2-8D Blog Music


Monday, May 12, 2008

The Pillars of Success

The Pillars of Success

5 guys who made it. 5 qualities that got them there
By: Mike Zimmerman

What defines success? You might say happiness. Somebody else might chime in with freedom. The guys down at the bar might insist it's a 401(k) full of f-you money.

 

Our point? Each of us defines success for ourself. But one thing is universal: We all want more of it. So we sought out men who live on that elevated plane every day. And the more they told us, the more we came to see them as models of particular virtues we call the pillars of success: ambition, intuition, focus, courage, and leadership. These qualities can help you reach your goal, whether you're trying to build a hundred-million-dollar software firm or open an old-school diner out on the four-lane.

 

The men we've selected to guide your pursuit don't just appear successful, they feel successful. As you'll see, there's a huge difference. Artist, architect, army general, whatever you want to be, this story is your blueprint.

 

Now start building.

 


Ambition

Ryan Leslie proves that intelligence is no match for ambition. He scored a 1600 on his SAT . . . at age 15. He graduated from Harvard at age 19. Smart guy. Law school, medical school--hell, even both--would have been a breeze. So what did he do? He went into music. "I was on academic probation three times because I was focusing 30 to 40 hours a week on learning how to be a producer and songwriter," he says. "It wasn't a career goal. It was the career goal."

 

He ended up where a lot of humbled postgrads do: living at home with Mom and Dad, in Arizona. They could tell young Ryan's ambition still burned, so his father offered him a $15,000 loan for basic recording equipment. Then Leslie scored a 30-day internship in New York City. "Sure enough, the producer I was interning for played some of my music for Diddy," he says. "That led to a meeting, and I unleashed eight or nine things I'd developed. One of them became a single for New Edition."

 

The partnership with Diddy led Leslie to launch his own label, NextSelection, as well as write and produce for Beyoncé, Britney, and R & B star Cassie, with whom he produced a number one single, "Me & U." Score another one for ambition. "Now I really just press on, full throttle, every day," he says. "The further I move each day, the more people respect, the more people admire, until I become someone worthy of being followed."


Leslie's Rules for Applied Ambition

Strive for respect first.

Forget money and power. Make earning respect your primary goal, Leslie says. Money and power will follow, because everyone will want to work with you. But respect is worth more than money and power, because it validates your ambition. "If your heart is true and your intentions are clear and real, any vision is extremely  healthy," Leslie says. "Passion will drive you to achieve your absolute best."

 

Never miss a workout.

Leslie hired Oscar Smith--the trainer who helped supermodel Petra Nêmcová walk again after the Indian Ocean tsunami--and Leslie can't believe how much a regular workout contributes to his success. "I've been working out every morning and even changed my sleeping habits just so I'm able to get in there and really operate. My day-to-day work performance was rigorous before, but it's increased even more. One hour of concentrating on myself allows me to push my game even further the rest of the day."

 

Demand ownership.

Leslie can't believe how many businessmen leave money on the table. "I'm always sure to garner equity in any venture in which I'm adding value," he says. This is a true wealth builder, but it can take time to earn. Things to negotiate for: stock and/or options, profit sharing, partnerships, or just a plain, old-school percentage of the business.

 


Intuition

When Angus Davis was in prep school at Phillips Academy Andover, in Massachusetts, he hacked into the phone system and stole unlimited long-distance calling for his fellow students. "I see that spirit in most of the entrepreneurs I meet: a knack for questioning authority," he says.

 

Davis skipped college, became the youngest Netscape product manager at age 18, and 3 years later, in 1999, cofounded Tellme, Inc. His goal: turn your cellphone into a voice- operated search engine. Say "Italian restaurant" and every one in the area would appear on your screen, with directions. "We're building a new way to use your phone," he says.

 

Is it that easy? Of course not, but the young tech wizards make it appear easy because they have a different mentality. "I grew up breathing this online oxygen, and I see technological possibilities before most people do," Davis says. "But I don't get excited about what I've done. I find more inspiration looking forward to the next 10 years."


