing and get the results you are looking for.

If you do your research first, then target 5 -10 prospective venue bookers, media or industry professional to send to, you are able to track that submission and set strategic follow up calls or emails for those few contacts. You’ll feel like you are accomplishing something rather than being overwhelmed by the enormity of the task of trying to follow-up on huge numbers.

2. Create a simple list or chart that you can keep in a visible place where you’ll see it everyday. Unless you have a pop-up program in your calendar that opens first thing and gives you your callback list, having this information buried in your computer, may be less helpful than having something printed out and visible, that hits you when you walk into your office or workspace. On it, indicate the contact name, emails, phone numbers, date sent, what you sent and the date and time you intend to re-contact them.

3. Now if your email client has auto responder capabilities, you might be able to set up an email sequence to send follow-up emails automatically over a period of week or two. But if you are not there yet technically, then schedule your follow up calls based on how you sent your material or information.

For instance: If you sent a FedEx packet- call the next day to make sure it arrived. Then schedule a time to talk for a day or two later giving them a short time to review the info.

If you sent an email, you might schedule a callback shortly after your initial email or the next day or if by regular mail, then, give it a few days depending on the recipient’s location. The point here is–you must call in as short a time as possible to keep your contact aware of you as you demonstrate your professionalism. The more time that slips by, the more forgettable your initial contact, no matter how wonderful that contact might have been.

4. Don’t expect them to call you. It won’t happen, so plan on being the one who initiates all follow-up contact. You are the one who is asking for something, you must be the one to follow-up.

Now, think of your most recent contacts that you sent something to and make note of when you spoke to them or heard from them last. Are they due for a follow-up call? Set up your list and make contact this week with your music business contacts.

Now, I invite you to learn more about this and other topics important to your career development and to sign up for free weekly audio Biz Booster Hot Tip! Every Monday you’ll get another valuable strategy and technique that you can put to use immediately. You’ll find helpful books, career development seminars and information on booking tours, the music business and performing arts. It’s all waiting for you at http://www.performingbiz.com

Tip#1: Upload a Variety of Songs

Just because you have to list the genre of music you perform does not mean you have to upload songs that only reflect that genre! Show record labels and fans that you have other musical interests by uploading songs that are different from one another. This will show your range, ability to attract fans from other genres, which increases your marketability, and prove to record labels you are worth investing in.

Tip#2: Fuel the Fan Fires

Record labels conduct searches on MySpace everyday looking for talented musicians. One way to get them to stop on your profile page is by showing them you have a strong fan base. The more people who visit your site, the more popular your page becomes there. Use the marketing tools available in order to gain fan interest.

Record labels want to sign those who are already experienced in working crowds during shows and who have a strong online presence because it makes promoting the music much easier. Having a strong fan base will make selling records and make promoting concert tours and other public appearances much easier.

Create a buzz on MySpace by attracting more fans to your page. Join MySpace forums, list upcoming events, and advertise your page on fliers, business cards, and other marketing materials as this will prompt fans who have seen your live shows to visit and download your songs.

Tip#3: Contacting Record Labels

Finding information about record labels is easy because of the internet. Instead of sending a copy of your latest CD or a few of your tunes, you can send record labels the link to your MySpace profile page. Music executives will appreciate this much more than strange pieces of mail showing up at their offices. Sending a quick email with your contact information may be enough to get you noticed. Research record companies to see which ones cater to your genre, and which ones accept email from musicians.

Tip#4: Selling Your Album on MySpace

If you release an album on your own, sell it in order to generate buzz and also catch the attention of record labels. Being able to show record labels that you are a professional musician who is passionate about music will set you apart from the rest.

Attracting record labels will require you to remain diligent about marketing your music on MySpace. Uploading songs, using marketing tools such as blogs, video, and photos will help record labels get a better idea of what your sound. Use these marketing tools and others offered and go showcase your musical talents.

