First, I just wanna say I hope everybody enjoyed their holiday. I mean that...but having said that...
I was in a pretty shitty mood last night after Jess and I came home. We went to my friends house from school. Had an amazing time with some other friends from class and his awesome family. The food was absolutely delicious, and I had a blast. Unfortunately, that escape from reality was a temporary fix. Things around here aren't going as well as Jess and I had hoped due to me being unable to find a job. Living off student loans really only goes so far, and not having a job is a serious bummer. Anyway...
I went down to the gym and continued my daily routine, and was very specific as to what music I wanted to listen to during this time. Normally, I let my Ipod play on random, and get busy to whatever comes on next. But this time, I wanted certain songs. Why? Why was this time so different? Simply, because I was so pissed off and upset, that Sublime or James Brown just weren't welcome in my house that night. I needed the angry, hard hittin beats. I have a pretty good mix of stuff like that. Some Biggie mix tape stuff where the beats are super hard and BIG rips it, got some Pac in there, so on and so on. But, more specifically, I fell back to my original favorite angry blond, Eminem. Now, you can say whatever you want about this dude, his latest album is serious. I've always been a crazy fan of Em's, and I'll be the first to say that, before "Relapse", his last two albums were friggin terrible. God awful, not worth breakin buds up on. But his most recent album, "Recovery", makes me remember why I love this dude so much. I'm not gonna get into a crazy review about this album. If you haven't heard it yet, you should. If you don't like his music, whatever. It's the principle. His lyrics are back to the "I don't give a fuck" attitude that, well, I've always found very easy to relate to. Especially last night, I needed that edge in my headphones. Plus, this album is very much like what I'm going through right now. Kind of like my 2nd chance to do something with myself here, and to not give up.
Now, the subject of this "blog". It all thrived on my emotion. When a person is really angry and irritated, they don't wanna listen to Etta James singin "Sunday Kind of Love", dig? I didn't even wanna listen to Pac's "Hail Mary", or Biggie's "Who Shot Ya?"...not hard enough. I wasn't depressed enough for "Suicidal Thoughts", or anything like that. I needed something that fit my mood.
When I was done, I came back upstairs to our apartment, and sat down at our piano. What better time to write a song than when all of this emotion is coming out of my pores faster than the sweat dripping down my spine? That's where it all comes from...you can be all types of knowledgeable in music, know everything about theory and reading. Kill your voicings and writing music...but if you have no emotion...dawg...stop wasting my time. Music is all about emotion. From the music we enjoy listening to, to the music that reminds of a certain time or a certain someone, it's all based on emotion. The best songs ever written, I'd be willing to bet, were written when the writer was overdosing on emotions (and drugs..but more so emotion for the sake of conversation). Whether it be cheerful, angry, sad or whatever, there was a rush of emotion. Songwriters and artists who are really good at what they do are capable of channeling those emotions at any given time, but still...their best music is written when it's a natural flood of feeling.
I sat down, and came out with this chord progression...and I loved it. This chord progression had everything that was going on inside my head, and turned it into music. Sometimes, thanks to my classes, now...I can even hear it before I sit down at the piano and play it. That's why Ray Charles and Stevie Wonder are such beasts...sight is irrelevant. That's how incredible emotion is when it comes to music. You don't even need to be able to see...shit...Beethoven was DEAF! Figure that shit out...
My whole thing is this...the music that you create, and the music that people grow to love, will always be the best thing you ever wrote, so long as your heart is in it. You can make people feel exactly what you were feeling at the time you wrote that song, you just gotta put your true self into it. And, you also have to be able to hold onto that feeling. I came back to the piano, and sat down this morning to play that same progression...played that shit all happy and cheerful..basically a totally different song. Now, I could just flip it like that and take it in a completely different direction. But, that's not what that song was started for, so it wouldn't end up as genuine or sincere. I probably wouldn't even enjoy doing it. So, I have to hold onto that emotion, and act on it via music. Any songwriters, or poets, or producers for that matter out there, know how great it feels to write a piece and get things off your chest through a song. Prolly saved a decent amount of lives...
'Till next time, think about this...
After silence, that which comes nearest to expressing the inexpressible...is music.
Peace.
Saturday, November 27, 2010
Wednesday, November 24, 2010
Living in a Digital World
So, one of the classes that I'm taking is a Scoring for Film and TV class. It's a really interesting class, and since it's what I want to do with my music career, I plan on taking the sequel next quarter (horrible pun intended). For our final exam, we actually have to score a 30 second clip of our choice out of three available clips. Since I am most comfortable with soft, smooth piano pieces, I've opted to score the love scene clip. I've pretty much already written my main theme and melody, and have started planning how I'm going to orchestrate everything and dress it up. While I was getting ready for bed last night, I really started thinking...
