After doing an extensive amount of research and intelligence gathering on the current urban dance music scene, we are fascinated and excited to take this project on. Our project goal for the urban dance music scene is to create the framework and infrastructure necessary to transform the urban dance music scene into an economic driver industry for emerging urban growth markets worldwide. In this article, we are going to give you a high level overview or our approach before going into the project. You might as well click on the YouTube video and listen to the mix because we got a lot to talk about and cover here. What is most exciting to me is what I already know, the urban dance music opportunities in Africa and Asia is bigger than the opportunities explored in Europe and Americas the past 30 years combined! The other exciting aspect attracting me and my team is the social good that urban dance music can bring to urban markets with positivity and culture and style driven. I believe urban dance music can help drive the growth of new emerging markets and revitalize urban markets here in America creating economic foundations to create entrepreneurs and jobs. This is exciting stuff to me. Some people say this house music or urban dance music is not a scene but it is movement but the problem is, movements have to be manufactured and not just talked about. Urban dance music genre is not going to organically grow itself into a movement - an invisible hand has to be involved to create the necessary components to solidify anything cultural thing into a movement and that is known as both propaganda and investments. So let’s cut the past 30 year fantasy rhetoric and cute talk about some “magical movement” going to appear out of house music – we have to put in real work to make that happen. The Overall UDM Solution Framework To create an urban dance music industry, we believe we have to focus on four core areas which is business-to-business (B2B), business-to-consumer (B2C), the technology and culture. Let’s explain each of the core areas in a little more depth: Business-to-Business. This involves creating the “rails” for those who looking to UDM to put food on their table. We establish licensing and royalty payments models, focus on intellectual property rights, identify venues and how to get booked, studio and music gear to produce tracks and patterns and practices and current industry trends. These also involve conferences, trade shows, industry blogs and apprentice programs. Business-to-Consumer. We are talking about how to interface and conduct a relationship with the consumer of the UDM scene. These are establishing the actual venues such as longue clubs and festivals the consumer can attend. These are the media broadcast framework to promote the genre through audio and video channels. This is also establishing the e-commerce model on iTunes, Amazon, Google Play and other networks. Technology. This involves focusing on the best practices and patterns using technology to achieve our B2B and B2C journey mapping goals (will explain journey mapping in a later article). This includes technology to stream media, operate a club or festival and also promote advertising and tie-ins to the UDM scene such as club booking technology and membership club technology. And of course, QR shopping wall posters in urban area subway stations to download free house music samples and buy the full version. Technology is key and have to stay on the latest and greatest to drive every goal we trying to reach in this project. Culture. This involves the tie-in of fashion and style into the UDM movement. For example, the people in South Africa will have a different house music culture and style around the genre and the people in Atlanta will have a different style than those back up in Chicago. The goal is to help identify and acknowledge those styles and tie it back to the UDM and this is what drives your movement. Again, we will be employing practices and patterns we discovered in Harajuku and Akihabara in Tokyo, Japan to help create a mature scene. Now that we talked about the high level, let’s talk about the steps to take. Establish an Industry Touchpoint An industry touch point is where the professionals in the UDM sector can go to exchange information on patterns and practices and understand the mission and goal. These touchpoints will not be a waste of time or worthless chatter as the information will be acted upon to elevate the UDM industry. What will be discussed is standards and practices, setting up venues, mistakes and lessons learned, trends and topics. Establishing Media Platform This is the technology part to focus on getting UDM directly to the consumer on as many media channels possible and stay on top of how to deliver UDM directly to the consumer. This involves understanding the standards for iTunes, Amazon, Google and other download sites. This also involve creating media broadcast that can use Bluetooth to stream to the car to replace the car radio system. Also setup on gaming consoles to stream music to households. I’m also working on a radio station broadcast. Licensing and Royalties Making sure UDM professionals are getting paid and receive fair pay-to-play is important and if me and the 3rd Strategic Institute cannot establish this then we are out and will divest our interest immediately. House music producers do not last long in the current setup because the money is not there and many are doing hard DJ work to build up money to print their own music only to not see any royalties received but their song played everywhere and don’t have money to hire a good lawyer. We ain’t going to play that anymore and establish licensing and royalties. Me and my team has 30 days to complete our proposed draft for licensing and pay-per-play rules that is in line with the Library of Congress royalty recommendations and also how to handle global markets. We know there are challenges but we also have to address how to turn these challenges to our advantage. For example, I would not care about pay-for-play in China and give the local clubs in the growing Chinese cities free access to broadcast the music. What I would focus on is using the free broadcasting in China to drive mobile phone MP3 downloads in China which will deliver more revenue than all of the pay-for-play revenue generated in America. So nothing is going to get started until there is an understanding of how the house music artist gets paid. We are not talking about how much they should get paid, we are talking about verifying and making sure UDM professionals get paid for their contributions and work like any more business. Establishing Industry/Consumer Venues This is the establishment of the clubs and festivals and this will incorporate best practices and latest technology to promote events from 50 to 100,000 people. There has to be both an area domination strategy to take over parts of London or Johannesburg with a club scene as well as establish remote locations as far away as Toronto and San Paulo that can enable brothas and sistas travel to these regions and start touring the world as brothas and sistas together. All of this cannot be Marco Polo and Christopher Columbus type stuff – we have to get these areas and venue defined and documented. Create a Cultural Movement This involves tying in the natural hair movement and other styles and fashion into the UDM movement. The key is to make UDM the official soundtrack of the modern culture and that is done through the media streaming and print media and other sources. Create e-books like “A Househead from Harlem” about a brotha who dance to 4/4 beats with a girl he meets at the club every weekend but haven’t asked her out on a date yet. Create a house music park as a landmark that plays UDM 24/7 with outdoor speakers and walk of fame of house music artists and also host vendors and food trucks in the hood to create economic development. Run those damn bums out of the Underground Atlanta and turn that are into a Takeshita street in Harajuku for the fashionista brothas and sistas. UDM Can Make Things Better Our research show the importance of creating a real urban dance music industry can have a profound positive impact on the spirit and economic viability of a community. We know for the fact while people can just buy one hip-hop or pop track, we know they will buy at least 6-12 house music tracks to create a mix or playlist flow. This is why the major labels are chasing after EDM. We also know the global emergence impact in Africa, Europe and throughout Asia. The house music game isn’t dead – it haven’t even started yet! And that means this is a great opportunity whether you been around for 30 years to just 30 days to help elevate UDM to help elevate the world around us for the better.