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In the course of their careers, many of today’s most popular artists have had to undergo a phase of re-branding in order to establish themselves as serious, hardworking artists. Miley Cyrus may come most immediately to mind, who went from a bubbly Disney personality to a sexy sexualized, provocative, and often philanthropic musician/media sensation. Justin Bieber took a similar route. 2Chainz went from small town thug rapper to high fashion trap music artist. Even icons as successful as Janet Jackson, who underwent multiple rebranding phases, employ the tool to help boost both popularity and profit margins.
Magic Music Management uses similar tactics on its artists, who are redeveloped from what they are into what they wish to be—given the tools necessary to become profitable, working artists. This is all done using the basic principles of magic of, Transform, Levitate and Effect. Richie Nuzz, formerly Richard Nuzzolese, was the first of such projects. He began his career in entertainment as a model, appearing in music videos such as Katy Perry’s Last Friday Night (TGIF) and Britney Spears’s “Work Bitch” . He contributed to the video’s 400 million YouTube views, but had always aspired to be a singer himself, first and foremost. He took all the wrong routes, shooting for any degree of publicity rather than a quality stream of material that would portray him as a viable musician.
In the span of only three months, Magic Music Management coaxed him out of the shell of a semi-nude Tumblr model, overhauled his website, image and social media outlets, then released the first video of Richie Nuzz the artist. He is now performing at music festivals alongside established acts like Kendrick Lamar, Nas and Jhene Aiko. His debut album Immaculate is available on iTunes which moved over 500 units in its first month of release beforehand—no small feat for a previously unknown independent artist. Magic Music Management was able to set him off on the career path he wanted, but was unable to create himself. We are about to do the same for a name that is already well known to the listeners of Atlanta.
E.T. is a radio personality on Atlanta’s Hot 107.9 night show Durtty Boyz. With over a million listeners, there’s no denying he already has the popularity to produce, promote or sell whatever he wants to some degree of success. After all, E.T. is a gateway of sorts for other artists to premier their music to Atlanta, which happens to be hip hop’s most thriving region at the moment. He’s also in the studio with the likes of Rhythm D, who is notable as the producer of EZE’s first album. However, Atlanta’s hip hop population hasn’t clung to the idea of the VJ himself as an artist—a fact that will inevitably shift after Magic Music’s transformation. Be on the lookout for Benefit, the hot young VJ turned tatted, Cali-swagged hip hop artist skating onto radio later this year.
Earlier this week, rapper Meek Mill fired off shots at Drake with accusations of him not being the writer of his own lyrics. The beef largely took place via the rapper’s Twitter account, and according to Meek, may have started when Drake neglected to support (shout out?) Meek’s latest album, Dreams Worth More Than Money, on which Drake appears as a feature for the song R.I.C.O. During the Twitter tirade, which began Wednesday, Meek shouted “He didn’t even write that verse on my album and if I knew I woulda took it off…” (He actually wrote the statement, but it’s hard to read anything in his voice without imagining it being shouted.)
Several of his peers have spoken up in defense of Drake, most notably the young man credited as a co-writer on a fraction of Drake’s If You’re Reading This It’s Too Late, Quentin Miller. Whispers in the hip hop community claimed he was the main contributor of Drake’s lyrics. In a statement posted to Twitter, Miller noted: “I am not and never will be a “ghostwriter” for drake.. Im proud to say that we’ve collaborated .. but i could never take credit for anything other than the few songs we worked on together…” The full statement can be viewed on the artist’s personal Tumblr page here: quentinmiller.tumblr.com/post/124938364407 Drake fired back over the weekend with a diss track of his own called Charged Up.
The record is classic Drake—less direct, rather intimate for a diss record, but a good song nonetheless. The end result of this twitter feud may be nothing more than a marketing ploy, as more people than ever have taken note of Meek Mill’s album. It looks like he took a page out of girlfriend Nicki Minaj’s book, whose first album gained heavy steam running off the heat of her beef with rapper Lil Kim. Still, you can’t help but appreciate the gall in Meek’s very direct, very forthcoming attacks. He has our attention now, let’s see what he does with it.
- Garco B.
Atlanta is blossoming as an entertainment capital. Between the success of Tyler Perry’s various productions, the prevalence of hip hop artists across the national board, the hundreds of festivals happening yearly and the filming of big budget superhero films like Captain America and The Avengers, Atlanta is quickly becoming the Hollywood of the south. In fact, the only southern city with a more embellishing entertainment scene is the country music mecca—Nashville. One has to wonder if Atlanta will soon catch up to its rival and what that city is doing to continue its prosperous streak.
What we know is that Nashville invests heavily in its youth—there exists a wide array of public school programs devoted to developing the musical assets of Nashvillian children, as well as private schools that promise to turn your average-inclined child into Taylor Swift. Meanwhile, Atlanta has managed to package its artists as everything but professional, super talented, nationally recognized musical experts. While the city does have its own unique sound—popularly designated as trap music, even the most successful of local artists can’t seem to produce a music video that wasn’t filmed on a sidewalk.
Magic Music Management aims to improve the packaging—the general quality of all Atlanta’s musical acts. By raising the status quo of what we expect from our favorite trap artists, but maintaining the grit, the edge, the authenticity that sets us apart, the future of Atlanta’s music will rival not only Nashville, but the entertainment meccas of New York and Los Angeles as well. Marketing and branding expert Paul Lewis is investing in Atlanta’s up and coming musicians, as well as future leaders, to coax them into an industry niche that will undoubtedly excel. Combining efforts from the likes of Mayor Kasim Reed, Atlanta’s school system, Savanna College of Art and Design, Georgia Tech and various other academic networks, we can expect to see growth even larger than the Housewives’ variety.
The music industry has undoubtedly hit a bit of snag in recent years, with record companies foregoing all but the most promising of artists and focusing only on what they are sure to capitalize on. Unfortunately, this has severely limited the amount of quality music available for us all to enjoy and placed a massive strain on everyone in the industry—particularly, the artists. It seems to be runaway train effect with no solution in sight, which begs the question—will we ever again have music and artists as great as the ones we grew up with?
The short answer: yes, if music manager and branding expert Paul Lewis has anything to do with it. With industry expertise and a solid consortium of accomplished young professionals, Lewis has built Magic Music Management as a platform that provides artists with the tools they need (music videos, live shows, touring, social media management, website design) to continue working, become profitable and produce quality music without depriving them of their God given name and rights.
Magic Music Management, or MMMGT as it has come to be known, focuses on the artists themselves and exists as a supportive conduit which helps them reach their acquired and potential fans. In today’s musical climate, record labels have a tendency to abandon artists once they are no longer bringing in money. Magic Management works to connect artists with their fans in ways that negate the dependence artists of earlier years had on their record labels.
A music standard is on the horizon; one that keeps the power of the artist in their hands. Lewis and Magic Music Management are spearheading this movement, and will be working to restore music to a time that was, more or less, legendary.