Clive Calvin has just published a brand new book by a famous music executive directly involved in over 653 Platinum Records! Everything needed to succeed is here. Learn exactly the same strategies used by Todays Top Superstars at:

http://MySpaceMusicProfitMonster.com

The brand follows a relaxed fit clothing design, intended for the off hours in an urban environment. This proves to be an incredible step forward for the Hip Hop evolution into a global lifestyle that touches lives in some of the most remote locations. The Rocawear Clothing line provides the street savvy customer with incredible design, and detail that was previously unmatched by any clothing designer. This has facilitated the spread and popularity of the clothing line, front lined by its music mogul founders, Jay-Z, and his partners. Over the last 12 years Rocawear has become the standard of the urban apparel corner of the industry.

Some changes have come about since the 1995 inception of the hip hop clothing line. One of the most obvious changes is the expansion from the original customer target of the street savvy young man into children’s wear, women’s attire, shoes, loungewear, handbags, jewelry, outerwear, and more. The expansion of the urban clothing line continues to prove the trend setting standard of the urban apparel industry is still under their domination. A more surprising change came earlier in 2007, when the most well known face associated with Rocawear clothing and related musical endeavors, Jay-Z, sold the rights to the brand to a group called the Iconix Brand Group, for $204 Million. Jay-Z retains his share and stake in the company, as well as continues to manage the marketing, licensing and product development for the line. Thus much of the day to day has not changed since the sale. The sale came after the brand was hit with allegations about some of the items in their fur-lined clothing was raccoon fur. Having no previous knowledge of the type of fur used, they pulled the clothing from the department stores and addressed the issue with the clothing makers who put it together.

Even with some turbulence and change over the years, Rocawear continues to be a focal point of style, fashion and the urban lifestyle. As they have expanded the pulse of the Urban Lifestyle has expanded with them. This product of historically incredible marketing strategy, has staked a claim in nearly every developed country in the world, bringing men’s fashion to the forefront of peoples thoughts, style and brand recognition.

The current expansion of Rocawear Clothing can by found by visiting http://www.Rocaweargear.com It only further establishes the Rocawear clothing line as a powerhouse in the clothing industry and a force to reckon with in the Hip-Hop world

==The Music Industry==

The music industry offers some unique challenges and some great opportunities, and the savvy businessperson can take advantage of those challenges and opportunities to create a thriving business even in the most difficult of climates.

Before opening the doors of your great music store, or taking the new band to the top, however, it will be necessary to create a solid business plan in order to attract financing, partners and investors.

No businessperson will invest in a new music business without a thorough understanding of that business’s prospects for success. A business plan is a way to communicate the goals of the business and to quantify its financial needs and prospects.

== What Should You Include In Your Business plan ==

Many new business owners are unsure how to write a business plan, or what that business plan should include. Every business plan will be different, and the business plan for a new music business may look quite different from that of a new accounting business.

That having been said, however, there are certain elements that all business plans have in common, and certain things that they all must include.

Some of the required elements of every business plan include:

What the business does. Any potential investors will of course want to have a thorough understanding of the purpose of the business, and, most importantly, how it plans to make a profit.

The mission statement of the business, a mission statement is most commonly a simple one page document which details the purpose of the business and the business philosophy of its owners and management.

Information on the experience and qualifications of the management team, this is one of the most important parts of any business plan, and it is particularly important for those opening a business in the music industry.

The management team is a key to the success of any business, and it is important that the team be able to guide the business to profitability.

== The Challenges Facing The Music Industry In General==

A discussion of the challenges facing the music industry in general and the business in particular; it is important that the business plan include a discussion of the ever changing nature of the music industry, both the challenges created and the opportunities provided.

It is important to detail how the nature of the music industry will affect the prospects of the company as well.

Starting a music business is not easy, and it will require perseverance, hard work and of course long hours and substantial capital investment. The rewards of a successful music business are great, however, and well worth the risk and the time invested.

Shaunta Pleasant is a professional web writer and editor on business plan topics. Visit my site to learn more about writing a business plan a http://www.business-plan-made-easy.com

I’ve come to the realization, after several years of working in the music industry that a lot of unnecessary money, time and effort are spent by people trying to make it in the business, only to find themselves at dead end after dead end. Hey, I’m not here to discount anyone’s success or burst anyones bubble, but I’d be lying if I said that I don’t just cringe at the thought of so many aspiring music entrepreneurs thinking that if they could just get that business loan or line of credit to build their studio, or if they could just send another resume to that major label, that they’ll get that big break they’ve been dreaming of.