 
Davis's Plan for Flawless Intuition

Edit your ideas.

Your best idea is the most universal one, says Davis. When he started Tellme, his search idea would've worked great--but only on PDAs. "But there are more than 2 billion phones around the world," he says. "The bigger the problem, the harder the solution--and the bigger the reward."

 

Think big, but grow slowly.

"Having a big idea doesn't mean having to go balls to the wall out of the gate." His example is the Internet-based grocery-delivery service Webvan. "They spent a billion dollars and went out of business before they had success in any city. Start small and scale up."

 

Think like an 11-year-old.

"People in Silicon Valley think nothing is impossible," Davis says. "You'll be out and someone will say he's going to build a rocket and do private space travel. And the reaction is, 'Cool, what type of rocket fuel are you using?' That attitude pervades everything." Adjust yours accordingly.

 


Focus

Focus brought Jim Cramer millions of dollars. Focus has always been his gift. "Automatic" is how he describes his ability to parse the financial information of publicly traded companies, react to market turns just by feel, and deliver massive returns for his hedge-fund partners.

 

But his gift nearly destroyed him. "In the financial world, I had Ted Williams-like statistics. And yet I was miserable that they weren't better. If I batted .400, that meant that 60 percent of the time I sucked! I focused on one thing: winning. Just beating everyone. Every day was Super Bowl Sunday. And actually, in real life, simply making the playoffs is doing well."

 

That's why Cramer left his soul-crushing hedge-fund days behind 7 years ago. Now he's refocused to become "part educator, part entertainer" on his CNBC show, Mad Money. And he's much, much happier. His mission is to make sure no one ends up as miserably successful as he was. And the trick is, yes, to focus--but in an intelligent way.

 

"The things that drive you to be successful don't switch off when you achieve success. When you overfocus, you never know that you're there. You're going to work hard, and you're going to be successful. When you're there, you have to recognize it and not torture yourself as I did."


 
Cramer's Tips for Intelligent Focus

Approach your work like a detective.

"Why did Google go down after a great quarter and Yahoo! go up after a lousy one?" asks Cramer. "I solve puzzles like that, and I love doing it." Do you read between your business's lines? Trends, patterns, tendencies? "Try to understand your work on a higher level and bring new ideas to your superiors. Or better yet, exploit your own venture--with equity, baby!"

 

Let one solution lead to the next great idea.

"I'll give you an example. Time Warner reports a great quarter, and it says customers are taking the cable triple play--voice, video, data. And Comcast is selling the same thing. So you ask, 'Who else is about to?' Sure enough, there's a British cable company, NTL. Comcast was at $28 when it was about to launch, and it went to $45 after. Bang, new investment idea."

 

Remember when to refocus.

Let the day end. Let yourself exhale. Let yourself see the picture from another angle. Cramer only just learned how necessary this is. "Did I need to wake up at quarter to three every morning? Did I need to become a machine? No, but I couldn't tolerate just being successful. That wasn't good enough. There had to be no one more successful than me. And that's a tortured perspective."

 


Courage

Defining courage as it applies to success is simple: Can you make the move you have to make in the face of pain? Jonah Wilson learned that at the raw age of 21, when he dumped a guaranteed career in music to start from scratch in the Los Angeles real-estate market.

 

A guaranteed career? In music? Yes. Wilson is the son of Beach Boy Carl Wilson. That's how he became road manager of a multiplatinum band, Wilson Phillips, at age 19. Two of the three singers, Wendy and Carnie Wilson, are his cousins. "The music business was handed to me," he says. "And it does take courage to give up something that's handed to you. But I wanted to create something for myself."

 

Seventeen years and millions of dollars in deals later, Wilson has no regrets. "In the beginning there was fear, yeah," he says. "But if you want it, you want it. You fend for yourself and figure things out intuitively."


 
Wilson's Laws for Harnessing Courage

Feel like an outsider.

