Just about anyone with tenure in the music business is familiar with Ms. Violet Brown. Logging more than 30 years working for the Wherehouse [now Trans World] music chain, Violet's influence remains incredibly strong. Her decision on what and how many to purchase for any given urban-related title can help to make or break an artist. She has an undying passion for music and is a huge supporter of unsigned and independent artistry [having personally worked with artists such as Tech N9ne and Coffey] and independent labels.

From your vantage point, what's the climate like for independent artists and labels right now? 
I feel that indie artists and labels are in a very good space right now. There are so many ways for them to get their music to their fans. The indie distributors are getting better and better at marketing and promoting their titles. Due to cut backs at the majors, the indie distributors have picked up some very talented executives and sales reps. Indie distributors really know and understand their titles. I feel that they have a better understanding of regional artists and marketing. Artists once called me clamoring to get their music to the majors and now they are all trying to hook up with strong indies. 
 
What pitfalls or challenges do you feel most indies currently face? 
Indie labels and artists often do not know the business. Before stepping to a distributor they should do their homework; get educated on how things work. They need to find mentors in the business that will help them out. Indie marketing companies such as RBC are extremely knowledgeable about all aspects of the business. If an indie label or artist needs help, an education, contacts, etc., they can seek out a strong marketing company to get them where they need to be. Most of these companies are also connected to distributors and they can walk their projects in and hook up good distribution deals. It is all about being EDUCATED. For instance, when I get a call for help, I will only help those that have started the learning process or already know what they are doing. I will help those that have tried first to learn as much as possible.
 
If you could think back, which indie labels, in your opinion, had the most impact on the music industry? 
Some of these labels are now through a major, but they made enough noise as an indie to be picked up by a major company.
 
Motown Records - When I started in the biz Motown was still an indie, distributed by indie distributors. This was and is still the most well-known successful legendary black-owned (at the time) label of all time.
 
Stax Records - Just look at their stats of hits and legendary artists
 
A&M Records - Was once the largest indie label in the world. It was important to all genres and owned by Herb Alpert & Jerry Moss. They were the first to license their music for video games, and the first home to Janet Jackson, Jimmy Jam & Terry Lewis. Every label strived to be as successful as A&M, and everyone wanted to work there.
 
Def Jam - This label really put rap music on the map. To this day they are still a driving force in this genre.
 
Casablanca Records - This legendary label put disco and the rock group KISS on the map in a big-way.
 
Profile Records - One of the first big rap labels. They brought us RUN DMC.
 
Ruthless Records - Changed the face of rap at that time. Eazy E was known as the Godfather of Gangsta Rap. They put the West Coast rap scene on the map.
 
Roc-A-Fella - Started as an indie and has become a billion dollar empire, known world-wide as one of the most successful labels to date.
 
Death Row Records- Another high profile rap label; ran the West Coast and charts for a while.
 
Of course, there are others I could've mentioned, but due to space…

Talk briefly about the indie artists you've worked with personally? 
It has been 30 years. I have worked with them all at some point. Many major artists were indies when they started. Many have stayed in contact with me over their entire career...such as Tech N9Ne, The Peas, Lyte, Ice Cube, Snoop, Common, Fat Joe... these were all indies at some point. There are just too many to call out. The one thing that I can tell you is that these artists have remained the same as I met them; down to Earth, business-minded and very sure of themselves without being arrogant. I can usually tell from my first meeting the ones that will be successful and stick around. Big heads, arrogance and laziness, may only get you your 15 minutes of fame, but hard work, creativity, honest relationships and honest business deals will keep your name clean and golden in the game.

How do you know what type of buys to make on indie product when it comes to stocking Trans World stores? 
Without giving up some of the things that I need to remain a secret...I know the music...I LISTEN, I examine the set-up and most importantly I have contact with my stores. I learn everyday more about my areas and locations. There is a bit more that is much deeper but I keep that to myself and Trans World business. 
 
What advice do you have for new labels looking for distribution?
First have good music that is in pocket with the current music trends. Often distributors do not understand music that is not on point with the current music scene. Educate yourself to the business, the legal, the marketing, the publicity, etc. After you have it down, research the distributors, find out their strengths and weaknesses. Get in bed with a distributor that knows your genre, your sound. Talk to those that do business with them (such as buyers). Get recommendations. Buyers want labels with the right distributor...if you are with the right home, it is more likely that you will have success and retail will have more sales.