It is simply amazing at how digital and virtual the music world is now. Hardly any sound you hear on the radio now-a-days is an authentic sound...everything is sampled, and played by virtual instruments and sample libraries. When I am recording a piece that I wrote, or plugging in certain instruments (strings, horns, etc), it's all virtual. I do it all with a MIDI controller and a sampler library. Basically, for those that don't know, I click on a specific sound that I want, and the little keyboard in front of me now generates that sound in the program, based off samples of live instruments. I have an entire orchestra at my fingertips. And this applies to any genre of music, including rock, but more specifically club stuff, hip-hop, and pop. Classic rock music is still played with live instruments, but processed through digital programs like Pro-Tools. In these programs, you can plug in different sounds and effects, and add a virtual "something" to your actual "anything".
However, realistically speaking...you don't even need to know how to play or access live instruments anymore. You want a muted blues trumpet? Point and click. How about a slap bass? Point and click. Maybe a brush drum set with a grand piano, set beside a harp quartet? Point and click. I'm not exactly sure how I feel about this... On the one hand, studying music and being a "musician" today really only gets you so far in this game. Anybody is totally capable of making music these days, and they really don't even need to know how to read or write music. That kinda pisses me off, but probably only because I'm hatin on them for being able to do so. I used to think that knowing how to read and write music, and orchestrate as well, was a serious advantage. While it is still an advantage, it doesn't really hold that much more weight (depending on the genre, of course). I mean, someone who doesn't know how to read or write music certainly couldn't write a classical piece for a 50+ piece orchestra, or a show tune for Broadway...but they certainly could produce the next hit song on 97.1 or Z100.
On the other hand, you have to consider where music would be without this digital and virtual advantage. Think about how many great songs we've all come to love, simply wouldn't exist. The synthesizer has evolved so much from the days of the first Theramin or Mini Moog
(Google them), and it really has helped the music world advance in sound and capability. I could almost guarantee that most of your favorite songs are made via virtual instrument, and EVERY club and techno song is. Which is fine...I mean imagine tryin to roll or trip to an acoustic guitar at The Tunnel in NYC...not happening.
After thinking about all of these club songs and techno stuff last night, it made me realize something...we have become so dependent on computers, that we now actually make music from and respond to computer sounds...like robots. All the high pitched and bending notes, sound like the same types of sounds computers make when they are communicating with one another. The rhythms...computers. These sounds enter our brains, and we are almost commanded into dancing and doing other things, that had this music not been played...we probably wouldn't have ever done in the first place. Kinda weird to think about.
I suppose the natural musician will and can't ever be totally phased out, because that's just ridiculous....but, I will say this...the natural musician better get with the program real fast, otherwise we'll all be broke piano men, playing at a bar, wondering what we're still doing here.
In closing, remember this...A painter paints pictures on canvas, but musician's paint their pictures on silence.
Peace.
It is simply amazing at how digital and virtual the music world is now. Hardly any sound you hear on the radio now-a-days is an authentic sound...everything is sampled, and played by virtual instruments and sample libraries. When I am recording a piece that I wrote, or plugging in certain instruments (strings, horns, etc), it's all virtual. I do it all with a MIDI controller and a sampler library. Basically, for those that don't know, I click on a specific sound that I want, and the little keyboard in front of me now generates that sound in the program, based off samples of live instruments. I have an entire orchestra at my fingertips. And this applies to any genre of music, including rock, but more specifically club stuff, hip-hop, and pop. Classic rock music is still played with live instruments, but processed through digital programs like Pro-Tools. In these programs, you can plug in different sounds and effects, and add a virtual "something" to your actual "anything".
However, realistically speaking...you don't even need to know how to play or access live instruments anymore. You want a muted blues trumpet? Point and click. How about a slap bass? Point and click. Maybe a brush drum set with a grand piano, set beside a harp quartet? Point and click. I'm not exactly sure how I feel about this... On the one hand, studying music and being a "musician" today really only gets you so far in this game. Anybody is totally capable of making music these days, and they really don't even need to know how to read or write music. That kinda pisses me off, but probably only because I'm hatin on them for being able to do so. I used to think that knowing how to read and write music, and orchestrate as well, was a serious advantage. While it is still an advantage, it doesn't really hold that much more weight (depending on the genre, of course). I mean, someone who doesn't know how to read or write music certainly couldn't write a classical piece for a 50+ piece orchestra, or a show tune for Broadway...but they certainly could produce the next hit song on 97.1 or Z100.