Reality Check

There are people inside the big label industry who refer to their work as “Entertainment Slavery,” and from what I’ve seen (which just so happens to be TOO MUCH), I can’t think of a more accurate description for what goes on behind the scenes of this cut-throat business. With the emergence of digital downloading and online music purchasing, you can own your own online music business using various un-tapped online marketing and networking resources, and be up and running very quickly ,on any budget!

REAL People Are Generating Incredible Profits Using This Strategy

Start your own label. Did you know that you could reach “Gold” status (that’s 500,000 albums sold, by the way) on a “Major” rap label contract, and make as little as $39,000. Not exactly striking gold, eh? Yet, I know an independent hip-hop artist who made over $85,000 last year after he quit wasting energy mailing press kits out to every major label, and instead put his time and energy into launching his own independent rap label. Oh…I said “time and energy,” but forgot to mention “money.” Probably because he hardly had to spend any! He paid his $25 for a business license, bought a great record label tutorial program online for a whopping $45, and spent the rest of his time discovering creative ways to sell his music, mostly online. He also signed 2 other artists to his label, and other than the time he spent marketing their music, it really cost him virtually nothing to add these artists to his line-up. Yet, he made money every time they sold an album. He not only put himself in a better position as an artist, but his undeniable marketing success attracted other rappers who hadn’t been successful selling their own music. He could afford to give them generous splits on their music because he figured out how to run his label and nearly no cost, and keep his revenues high by discovering various untapped online marketing channels! The biggest benefit, aside from the money, is that he’s his own boss and doesn’t have to answer to anyone else when it comes to his content, marketing, or anything else related to his music. And in this business, such freedoms are extremely hard to come by!

The Bottom Line

If you want to own your own online music business without having to raise capital, build a studio, rent an office space and all of the other enormous costs that come along with such an endeaver, start an independent record label! As an Independent label owner, you have three major things to gain: your freedom (time and flexibility), money (no ridiculous “splits” with a major label and no middle man), and the ability to promote other artists and benefit financially from doing so. Everybody wins with a successful online record label!

Wondering where to start and need some guidance? Discover How You Can Own Your Own Online Music Business And Start Earning Profits Immediately With Your Own Record Label at: http://www.indielabelsuccess.com

1. Get familiar with your local music scene. Unless you’ve already generated relationships with some of the bigger named artists in the rap industry, it would do you little to no good at this point to simply drop a sampler disk in the mail addressed to a major label or artist. This business is all about relationships and who you know, therefore, you need to get to know artists who have money and are accessible to you right away.

Go to local rap shows/concerts and network with the artists and promoters at these venues (simply reading the entertainment portion of your local newspaper will list upcoming hip-hop shows in your area). Introduce yourself and what you do, and leave them with a sampler disk. Make sure the disk is neatly labeled and includes your name, email, and phone number so that you can be easily reached.

2. Develop your signature sound. Although this strategy could be seen as a more technical tactic, you really need a sound embedded within your music, that is all your own. For example, Timbaland incorporates his beat box ability into his tracks and stacks them with the drums. Dr. Dre’s unique use of piano stabs and his distinctly “heavy” snare drums really set his sound apart. It’s the little, simple things that can make the difference. Experiment with different sounds until you find something unique and catchy.

3. Be willing to give your music away. This is one that can be tough for a lot of us who put excessive amounts of quality time into making our rap instrumental beats. However, it’s absolutely necessary in order to generate demand for your music. The trick here is being able to identify which artists to give beats to. We’ve all got those few friends who are high on hopes and short on cash and are convinced that they are the one rapper on the planet who you should let “jump on” your track and “make it hot.”

Don’t do it! Only give beats to artists who you know have money or financial backing, and have already generated a significant listening audience and fan base. If they like your sound, and it gets a good response at shows and on local radio, your demand has been created and you can now put a price tag on your beats. Many of the artists that I donated beats to in the past, have turned out to be my best paying clients.