Few groups welcome newcomers with fruit baskets. Win them over with performance, says Wilson. "Once I had a few sales under my belt," he says, "I started to feel like I belonged. It was a progression."

 

Use your friends.

It's simple human nature: People work with people they trust. "I had a friend in the business who got me an interview with Prudential. They took me on, and off I went," says Wilson. Oh, and his first three sales? They were condominiums for the girls of Wilson Phillips.

 

Never fear the flush.

"It's not that hard to make a hundred grand in real estate if you know a few people who want to buy or sell a house," Wilson says. "But you can only go so far on connections, or you'll be flushed out when the market takes a downturn." The simplest remedy: tenacity. The best raise their game because they want to stay.

 


Leadership

Avery Johnson's leadership traits are backed up by his nickname, "The Little General." But he's no Napoleon. He's the reigning NBA Coach of the Year, and his Mavericks began the season by winning 51 out of their first 60 games, as of press time. But it all started with a 5'11" guy trying to fight for the right to play in the NBA. "I had to stay ahead of everybody by being smarter, craftier," he says. "I had to study my opponents harder. I also studied the other coaches to figure out what they would call. I maximized myself." He played more than a thousand games at the pro level.

 

He takes leadership seriously on two levels: as a day-to-day job and as a long-term responsibility. Today's job is to win a championship. But 2, 5, 10 years out? He wants to show others how to lead. "Above all, great leaders develop other leaders," he says. "If you're such a great leader, there should be a trail of leaders in your wake."

 

Johnson knows there are many elements to leadership, but for his team, the most important one is obvious: "You have to have genuine care for the people who are following you. I try to get to know, without being too personal, something about my players outside [the context of] the team. At the end of the day, if we win the championship and each man on my team is a bad father and bad husband, what has he given to society?"


 
Johnson's Principles for Leadership

Cultivate the four Cs.

This is Johnson's formula for leadership: "Be competent. Know your business inside and out. Communicate--paint a picture for those who are following. Third, have strong character. Have integrity, and admit when you fail. Finally, have class. Do everything in a first-class manner."

 

Lock in your vision.

How will you beat the numbers? How will you find the talent? What's your time frame? What resources will you need? Answering these questions is how Johnson convinced Mavericks owner Mark Cuban he was the man for the job. "I came in with an all-or-nothing goal: a championship," he says. "I won one as a player [in 1999, with the Spurs], so I know how championship teams are built."

 

Exploit the negatives.

"When you sign on for a leadership role, the criticism is part of it," says Johnson. "You need that stuff to happen so the men and women following you see how you respond to it."


Sunday, May 11, 2008

Why Can't They Sell?

I look at today's record industry like the trappings of a loan shark to being in debt. You get a budget but the record label is hoping that all funds will be recouped back in record sales. It's like taking a gamble really on both accounts. A gamble has already been taken the day you get signed, and then, when you're given a budget, you have to gamble with certain decisions you make to ensure that it's used wisely (the producers you pick, costumes, etc).



However, if that mission fails miserably, you get dropped and fade away and never become heard of again. In fact, it's not all sugar and candy being a pop star. You're no different to being a sales person knocking on somone's door trying to sell something. You really need to have marketability prowess in your skill to sell a product. You really need to know how to sell yourself as a sales person, or, you just won't sell and you'll lose your job. Some people have the gift of the gab and others don't. Take Rihanna for instance. Not the greatest of singers; I can admit that. But her beauty and cleverly marketed image and well-packaged pop songs have taken her far, and her promo has been groundbreaking. However, when the record label doesn't put much effort into your promotion, well, what was the point? And that's been exactly the case with poor Tiffany Evans who only sold 4,700 copies of her debut album last week placing her at #134 on the Billboard 200. It didn't matter that the 15-year-old is much talented than her peers and that her album was stellar with some of the tightest producers in the game. Lack of promotion played a big factor why the album did triple toilet water. Estelle's album 'Shine' did get some promotion in the US. She's done interviews and appeared on a couple of high-profile TV shows, but I guess the Americans didn't see the appeal as she only pushed 14,000 copies this week and is now certified double plastic. Lil Mama did slightly better but also had crap sales only managing to shift 19,000 copies, now certified as aluminum. So the question is, why aren't they selling and who's really to blame?