On the other hand, you have to consider where music would be without this digital and virtual advantage. Think about how many great songs we've all come to love, simply wouldn't exist. The synthesizer has evolved so much from the days of the first Theramin or Mini Moog
(Google them), and it really has helped the music world advance in sound and capability. I could almost guarantee that most of your favorite songs are made via virtual instrument, and EVERY club and techno song is. Which is fine...I mean imagine tryin to roll or trip to an acoustic guitar at The Tunnel in NYC...not happening.
After thinking about all of these club songs and techno stuff last night, it made me realize something...we have become so dependent on computers, that we now actually make music from and respond to computer sounds...like robots. All the high pitched and bending notes, sound like the same types of sounds computers make when they are communicating with one another. The rhythms...computers. These sounds enter our brains, and we are almost commanded into dancing and doing other things, that had this music not been played...we probably wouldn't have ever done in the first place. Kinda weird to think about.
I suppose the natural musician will and can't ever be totally phased out, because that's just ridiculous....but, I will say this...the natural musician better get with the program real fast, otherwise we'll all be broke piano men, playing at a bar, wondering what we're still doing here.
In closing, remember this...A painter paints pictures on canvas, but musician's paint their pictures on silence.
Peace.
Saturday, November 20, 2010
By The Way
Earlier today I was thinking about what I had said last night about the music making thing, and I feel the need to clarify something...
By no means what-so-ever, did I intend to imply that making instrumentals for any genre of music is easy to do. It obviously isn't, otherwise I wouldn't be having such a hard time with it. Whether it's sample or original, composing a beat and knowing what sounds good is a very intricate and involved process, and you really need to know your shit to be able to make any type of beat for any type of song. Naturally, some are harder than others, but that's irrelevant. The shit is hard to do...really hard. Okay....testicles...that is all...
By no means what-so-ever, did I intend to imply that making instrumentals for any genre of music is easy to do. It obviously isn't, otherwise I wouldn't be having such a hard time with it. Whether it's sample or original, composing a beat and knowing what sounds good is a very intricate and involved process, and you really need to know your shit to be able to make any type of beat for any type of song. Naturally, some are harder than others, but that's irrelevant. The shit is hard to do...really hard. Okay....testicles...that is all...
A Rock and A Hard Place
So, I really love the fact that I moved to Hollywood to go to Musicians Institute. I swear there is no sarcasm there. I really am learning a lot of interesting things about music composition, as well as music business and everything else. My "Groove" teacher even has us read articles on what happens in the brain while music is being played and listened to. For those interested, check out sad brain, happy brain in newsweek. You can basically just google it and the link will pop up. Pretty interesting shit. We've even looked at results of an MRI of a person playing guitar during the procedure. Rather awesome. Matter of fact....here..www.newsweek.com/2008/09/12/sad-brain-happy-brain.html..that's the link....Anyways...
One thing that I'm really focusing on here at school is scoring for film and TV, and video games as well. One of the electives I've taken is a scoring class, and my private lesson instructor does scores for film as his main profession. The private lessons are actually like a part time job for him. An interesting thing I've learned, among the hundreds, is motion of melody. This may take some explanation, so bear with me. Basically, when it comes to soundtracks and scores of compositions, melody is king. The main melody for "Indiana Jones", for example, is an infamous melody. By the sound of that melody, you know you're in store for a heroic episode of ridiculous situations, survived by the virtually invincible Indiana Jones, who just so happens to be an intelligent college professor, and who's only fear is of snakes, blah blah blah. My point is, that the sound of that melody immediately tells you what's going to happen. The main theme, the "promise" of what's to come.
The reasons this melody has such a heroic tune revolve all around the motion of the melody. First off, it's pretty much all major chords and progressions. Even deeper into that, however, is the fact that the melody is always moving in an upward motion. Sing it to yourself right now....the notes progressively raise in pitch as the melody goes on. Major chords and upward motion immediately signify heroism and positivity. Pretty cool stuff. When writing a melody, it's important to know what message you're trying to deliver.