4. Create “package” deals. This is highly effective when you’re networking with artists who are in the beginning stages of putting an album together. Most of these rappers like to “stockpile” tracks as they’re writing lyrics and putting everything together for their project. Offer significant discounts for multiple beat purchases. For example, if your going rate is $150 for a single beat, offer 3 beats for $300 and emphasize the discounted amount (“$100 Discount,” or “3 For The Price of 2″) on your website and/or include it in the packaging of your sampler disk.

5. Start your own record label. These days, one of the best ways to create this demand for your beats is by launching your own independent record label. With the ample array of free online marketing resources and with the new wave of digital music downloading, you can provide an effective, low-cost marketing and distribution channel for an artist’s album as part of an agreement where they purchases a certain number of beats from you in exchange. You’re immediately motivated to market for the artist because your company logo, name, and beats are all over their album. Starting my own record label has been the most effective tool in generating demand and ultimately, cash flow from my rap instrumental beats.

Discover How To Take Your Rap Instrumental Beats To a Whole New Level, And Launch Your Very Own Highly Profitable Independent Record Label In As Little As 15 Minutes! Get Your Free Report Today, At: http://www.indielabelsuccess.com

These are some of the hot topics that often come up in private conversations with my industry associates and colleagues. I will attempt to shed some much needed light on these delicate, sensitive and somewhat controversial issues.

To really understand the phenomenon of white music artists singing R&B, you should begin with an examination of the motivation and purpose behind the establishment of black music divisions at record companies in the 60s. While the success of Motown as a black owned operation has been well-documented and highly publicized, many of the competing record labels of that time lacked the personnel to adequately exploit the abundance of musically talented black teens.

White owned record companies shrewdly appointed black music executives who were more in tune and in touch with black music (and the black artists that created and performed it), to help interface with them. This was, after all, a time when race relations were tentative and strained.

Many record companies and radio stations took note of the increasing popularity of R&B music among white teenagers and attempted to preserve racial barriers by denying them access to it. Their denial constituted a potential economic problem since the music industry (like most industries) thrives on supply and demand. Their solution: provide their darling teenaged kids with a “white” alternative; someone who “sounded” black and performed “black” music, a la Elvis Presley, whose popularity was soaring. It wasn’t uncommon for records in that era often to have two different versions – a white version and a black version – which was serviced to the appropriate audience.

In the 70′s, the push toward equality and peace gave birth to a more gregarious and unified music industry. Top bands like Sly & The Family Stone, Tower of Power, Earth Wind & Fire, and The Commodores emerged and enjoyed success throughout the 70s, but many lacked crossover appeal and forced black music executives to search for other viable options in order to save their jobs. One option was Disco – the hot novelty genre.

Disco was more than a new genre; it was a cultural release from the lingering social anxieties and racial tensions of the 60s and emerged as the dominant format because of its mass market appeal and universal acceptance. The music industry eventually sobered up from the lecherous activities and rampant drug abuse of the disco era in 1979, just in time to endure the worst financial year of its existence.

With slumping record sales and a gluttony of music acts that were signed to perform disco songs, the R&B music community returned to its soulful roots and searched desperately for an answer to rectify the problems that plagued it. The answer wasn’t written on the wall, but it was found in the album “Off The Wall” by Michael Jackson, which helped to transition successful R&B music back into a more “Pop-friendly” format that was comparable to R&B in its last heyday of the Motown era.

While Michael captured the hearts and imaginations of white America with his unhuman dance moves, there were plenty of black music pioneers upholding the funky values and virtues of black music as we we marched into the techno era of the 80′s. R&B music seemed to undergo a much needed resurgence.

The R&B bands of the 70s started to downsize in personnel as more emphasis was being placed on solo acts (a la Michael Jackson) and vocal groups. For the R&B music artist, the advent of technology superseded the need to be backed up by a band, ushering in the producer era which R&B music is heavily predicated on today.

It was also at this time that many record companies began merging and restructuring, which resulted in the loss of hundreds of jobs for black music executives who were worked in the black music divisions.