Wednesday, April 30, 2008

Wednesday, April 23, 2008

5 Tips to Handling Your Business with Sol Guy

1. Find Your Passion

2. Do Your Homework. Know Your History. Understand Your Field.

3. Keep Your Word

4. Find Yourself A Mentor

5. Make Sure You Deliver

Sounds simple enough? Check out the video.




 

 

 

Expert:
Sol Guy

Occupation:
Artist/Television Producer

Sol Guy has been an influential contributor to the rise of Urban Music over the last 11 years. His combined experience of running an independent label, artist management, producing, consulting, and full-time employment at major record labels has provided him with a well-rounded view of the music industry.

Guy has worked closely with some of the highest profile black music artists of our time including Lauryn Hill, P Diddy, India Arie, The Roots, Outkast, Dead Prez, B.I.G. and The Wu-Tang Clan.

His life took a fateful turn in 2001 when he was invited to Sierra Leone, West Africa by Warchild Canada as a featured guest in the award-winning documentary Musicians In The War Zone. Guy witnessed the tragedy of war first-hand and saw potential for artists to raise awareness on global social issues. This was a life-changing experience that propelled him out of the music industry and onto a mission to bridge the gap between social activism and entertainment.

Guy is now focusing all of his experience and expertise on new areas of mass media. His mission is to use music, film, television and hip hop culture as a vehicle for change, promoting self-love and empowerment for global youth. He has recently formed a multimedia company called Direct Current Media that combines socially relevant and commercially viable content to achieve success in progressive social change and economic empowerment for those involved.

Guy has a long-standing history of community service and youth empowerment. He has brought his message to schools, jails and communities around the world. Over the past two years he has traveled extensively, connecting with youth leaders around the world to find ways to connect their work and be a conduit for change.

One of his projects is managing hip hop artist K’naan. A Somali refugee, K’Naan creates urgent “music with a message” and shares Guy’s vision of using his fame to help change the situation in his home country. Pulling from his poet-warrior culture, K’naan has flourished as an artist and is now known around the world.

Guy’s vision has been captured on film and television with the creation of 4REAL television series. 4REAL takes celebrity guests on adventures around the world to connect with young people who, under extreme circumstances, are affecting REAL change. These are the REAL heroes of our time. The show inspires audiences to see their own potential and their ability to affect real change in their own communities.

The Importance of Personal Relationships

Okay, this post might crossover into rant mode, but I have to get this off my chest.

A little while ago, I noticed someone had sent me a friend request on 2 different social networking sites; Facebook and LinkedIn. I know who the person is, but I’m not very familiar with her because we’ve only briefly dealt through someone else in the past. On the few instances that we have spoken, she seemed nice and professional, so I decided to accept her friend requests.

She contacted me with an update of what she’s doing now and we exchanged a few emails over a 2 week period.

As you already know, I have my own business; so I have a few people on the team, but I also keep a short list of freelancers who I’ll outsource work to for certain services. I’ve seen her work and thought her quality of work and price would be a good match for one of my clients.

I called her up and gave her a brief rundown about this potential client and what was needed, but never went into details about who the client is and where they’re from. We spoke a bit and agreed on a rate for her retainer services.

Later that night, I logged into my Facebook account and noticed that she added 3 people from my Friends List. 2 of those guys were the clients who I was discussing the contract for, but I never mentioned their names or any real details about them.

We don’t live in the same area and she works in a very specific niche, so it’s unlikely for us to have many contacts in common.

I thought it was kind of strange but thought maybe she’s just one of those people who treats Facebook like MySpace and adds as many people as she can without making real connections with them.

Then, the next day, I get a call from my client telling me that he just got a message from her saying she can offer him a cheaper price if he goes directly through her.

WHAT?!