Works basically the same way with sad stories, except the opposite. Sad melodies are mainly composed of minor chord progressions, and downward movement of melody. Take "The Godfather" love song, the famous song. Sing that melody to yourself....it moves downward on all of the strong beats. Minor chords and downward moving melodies immediately signal sadness and drama. Test it out the next time you watch a movie, and are listening to the main theme or just some music happening in the movie. If you don't know the difference between major and minor chords, you will after listening to certain songs. Happy songs are generally major, and sad minor. If you're really interested in a deeper explanation of this, hit me up. I'll explain what "strong beats" are, and further explain melody motion.
I also am trying to get deeper into songwriting, which is where my rock and hard place have been established. See, you can't just be limited to one genre of music if you are to be considered a song writer. Even when I was doing only hip-hop, I noticed that quite a few of my instrumentals really weren't used as often as I would have liked them to be. Don't get it twisted, fam, I'm not hatin on anyone for that. If you know me then you know that already. I think now I understand why. It's just a different type of instrumental making, and I wasn't going about it the right way. I'm learning the right way now, and taking what I already have learned with me the whole way. I had a hard time sampling and chopping stuff, honestly because I feel that I would just lose my patience with it, and eventually just start to work on something totally original. Plus, my camp already had so many dope ass producers, it was kinda unnecessary for me to be doing it. Aurc and Tab are two of the sickest producers I know. Not to mention Dee Ess, M-phasis, Dynomite, Anitek...you see my point yet? The fact of the matter is, I was trying too hard to compete with dudes that are just out of my league, and in turn writing songs that weren't considered hip hop, or even MC friendly. Which brings me to my next point.
Songs made for lyrics, when it comes to hip hop, pop and R&B, realistically, only consist of two, maybe three chords. But really only two, sometimes only one. When it comes to sampling and chopping stuff, it's basically the same loop carried by a bass line. But after analyzing the songs, it's basically one chord. Which is fine as far as hip hop goes, and which is what I didn't get. Pop songs are really only two chords battling another two chords when it comes to the bridge and the hook, basically. They're usually a very simple chord progression, and depending on the mood of the song, will be major or minor chords. Same goes with R&B for the most part. Next time you're listening to a song, really sit there and LISTEN to the music, and freeze it in your mind. You'll notice that it's basically the same couple of chords being bounced back and forth. Techno, or the new "Dub Step" (youtube "UFK Dub step") that's around, is one chord, with a deep and filthy bass. Hence, my rock...the melody is very important to these songs, but those basic chord progressions kick my ass for some reason. I just don't know what sounds good because I'm really not that into the music...which leads to the hard place.
My hard place (stop it) comes from the fact that I need to study this stuff in order to get it. The hip hop stuff I get, and I just need to practice it more. I still prefer to do original stuff, but I just have to realize that I'm making it way too complicated. Pop music and techno music, I really need to study...and this is my hard place...because man, this music is NOT my bag, baby. My God, this shit is hard to listen to. I can only do it in small doses, before running to my Ipod to listen to BackPack, or Rakim or something like that. Remarkable Mayor is a live saver, for real. I mean, it's only my opinion, but this is also my blog...this music sucks yo.
There's no creativity. There's no heart and soul. You can't really even say "well at least she can sing" because of auto tune. They should just call the radio "digital anesthetic", because that's what it is. From a musician's standpoint, this shit is boring to me. It's the same few power chords over and over again, with some chic or dude singin about some shit that people only care about on Friday nights. But, this is what sells (refer to my first blog for that argument).And it kills me that I have such a hard time writing these songs.
Engineering is engineering, and I know that shit is tedious and aggravating at times. I would never take anything away from the people behind the scenes, or really even the "artist" for that matter. I know a lot of hard work goes into touring and stuff like that, but dude...seriously...how long did it take to write some of these songs? I recently discovered that I now know how to make the EXACT instrumentals for Usher's "Fallin in love in this club" and Rihanna's "Umbrella" songs. THE EXACT INSTRUMENTAL...took me all of five minutes. No shit. Those songs, among many others I'm sure, were made from previously programmed loops in digital software. All they did was grab and drag, and boom....platinum record. Meanwhile, I'm spending $500 per credit to learn exactly how they did this....unreal.
Either way, I'm going to keep pressin, and keep makin original shit. Bottom line, eventually those sample libraries that come stocked with fat loops for people to use without risking copyright infringement will run dry...but my brain will always be able to create a new, original sound from a synthesizer to play a new, original melody. And that shit is mine, not a computer programs. At least if you're sampling Marvin Gaye or some other artist, there's credit to be given to the composer of the song. A sample that you have to dig for and pay for is WAY more appreciated and valued than some software sample, that all you had to do was drag into your arrangement window. I mean damn...at least chop it up a little bit. Change the tempo....something. Be creative, man.