Shortly thereafter, we witnessed the birth of “blue-eyed soul” as white music artists who were performing R&B music begun to receive heavy and steady financial backing by their record labels. Hall & Oates enjoyed unprecedented success in the early and mid-80s and proved to be a litmus test for the acceptance of white artists performing R&B under the guise of Pop music.

While Hall & Oates may have raised a few eyebrows in the R&B music community, eyes were opened widely when George Michael, a former member of Pop teen group Wham!, won a Grammy for the best “black” album in 1989. It was the first time in history that a white solo music artist topped the R&B charts. The R&B music community was outraged as veteran black music artists Freddie Jackson and Gladys Knight denounced the political voting practices of the Academy that renders the nominations.

While the award was well-deserved in terms of record sales and radio airplay, the color lines of who qualified as a “black” music artist had been re-defined. When the smoke cleared, the music industry in general, and R&B music community in particular, would both be changed forever.

As we stood on the doorsteps of the 90s, more black music executives lost their jobs as record companies continued the trend of merging, restructuring and downsizing in an effort to diversify their business interests and increase their profits.

Rap music was (finally) being fully embraced as a commercially viable genre and record companies moved quickly to cash in on it. The appeal of low investments, and (potentially) high returns, constituted a major shift in business practices at record companies, and black music artists found themselves jockeying for position on the revamped priority lists of their now predominantly white music executives. After all, Rap was already achieving a high level of “underground” sales with DJs and word-of-mouth serving as its primary means of promotion.

All the record companies needed to do was to bring it to the surface and supply their distribution and marketing resources. Since much of the music was already recorded, they could also circumvent many of the recording costs as well. While the music industry made an overt and deliberate attempt to position itself to supply what appeared to be an insatiable demand for Rap music, it lost sight of the distinction between R&B and Rap.

R&B music lovers helplessly watched as orders came down from white music executives to incorporate elements of Rap music into R&B songs to make them more competitive with Rap, since Rap music artists posed a clear and tangible threat to the record sales of R&B music artists.

At the time, Mariah Carey and Color Me Badd were enjoying newfound stardom that came (once again) as a result of white music executives pushing a novelty agenda of white music artists performing R&B music. Both of the aforementioned acts were initially viewed (by black audiences) as alternatives to their black competitors (Whitney Houston and Boyz II Men respectively), but with such strong marketing and promotional support, both Mariah Carey and Color Me Badd were able to establish their own identity at a faster rate.

Today, the trend continues with white music executives diligently marketing and promoting white music artists such as Justin Timberlake, Christina Aguilera, Joss Stone, Anastacia, etc. singing R&B. Some insiders say that the music industry continues to deliberately and intentionally find alternatives to black music artists to service to white audiences. Industry insiders say that Britney Spears is essentially a white clone of Janet Jackson; emulating her Pop/R&B format, choreographed dance moves, and calculated sex appeal.

It’s suspect when newcomers like American Idol’s Elliot Yamin are quickly embraced and heralded as “great” R&B singers when juxtaposed against longtime R&B survivors like Brian McKnight, Joe, and Anthony Hamilton.

While some will argue that it’s not a simple matter of black versus white since since some of the artists mentioned in this article are not “white,” but are of different ethnicities or even part black. The fact is that the widely held opinion in the black community is that if you don’t look black (possessing obvious African American features), then you are not. You are something else other than black; and “white” becomes a reference to, or a description of, an undetermined racial category.

The new business model of the music industry has created new opportunities for black entrepreneurs, but many of them lack the financial resources to take advantage of them. As a result they are often forced to participate in the production of Rap music, or R&B music with Rap production as they try to manufacture or supply product and artists that will enable them to embark upon partnerships and joint ventures with the same record companies that dissolved their black music divisions in the first place.

History and research show that the music industry has continued to systematically reduce the role of the black music executive, as they are fired and laid off with greater frequency (and less justification) than their white counterparts. Many of those who remain are often relegated to the now dispensable role of liaison, gatekeeper and hand-holder for troubled Rap acts in this new Hip-Hop era. A far cry from a time when they were once responsible for finding, developing and supporting premier black music artists who created some of the greatest music that we now view as the soundtrack to the this country’s history.

