BE LEGIT OR QUIT THE MUSIC BUSINESS!

During my tenure at the Columbia College of Chicago for Music Business Management, LEGITIMACY was one of my most vital lessons in professional development from professors like Jhune Mhoon.  If it was artist management, music publishing or the art and business of recording, then, determining the legitimacy of a prospective manager, music of a recording artist, or a work under copyright was one of the first steps of a "professional".  The importance of legitimacy was a matter taken lightly by someone engaging the music business as a hobby, however, legitimate matters of the music business were NEVER overlooked by the professional.  If it is not legit, then, quit doing it - period!  Since credibility in the music trade is hard fought for and protected, then, trade integrity should never be taken lightly.   During a negotiation with I AM Entertainment and potentially Sony Music Entertainment in 2001-2002, Jhune asked me to present some neo-soul and spoken word artist at his downtown Chicago office.  My professional activity as a spoken word producer, publisher, distributor, and disc jockey with terrestrial and digital satellite radio provided me with access to talent throughout the Windy City.  Although the excitement was obvious to Jhune Mhoon, he pierced the emotionalism of the moment by asking every artist, producer or production team if they had the "legitimate" rights to their creative works or could represent works from another artist.  When questioning him about this process, he reminded me of how a deal with Sony Music, Warner Brother Records or any major record company could only be made with the "legitimate rights" to negotiate on behalf of the artist. During this process, despite the popularity of the prospective artists, every top spoken word candidate under consideration was either partially or completely NON-LEGIT!  During my over 15 years in professional music business, the factor of legitimacy has proven to be the difference between being prepared for meeting the "one degree or person" for success.  Whether it was my securing a publishing deal with Warner Bros. Records artist Talib Kweli, a multi-media deal with HBO / Russell Simmon's DEF Poetry Jam, or an "Album of the Year" award managing an independent record label, my adherence to professional standards determined if I would should be legit or quit.  

Open-Mic Evolution

During the peak years of the open-mic poetry phenomenon of the late nineties and early two thousands, the open-mic poetry venues were a nomadic and seasonal operations with a life span of 6 months to a few years.  However, there was rarely any improvement in the size of the venue. Kijijis Coffee House in Nashville, Tennessee was a venue which shattered this tradition by expanding from a 800 square foot facility to an over 3,000 square foot retail complex.  Ultimately, the business provided proof that a venue could make open-mic activities a regular part of its regular services and continue to grow.  Mr. Edward and Linda Stevenson are the founders of Kijijis Coffee House.  According to the Stevensons, the autonomy to provide the type of after work entertainment and environment for which they wanted was a driving force behind starting Kijijis. The status of being the first minority-owned business to provide food services in the newly constructed NFL stadium for the Tennessee titans was a major stimulus for their company’s growth.  Leveraging their concession stands and catering in the Titan’s LP Field expanded their viability and credibility as a business.  Proving that their business was a worthy investment, the Stevensons secured bank financing to improve their business and several years later would break ground on a building three-times the size of their first building.  Since they were always showcasing various music and arts like poetry, jazz and live music, then, their role as cultural leaders in Nashville helped increase their business clientele and profile.  Ultimately, the community support, customer patronage, and a supportive business network made it possible for the Stevensons to evolve from one store and a concession stand to over 13 different operations today.