Maybe I'm being too hard on the situation. Maybe I'm being unrealistic...whatever the case, allow me to close with this thought...
Regardless of what type of producer you are, whether it's hip hop, pop, rock, R&B, or a composer for films and movies, never take an easy way out past being creative. Put the work in, fam. If you're sampling other people's music, chop and screw it, change it up somehow. Shit, you could even just add a new instrument. Do something creative. Be your music.
Until next time, I leave you with this...Life is like a game of poker. If you don't put anything into the pot, there won't be anything for you to take out....Peace.
One thing that I'm really focusing on here at school is scoring for film and TV, and video games as well. One of the electives I've taken is a scoring class, and my private lesson instructor does scores for film as his main profession. The private lessons are actually like a part time job for him. An interesting thing I've learned, among the hundreds, is motion of melody. This may take some explanation, so bear with me. Basically, when it comes to soundtracks and scores of compositions, melody is king. The main melody for "Indiana Jones", for example, is an infamous melody. By the sound of that melody, you know you're in store for a heroic episode of ridiculous situations, survived by the virtually invincible Indiana Jones, who just so happens to be an intelligent college professor, and who's only fear is of snakes, blah blah blah. My point is, that the sound of that melody immediately tells you what's going to happen. The main theme, the "promise" of what's to come.
The reasons this melody has such a heroic tune revolve all around the motion of the melody. First off, it's pretty much all major chords and progressions. Even deeper into that, however, is the fact that the melody is always moving in an upward motion. Sing it to yourself right now....the notes progressively raise in pitch as the melody goes on. Major chords and upward motion immediately signify heroism and positivity. Pretty cool stuff. When writing a melody, it's important to know what message you're trying to deliver.
Works basically the same way with sad stories, except the opposite. Sad melodies are mainly composed of minor chord progressions, and downward movement of melody. Take "The Godfather" love song, the famous song. Sing that melody to yourself....it moves downward on all of the strong beats. Minor chords and downward moving melodies immediately signal sadness and drama. Test it out the next time you watch a movie, and are listening to the main theme or just some music happening in the movie. If you don't know the difference between major and minor chords, you will after listening to certain songs. Happy songs are generally major, and sad minor. If you're really interested in a deeper explanation of this, hit me up. I'll explain what "strong beats" are, and further explain melody motion.
I also am trying to get deeper into songwriting, which is where my rock and hard place have been established. See, you can't just be limited to one genre of music if you are to be considered a song writer. Even when I was doing only hip-hop, I noticed that quite a few of my instrumentals really weren't used as often as I would have liked them to be. Don't get it twisted, fam, I'm not hatin on anyone for that. If you know me then you know that already. I think now I understand why. It's just a different type of instrumental making, and I wasn't going about it the right way. I'm learning the right way now, and taking what I already have learned with me the whole way. I had a hard time sampling and chopping stuff, honestly because I feel that I would just lose my patience with it, and eventually just start to work on something totally original. Plus, my camp already had so many dope ass producers, it was kinda unnecessary for me to be doing it. Aurc and Tab are two of the sickest producers I know. Not to mention Dee Ess, M-phasis, Dynomite, Anitek...you see my point yet? The fact of the matter is, I was trying too hard to compete with dudes that are just out of my league, and in turn writing songs that weren't considered hip hop, or even MC friendly. Which brings me to my next point.
Songs made for lyrics, when it comes to hip hop, pop and R&B, realistically, only consist of two, maybe three chords. But really only two, sometimes only one. When it comes to sampling and chopping stuff, it's basically the same loop carried by a bass line. But after analyzing the songs, it's basically one chord. Which is fine as far as hip hop goes, and which is what I didn't get. Pop songs are really only two chords battling another two chords when it comes to the bridge and the hook, basically. They're usually a very simple chord progression, and depending on the mood of the song, will be major or minor chords. Same goes with R&B for the most part. Next time you're listening to a song, really sit there and LISTEN to the music, and freeze it in your mind. You'll notice that it's basically the same couple of chords being bounced back and forth. Techno, or the new "Dub Step" (youtube "UFK Dub step") that's around, is one chord, with a deep and filthy bass. Hence, my rock...the melody is very important to these songs, but those basic chord progressions kick my ass for some reason. I just don't know what sounds good because I'm really not that into the music...which leads to the hard place.