Those songs are still the choice of middle-aged Americans who tune into oldie radio stations across the country that have adopted “Classic Soul” as a new format. Where does that leave R&B music artists of today? They are left to compete or join forces with Rap artists since they have been lumped into the same “Urban” or “Hip-Hop” music category.

The formulaic use of R&B to inject a commercial element into Rap music has contributed significantly to the fusion, and confusion regarding the distinction of both genres. This can be traced back to the 80s when R&B acts such as Lakeside, Confunksion, and Teena Marie had huge hits with songs that incorporated Rap (“Fantastic Voyage,” “Electric Lady,” and “Square Biz”), R&B music embarked upon a trial marriage that turned out to be a permanent one.

R&B is now used to bolster the talent level perception, black audience appeal, and record sales of white music artists in every genre. Even Country (a genre that is guarded by a closed-knit circle of protective white executives), borrows heavily from R&B.

Country is a genre that is ripe for infiltration by conventional R&B artists, but unlike R&B music – which has become a community genre with no one race retaining the inherent rights to perform it – the likelihood of that occurring is slim because of the unquestioned and unchallenged exclusion of other races.

The significant issue in white R&B music artists versus black R&B music artists can be narrowed down to one question: who gets the greater commitment and promotion from their record companies to service a larger audience of consumers?

When one considers the commitment level, dedicated resources, and promotional opportunities which are more abundant for white R&B music artists, and that blacks only account for 15 percent of the population, and that white music artists inherit a larger audience to begin with, understanding the green side of white R&B becomes much easier.

Gian Fiero is a recognized authority on commercial music and Independent A&R Specialist who is best known for writing song critiques on Muse’s Muse.com. He has been an influential factor in obtaining record deals for artists signed to RCA, Bust It!, Gasoline Alley and Interscope Records. He currently represents Grammy nominated music producer Cori Jacobs (Beyonce, Pussy Cat Dolls, Lauryn Hill, Teedra Moses, Brooke Valentine, and George Clinton) in addition to being an adjunct professor of music industry studies at San Francisco State University

In an effort to be a hip drink of choice, Coca-Cola’s Sprite brand began using rap music in commercial ads in 1994. Sprite Brand manager, Pina Sciarra affirmed that Sprite’s appeal as a favorite soda quadrupled as a result of the ads. Taking notice of Coke’s commercial success, Burger King and several restaurant chains followed suit with similar advertising approaches. By bringing the edgy styles of favorite rappers to specialty stores, the fashion industry became a key contributor to hip-hop’s brand influence. Department store retailers such as Macy’s took notice and filled their racks with the likes of FUBU, Phat Farm, Mecca, ENYCE, G-Unit, and Apple Bottoms.

Traditional designers even realized revenue potential in the hip-hop market. In 1999, Tommy Hilfiger reported a significant increase in annual sales after tailoring his line for “the hip-hop set.” Sportswear giant, Nike expanded its celebrity-advertising list to include hip-hop artist, Nelly. In 2003, Nike released 1,000 pairs of the rapper’s $120 limited edition Air Derrty sneaker. The sneakers reportedly sold out within hours. Luxe designer, Louis Vuitton recently jumped on the hip-hop brand wagon by making musician, solo artist, and Grammy award producer, Pharrell Williams its “new face” for the brand’s 2006-2007 line of Italian suitcases and bags.

Today, the hip-hop influenced urban apparel market does $2.2 billion in annual sales, which includes a celebrity-based designer list from the likes of singer, Beyonce Knowles to entertainment magnate, Sean “Diddy” Combs. Among its influences, hip-hop transcends boundaries in politics, music, fashion, and other forms of entertainment. With 100 million fans worldwide, hip-hop also dominates many parts of mainstream media. Filmmakers, television show writers, and print publishers for example, are among media professionals who readily incorporate hip-hop lingo and fashion concepts in their products. Despite the often-negative connotations associated with the culture booming balance sheets is what compel companies to use hip-hop’s market appeal to gain leverage.

Extended version originally published in Savoy Magazine: http://www.ufamexpo.com/news.html