How bold can you be?

But wait, it doesn’t stop there.

The same evening, I noticed she joined about 5 groups that I belong to and ended up adding the admins of those groups as well (also people on my Friends List). These were all relatively small, local production companies and labels that don’t really operate within her niche; so again, it’s highly unlikely that she knows them.

The next day, I got some phone calls and emails from a few people telling me that she contacted them also and offered them the same thing. They noticed I was the only “mutual friend” so they wanted to give me a heads up on this back door shyster.

I can’t lie - I was vexed! I was about to pick up the phone and put her on blast. Did she think I wouldn’t find out? Did she think I’d just ignore it?

My blood was boiling at first, but then I realized - these people all called and told me about it. They got this random person who just added them on a social networking site and started pitching them straight from the gate. They don’t know her nor have they ever heard of her. All they know is that the only person they can link her to is me and that they hired my company to handle the services she’s pitching them.

They all sensed a rat and even deleted her from their Friends List as well.

But the fact that I’m the only person they can link her to plays into their perception of me and my judgment. We really have to be careful about who we keep around us. It’s hard sometimes because most of us work in industries that are built on greed and backstabbing. Especially the music business!

How do we know who to trust and when we find those people, how do we know how far our trust should stretch?

Obviously, she can’t be trusted and I’m curious as to how many bridges she’s burned so far, but even though she went directly to some of the artists, managers and indie labels I work with; I’m not really worried. She oversaw my secret weapon - Personal Relationships!

I don’t just walk up to people, hand them my business card and walk away. It doesn’t make any sense to me. I see it all the time at industry events; people walk around and give out their cards like they’re passing out club flyers - they don’t even speak to anyone. A lot of artists and beatmakers are guilty of doing the same thing with their CDs: just put it someone’s hands and walk away. I call that “spam networking”. There’s no point to it; nobody’s going to remember you when you spam network.

For me, I don’t just meet people; I develop relationships. When I look through my address book, I don’t see “contacts”; I see PEOPLE. I see experiences and memories. That’s not something that just takes 5 minutes to build. This is something that takes while to build and that you maintain on a constant basis.

Whether it’s wishing someone happy birthday, taking them out when they’re in town or even just grabbing a drink together because you haven’t seen each other in a while; these things are important. But don’t just do it because you feel obligated or for networking reasons only. People can tell when you’re being fake. Do it because you genuinely want to. Lucky for me, I’ve come across many people who I easily get along with and whose company I enjoy.

So, back to the situation at hand; to her and to anyone like her - you can steal all the contact info you want and try to pitch them, but I can pick up the phone and share a laugh or even ask for a favour if ever needed.

No matter what you do, what industry you’re in or where you are in your career, never underestimate the power of a personal relationship.

Talking with Grammy Winner Steve Pageot


Steve Pageot

Gold and Platinum plaques, a Grammy award and negotiations to work on Michael Jackson’s next studio album - these are credentials anybody would be more than proud of. But this is just the tip of the iceberg for producer/engineer/musician/composer, Steve Pageot. He’s definitely making major moves and is a mogul in the making.

You’re based in New York, but you were actually raised in Montreal. Do you think having been raised in Montreal influenced your music in any way?

Yeah it has. Because I grew up in Montreal I was able to listen to all types of music. You know, Montreal is a very multi-cultural city. So by being around different cultures, you learn about different backgrounds and wherever you go in Montreal, if it’s on Victoria, you’re going to hear reggae music; if it’s on Cote-Des-Neiges Street, you’re going to hear hip-hop music; going downtown you’ll hear European music, you feel me? So I grew up being accustomed to these different styles of music.

Your father is a musician as well. I heard he had you playing the guitar since the age of 3. Was he strict with you in a boot camp/Jackson 5 type way or was it more of a relaxed environment that gave you the freedom to follow your own path?