My hard place (stop it) comes from the fact that I need to study this stuff in order to get it. The hip hop stuff I get, and I just need to practice it more. I still prefer to do original stuff, but I just have to realize that I'm making it way too complicated. Pop music and techno music, I really need to study...and this is my hard place...because man, this music is NOT my bag, baby. My God, this shit is hard to listen to. I can only do it in small doses, before running to my Ipod to listen to BackPack, or Rakim or something like that. Remarkable Mayor is a live saver, for real. I mean, it's only my opinion, but this is also my blog...this music sucks yo.
There's no creativity. There's no heart and soul. You can't really even say "well at least she can sing" because of auto tune. They should just call the radio "digital anesthetic", because that's what it is. From a musician's standpoint, this shit is boring to me. It's the same few power chords over and over again, with some chic or dude singin about some shit that people only care about on Friday nights. But, this is what sells (refer to my first blog for that argument).And it kills me that I have such a hard time writing these songs.
Engineering is engineering, and I know that shit is tedious and aggravating at times. I would never take anything away from the people behind the scenes, or really even the "artist" for that matter. I know a lot of hard work goes into touring and stuff like that, but dude...seriously...how long did it take to write some of these songs? I recently discovered that I now know how to make the EXACT instrumentals for Usher's "Fallin in love in this club" and Rihanna's "Umbrella" songs. THE EXACT INSTRUMENTAL...took me all of five minutes. No shit. Those songs, among many others I'm sure, were made from previously programmed loops in digital software. All they did was grab and drag, and boom....platinum record. Meanwhile, I'm spending $500 per credit to learn exactly how they did this....unreal.
Either way, I'm going to keep pressin, and keep makin original shit. Bottom line, eventually those sample libraries that come stocked with fat loops for people to use without risking copyright infringement will run dry...but my brain will always be able to create a new, original sound from a synthesizer to play a new, original melody. And that shit is mine, not a computer programs. At least if you're sampling Marvin Gaye or some other artist, there's credit to be given to the composer of the song. A sample that you have to dig for and pay for is WAY more appreciated and valued than some software sample, that all you had to do was drag into your arrangement window. I mean damn...at least chop it up a little bit. Change the tempo....something. Be creative, man.
Maybe I'm being too hard on the situation. Maybe I'm being unrealistic...whatever the case, allow me to close with this thought...
Regardless of what type of producer you are, whether it's hip hop, pop, rock, R&B, or a composer for films and movies, never take an easy way out past being creative. Put the work in, fam. If you're sampling other people's music, chop and screw it, change it up somehow. Shit, you could even just add a new instrument. Do something creative. Be your music.
Until next time, I leave you with this...Life is like a game of poker. If you don't put anything into the pot, there won't be anything for you to take out....Peace.
Thursday, November 18, 2010
Mainstream Vs. The Underground
Well, I suppose it's only appropriate for my first blog to be about the Mainstream side and the Underground side of this whole music business. I had actually only intended on starting a blog just so I could follow my girlfriend's, but today I was a part of a conversation that certainly motivated me to start "blogging" about certain things..so here I am.
Let me begin by saying that my roots in this music game are in Underground hip-hop. There's nothing more refreshing to me than a group of MC's in timbo's and hoodies freestylin in the alley behind some hole in the wall bar they just performed at, while sippin on cheap beer, whiskey, and blunts.
When I was about 12 years old, I used to sit down at the piano and play what my mother called my "little mixes"...which I later learned were actually eight bar loops and four bar hooks, missing only a drum kit and lyrics. While in the Navy, I began writing poetry, and putting those lyrics to my little mixes, thus forming songs. Mind you, almost EVERYBODY knows how to rap in the military. So, freestylin was something that I eventually picked up. Came back to Jersey eventually, met up with some really cool cats, and started makin actual instrumentals and writing actual songs. My hip-hop life was born.
Fastforward five or six years....we're doin shows in Manhattan and New Jersey now. Did enough shows to have been booed off stage, to do shows where people didn't even like hip-hop, as well as benefit shows and even shows where people came up to us askin all types of "I'm a fan" questions. Really cool. Big shout out to A.L.F, The BackPack Superheros, and it's affiliates. Honestly too many to list right now, that's for another blog. All in all, we produced an album, officially (probably three or four unofficially), got a pretty decent rep, and met a whole lot of awesome people along the way. Cats I'll never forget, and hopefully never have the chance of even doing so. Even turned a metal head bar into a pretty dope hip-hop spot. Pioneer type shit.
