industry101 Shakir Stewart
Senior Vice President of A&R Island Def Jam Records Who are some of the artists you work with? I signed Rick Ross and Young Jeezy; those are the two projects I’m working on now. I also have a 14-year-old prodigy named Karina. I’m developing music for her. She’s an R&B/pop artist, classically trained at the piano. How did you come across Rick Ross and Young Jeezy? Of course they each had a real heavy street buzz before they got signed. Nowadays in the South for a lot of artists, radio is opening up to breaking unsigned talent. I don’t go off just the buzz. I strictly judge it off the artist and the music. One thing about both Jeezy and Rick Ross is that these guys really have talent. They really can rap, they have incredible ideas, and they were unique in their own senses.
A lot of A&Rs check Soundscan and BDS – what are your methods for seeking out the next Rick Rosses and Young Jeezys? I can’t chase BDS or Soundscan for an artist. They might generate spins but only have one or two singles. There’s no longevity. I like to be in business with an artist that has true talent, that can be around for 5, 6, or 7 albums, if not more. Of course you have to monitor radio, but beyond the song I look at the artist’s integrity and creativity. I have relationships in different cities with the lawyers, managers, interns around the studios, people like that. You have to listen to as much as you possibly can and just keep your ear to the streets.
So just because an artist has a buzz, that doesn’t necessarily mean they’re talented? I think there’s a lot of different kids of buzzes. Sometimes a buzz is created but the artist might not warrant that buzz. As an executive you have to be careful what you go after based on buzz. A buzz can be created by one or two people, or a buzz can be created by the streets. You’ve got to do your homework and make sure you’re going after the right artist.
Have you seen anyone get a deal off a demo or do you think those days are dead? I’ve definitely seen people get deals off demos. In the rap game, outside of the demo you also have to do something to create a real organic buzz in your region. But it boils down to the artist – can they make songs? Bottom line. Do they make unique records? A lot of rappers out there are great freestylers, great battle rappers, but can they make songs? Freestyle albums haven’t sold well.
With some of Jeezy’s content and probably now with Rick coming out, they’ve been criticized by mainstream America with their music being so drug-related. Being an executive, behind the scenes, since you are really the one promoting the records, is it ever an issue for you personally? I believe in an artists’ freedom of speech. Of course I’m aware of the sensitivity of a lot of the issues they address. Jeezy’s first album was really an excerpt of his life. That was his vision of the life he had lived. So although I realize that some of the things he discussed are controversial, it’s his reality. He understands that there also has to be a positive message, and as he continues to put out records I think the public will see a more mature side of Jeezy.
For someone trying to get into the music business behind the scenes, do you think interning is the best way to go? I definitely think interning is a great route. The music industry is a closed society; somebody has to invite you in. Whether you’re interning, being an assistant, bringing water into the building, whatever it takes for you to get to a place where someone in a position of power can recognize your talent. You have to do what you have to do. it’s a by any and all means situation.
As an A&R what role do you play in the creative process, and how do you bring out the best in your artist while still allowing them to be themselves? First of all, every artist is different. You can’t “A&R” every artist the same, for lack of a better word. Some artists already have a direction; some artists need a direction. I have great relationships and great communication with all the artists. It’s about letting their vision and their message come to life. Aside from your communication skills, what are some other important qualities for an executive like yourself to have in order to be successful? If you’re an A&R, you’ve got to have ears. You have to hear what you think the public is going to like. I also pride myself on making sure I have great relationships with my artist. The A&R is the bridge; you’re the person that connects the artist to the label. You have to have a clear understanding of who your artist is and what and how he wants to be perceived because there’s a lot of meetings that take place in the corporate office that the artist might not be a part of and you have to make sure that you are delivering the correct message and making sure your speaking on behalf of the artist. You’re their spokesperson. During the recording process, there’s no one closer to that artist than the A&R. Both Rick Ross and Jeezy mentioned that Def Jam was the place they’d like to end up. Does working for a label with a reputation like Def Jam make it easier to attract talent? Def Jam speaks for itself. When L.A. Reid 28
came in and made that transition from Arista, it was important for the new regime to break a successful new artist in hip-hop. For us, that was Young Jeezy. Considering the legacy that we have and the fact that we do have a great president in Jay-Z, who’s a legend himself, it was important to break a new artist and let the streets know that the new Def Jam does understand what to do. There was a blueprint that was built – how to take an artist with a buzz and deliver double platinum status.
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Did your college education help you in the music business? I think it was definitely helpful considering the fact that there’s a lot more to the music business than just the music. There’s a corporate aspect of it, so as far as understanding the marketing and the financial aspect, my education has definitely played a role in my career for the success I’ve had. Do you think it’s hard for executives to balance that 9-5 corporate world and still be able to relate to what the streets want to year? Yeah, but you have to be able to do that, because that’s the difference between average executives and top-level executives. You have to do it all. A lot of times we’re up til the wee hours of the morning and we still have to get up early and close deals with lawyers and read contracts. That’s a part of this business. In order to stay on top of the game you’ve got to do it all. Are you planning to stay in an A&R position or is there somewhere else you’d like to go with your career? I’d like to have my own entertainment company that would be a record company as well as a publishing company. I would definitely like to have equity in something. I wouldn’t want to just continue to make money for everybody else without making money for myself. That’s just me being a good businessman. I just want to be affiliated with great artists, artists with substance who have touched people’s lives in some way. I’m a true fan of music and I just want to be in business with people who really love music and take this business seriously. Do you have an address where people can send their demos or CDs? Island Def Jam, Attn: Shakir Stewart 500 Bishop St Suite A4 Atlanta GA 30318 - Words and photo by Julia Beverly
(Above): Shakir (in the green shirt) on the set of his artist Rick Ross’ video shoot