It was the Jackson 5 bootcamp. I was an only child and he was trying to make the Jackson 5 with just me. [laughs] It wasn’t easy at all. I think the minute I came out of my mom’s stomach, he had plans for me. Thank God later on my brothers came into the picture and took some of the slack for me. My brother Ric’key is a piano player and he’s actually the musical director for Cirque Du Soleil’s Delirium show. My youngest brother, Tony, he’s a drummer. He goes to music school at Vanier College in Montreal. My mom bought us the instruments to learn and my father taught us how to play and developed us as musicians. So we’re really a musical family.

In the past, you’ve said that you play the flute on every song that you produce. That’s your signature sound. What made you choose the flute as opposed to another instrument?

Well, after playing the guitar, I started playing the recorder in elementary and when I went to high school, they weren’t teaching the recorder; they had the concert flute. I switched to the concert flute, learned to play it and I’ve been playing it since. It was only right for me to play the flute on every record I produce, you know. To be different, to bring something different to the table. And so far, it’s been a success for me.

Coming from the background of being a musician first, how important do you think it is for a beatmaker to know how to read music?

It’s very important because if you’re mixing… okay let’s say if you have a loop, and you’re trying to put another sample to a loop, then if you’re a trained musician, you’re going to notice that certain samples won’t go with the loop or with another sample, just because your ear has been trained. But you find a lot of beatmakers, they’ll just put loops together and most of the time the loops are going to crash. Or they’re going to try to mix the sample with an acapella and it won’t even make sense, because the harmonies are not going to mesh.

Do you think producers in the traditional sense of those who produce, direct and arrange a song, will become less and less in demand as software and equipment become more affordable for beatmakers to enter the game?

No, because at the end of the day, it’s the real musicians who are going to make it happen. A software can’t make a beat for you. You need somebody with the knowledge of music to make something happen, to make real music. The beatmakers who don’t really know how to make music, they don’t last forever. They’re hot one minute and then the next year, you don’t hear about them. Somebody like BabyfaceQuincy JonesJimmy Jam and Terry Lewis – 20 years from now they’re still going to be making music because they know the fundamentals. Even if you come with a new software, you’re still going to need somebody like them or like myself, to take that software to the next level

You taught yourself how to work the boards and become an audio engineer. Nowadays, you’re teaching at SAE in New York. Having seen both sides, would you recommend a newcomer to the game to go to school for audio engineering, or would you recommend them to go buy the equipment and teach themselves?

That’s a good question. Well, I would tell them to do both. There are certain things that they teach you when you go to school, the technical stuff. But when you learn on your own, you’re learning by trial and error. You get your hands dirty. It’s going to teach you the process of using music equipment. Even if you’re doing it on your own, there’s a lot of reading. You’ve got to put more hours into it, compared to if you were to go to school.

How did you break into producing music for movies, television and video games?

This is how it happened – In 1999, a friend of mine introduced me to a lady who was working for Arista Records. I introduced myself; I told her I produce records and also compose music and she told me about a friend of hers who lives in her building who’s a jingle producer and he’s looking for composers because he has too much work. So the next day, I sent my package to her and she sent it to the jingle producer. He called me a week later and told me he would like to meet me. I played him some of my scores and he loved them. That’s how I got into the game. But working with him, he taught me how to make music for jingles. Making jingles and making records are two different things. In a jingle, you’ve got 30 seconds or 60 seconds to put all your ideas together. But making a record, you’ve got about 4 minutes to express yourself. So by me doing jingles, it made me work faster and smarter. So now when I do records, it doesn’t take me that long to make. Then with the experience of that, I got into making music for TV - for MTV and VH1. But it all started with the jingles.

Is there more money in producing for avenues like television and video games as opposed to producing for artists?

Oh yeah. With a 30 second jingle, I can make $30,000. Actually, there’s a book coming out very soon by Wendell Hanes called The 30/30 Career: Making 30 Grand in 30 Seconds. I wrote a chapter in there about mixing – the difference between mixing music for records and mixing music for TV. That should be coming out very soon.

You won a Grammy in 2003 for your work with Aretha Franklin. That’s a big look! What kind of effect did that have on your career as an engineer and producer?