Unfortunately, that little bit of street cred, or whatever you would like to call it that we did muster up, just doesn't pay the bills, homey. Now, I know that some people actually WANT to be starving artists...I get that. I know all about the "doing it for the love of hip-hop", and all that jazz. Believe me, I know whole heartedly that hip-hop is a way of life and a culture. So, if you're satisfied doing what you love, for peanuts, and working a mediocre job where the best promotion you'll get is still something that makes you hate waking up in the morning, then by all means, do you. And I mean that. If that life style is something that you are comfortable with, then go 'head and be that. There's nothing wrong with that at all, and anyone who judges people on that is an ignorant fool. But all this talk about how "they wanna own my music", or "take away my creative right"...man that's all nonsense.
If you really want to do this music thing as a CAREER, for the rest of your life, then you MUST make some sacrifices. A career, by my definition, is something that supports your life financially, without doubt or worry (of course taking away the situation our economy and job market are in right now. Let's not mince words people). Sellin CD's out your trunk only helps you to afford your liquor store and weed bill, let's be real. If you are fortunate enough to create such a buzz that an Underground label wants to sign you, God bless you. You're one of the lucky one's that actually made it. However, if what's stoppin you from poppin off is a fear of being exploited, homey...look around you.
These bars and clubs that you perform at are exploiting you. The people that jump on your coat tails and ride them into the next venue are exploiting you. The lil groupies that ride shotty with you to your boys house for the after party are exploiting you. No matter what you do, if your music is good, it will be exploited. Only difference here is that you aren't making any real money while it's happening.
I'm out here in Hollywood now, going to school and learning a lot of new things about this business. One constant thing about it? IT'S FUCKED UP. Bottom line. No matter what you do are where you go, someone is going to be looking to get something from you. Whether it's a feature on an album, five minutes at the next set, or even just a beat..they want something. Otherwise, why are you doing it?
Why do you spend hours on end diggin through crates, or writin that perfect rhyme, or promoting yourself? I know how much fun it all is, but is that really your only reason for doing it? Because it's fun? Dawg, go to Great Adventure. A lot less expensive and time consuming. Plus, they don't lie. You know they want your money, and you happily give it to them.
I've realized now that the best way to go about this whole thing is actually very simple. Use the biggest networking resource there is..and that's the mainstream. I'm not sayin you have to sell your soul. Don't confuse my usage of "mainstream" with this nonsense that's goin on with the radio and music that's being put out there right now. Whether or not you realize this, the underground has a mainstream as well. No matter what, you're going to be exploited. Why not do a little exploitation of your own? Seriously.
Get linked up with some label that isn't too demanding of your time, meaning albums and creative right. You'll be surprised how many labels out there really do appreciate the artist for what it's worth. Pay your dues, save up dough, and then ultimately start your OWN label. If you wanna make money, you have to make somebody else more money. It's the way the world works. Face it. Embrace it even.
Not too many of our favorite MC's just got signed out of nowhere to million dollar deals. Some of those dudes even stayed "underground"...but they're signed to major labels. Played on all of our favorite hip-hop and R&B stations. Doin the commercials and the features on pop records with Christina Aguilera and Brittney Spears. Come on man...
My point is this...if you're satisfied with doing this music as a hobby, and working your normal 9-5 job, then please keep bangin. Honestly that's the only music I listen to, for the most part. BUT, if you truly desire to be a "professional" at this, and get your shit out there, then you have to be willing to make someone else some money for a few years. There's no way around it. Some cats create a pretty dope buzz for themselves, getting their songs in independent films, and doing one or two tracks with some famous underground cats. But there's a glass ceiling above you my friend. You don't need to sell yourself out...just your album.
Until next time, I leave you with this....If you find yourself in a fair fight, then your tactics suck.
Let me begin by saying that my roots in this music game are in Underground hip-hop. There's nothing more refreshing to me than a group of MC's in timbo's and hoodies freestylin in the alley behind some hole in the wall bar they just performed at, while sippin on cheap beer, whiskey, and blunts.
When I was about 12 years old, I used to sit down at the piano and play what my mother called my "little mixes"...which I later learned were actually eight bar loops and four bar hooks, missing only a drum kit and lyrics. While in the Navy, I began writing poetry, and putting those lyrics to my little mixes, thus forming songs. Mind you, almost EVERYBODY knows how to rap in the military. So, freestylin was something that I eventually picked up. Came back to Jersey eventually, met up with some really cool cats, and started makin actual instrumentals and writing actual songs. My hip-hop life was born.
Fastforward five or six years....we're doin shows in Manhattan and New Jersey now. Did enough shows to have been booed off stage, to do shows where people didn't even like hip-hop, as well as benefit shows and even shows where people came up to us askin all types of "I'm a fan" questions. Really cool. Big shout out to A.L.F, The BackPack Superheros, and it's affiliates. Honestly too many to list right now, that's for another blog. All in all, we produced an album, officially (probably three or four unofficially), got a pretty decent rep, and met a whole lot of awesome people along the way. Cats I'll never forget, and hopefully never have the chance of even doing so. Even turned a metal head bar into a pretty dope hip-hop spot. Pioneer type shit.
Unfortunately, that little bit of street cred, or whatever you would like to call it that we did muster up, just doesn't pay the bills, homey. Now, I know that some people actually WANT to be starving artists...I get that. I know all about the "doing it for the love of hip-hop", and all that jazz. Believe me, I know whole heartedly that hip-hop is a way of life and a culture. So, if you're satisfied doing what you love, for peanuts, and working a mediocre job where the best promotion you'll get is still something that makes you hate waking up in the morning, then by all means, do you. And I mean that. If that life style is something that you are comfortable with, then go 'head and be that. There's nothing wrong with that at all, and anyone who judges people on that is an ignorant fool. But all this talk about how "they wanna own my music", or "take away my creative right"...man that's all nonsense.
If you really want to do this music thing as a CAREER, for the rest of your life, then you MUST make some sacrifices. A career, by my definition, is something that supports your life financially, without doubt or worry (of course taking away the situation our economy and job market are in right now. Let's not mince words people). Sellin CD's out your trunk only helps you to afford your liquor store and weed bill, let's be real. If you are fortunate enough to create such a buzz that an Underground label wants to sign you, God bless you. You're one of the lucky one's that actually made it. However, if what's stoppin you from poppin off is a fear of being exploited, homey...look around you.
These bars and clubs that you perform at are exploiting you. The people that jump on your coat tails and ride them into the next venue are exploiting you. The lil groupies that ride shotty with you to your boys house for the after party are exploiting you. No matter what you do, if your music is good, it will be exploited. Only difference here is that you aren't making any real money while it's happening.
I'm out here in Hollywood now, going to school and learning a lot of new things about this business. One constant thing about it? IT'S FUCKED UP. Bottom line. No matter what you do are where you go, someone is going to be looking to get something from you. Whether it's a feature on an album, five minutes at the next set, or even just a beat..they want something. Otherwise, why are you doing it?
Why do you spend hours on end diggin through crates, or writin that perfect rhyme, or promoting yourself? I know how much fun it all is, but is that really your only reason for doing it? Because it's fun? Dawg, go to Great Adventure. A lot less expensive and time consuming. Plus, they don't lie. You know they want your money, and you happily give it to them.
I've realized now that the best way to go about this whole thing is actually very simple. Use the biggest networking resource there is..and that's the mainstream. I'm not sayin you have to sell your soul. Don't confuse my usage of "mainstream" with this nonsense that's goin on with the radio and music that's being put out there right now. Whether or not you realize this, the underground has a mainstream as well. No matter what, you're going to be exploited. Why not do a little exploitation of your own? Seriously.
Get linked up with some label that isn't too demanding of your time, meaning albums and creative right. You'll be surprised how many labels out there really do appreciate the artist for what it's worth. Pay your dues, save up dough, and then ultimately start your OWN label. If you wanna make money, you have to make somebody else more money. It's the way the world works. Face it. Embrace it even.
Not too many of our favorite MC's just got signed out of nowhere to million dollar deals. Some of those dudes even stayed "underground"...but they're signed to major labels. Played on all of our favorite hip-hop and R&B stations. Doin the commercials and the features on pop records with Christina Aguilera and Brittney Spears. Come on man...
My point is this...if you're satisfied with doing this music as a hobby, and working your normal 9-5 job, then please keep bangin. Honestly that's the only music I listen to, for the most part. BUT, if you truly desire to be a "professional" at this, and get your shit out there, then you have to be willing to make someone else some money for a few years. There's no way around it. Some cats create a pretty dope buzz for themselves, getting their songs in independent films, and doing one or two tracks with some famous underground cats. But there's a glass ceiling above you my friend. You don't need to sell yourself out...just your album.
Until next time, I leave you with this....If you find yourself in a fair fight, then your tactics suck.
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