It made my situation become legit. My phone calls get returned. When people talk to me, they speak to me in a very respectful way. Because of that Grammy, I get free equipment from different companies. Right now I got like 10 major endorsement deals. So it’s a respect thing. Actually, I won the Grammy in 2004, but it was for something I did in 2003. So I got the Grammy in 2004.

What artists are you working with right now?

Right now, I just finished working with this female singer named Jade Ewen. She’s signed to Sony London. I wrote and played the flute on 3 records. And I just signed this girl named Sahara. She played Georgia in the movie Akeelah and the Bee. She’s a 16 year old singer from Los Angeles.

You just signed her? You have a label or production company?

Yeah, I have a production company, Pageot Productions. So I’m going to do her material and then go and shop a distribution deal for her.

Describe a typical day in your life.

A typical day in my life is like.. [pauses] waking up at 7 o’clock. I work out, and then from 9 o’clock it’s the phone calls, making sure I handle my business, you know. Find out who’s doing what, what they’re working on. And then from 12 o’clock, I’ll start making tracks for MTV and VH1. After that, I’ll practice the flute for a couple of hours, and then I’ll have artists come in and work on songs or demo songs. Then at night time, I’ll work on my mixing. It’s a full day for me. From 9-10 o’clock until 4 o’clock in the morning, I’ll go out and party and network, and then back at it again.

What’s the hardest part of your job?

Man.. the hardest part of my job, is trying to filter all the ones that’s trying to b.s you. There’s so many people out there who say that they do things, but at the end of the day they just know somebody who knows somebody else who can do something. So, them b.s’ing you makes you waste your time, thinking that they’re the ones who are going to come up with something for you, but they don’t. I think that’s the hardest thing.

Work aside, what artists are you currently listening to for your own pleasure?

Right now, Michael Jackson. I love listening to Michael, you know. Actually, I just signed a management deal with Michael Jackson’s managers, Frank DiLeo andTerry Harvey. So they’re managing me now, and we’re in talks to bring me into the studio for Michael Jackson’s next studio album. I’ve been listening to a lot of James Brown lately and Stevie Wonder. I’m going back into the old school. There’s always something you can learn from it. You gotta know what happened in the past to go into the future.

What’s next for you? What goal do you wish to accomplish next?

You know what I’d really love to do? I’d really love to go around the world and do seminars. Teach people how to play music. Show them that you really got to go to school to learn this music in order to be respected. Don’t just take a drum machine, start playing it and think that you’re a musician. You know, just how all the old school people did; like Miles Davis and Herbie Hancock, they all went to school to learned how to play music. If you want to go down in history, just do the right thing, you know. My goal is to become the new blueprint of producers. Like whatQuincy Jones was to us, I want to be that producer for the next generation – and for this generation.

You can find Steve Pageot at www.myspace.com/stevepageot. Make sure to tell him you found him through MakingTheMogul.com!

Steve Pageot in the studio

Select Discography

Music Score - Rob & Big Seasons 1,2 & 3 (MTV) - 3rd season currently airing every Tuesday at 10:30pm
Music Score - Miami Ink (A&E)
Music Score - Run’s House Season 2 (MTV)
Music Score - Breaking Bonaduce Season 2 (VH1)
Mixing - Garnier Fructis Commercial with Memphis Bleek
Engineering - 8Ball & MJG “Gangsta” 
(GOLD PLAQUE)
Engineering - New Edition “All On You”
Engineering - ESPN New Year’s Eve Special with Kanye West
Engineering - Aretha Franklin “Wonderful” 
(GRAMMY WINNER)
Production - Bone Thugs N Harmony “Call Me”
Production - Krayzie Bone “War Iz On” ft. Snoop Dogg, Kurupt & Layzie Bone
(PLATINUM PLAQUE)
Live Instrumentation - Talib Kweli “Listen” (Flute)
Live Instrumentation - Planet Asia “It’s All Big” (Flute & Keyboard)