Making it Big…

Many would argue that the most important person in music isn’t the one in front of the mic, but rather the one behind the boards.

In hip-hop, the person responsible for the production of the beat can be under just as much scrutiny as the lyricist himself. Furthermore, a lack of lyrical depth in today’s hip-hop realm has fueled today’s trend of extremely high production costs and led to the rise of super-producers.

In the realm of local hip-hop in the Triangle area, good producers are hard to come by, and great producers are an absolute rarity.

Then someone stumbled upon Taylor “Proper-T” Johnson. The Charlotte native and UNC-Chapel Hill senior has worked with seemingly every independent artist in the Chapel Hill area. Every artist featured in this blog has dealt with Johnson in some way.

His production credits include work on D.Liv(E)’s album “Industrial Revolution”, Apollo’s solo album “I Hope They Know”, as well as working with artists Carter, Gzaz, The Administration, and several other local acts.

“Proper-T” has been heralded as one of the most professional producer in the area by many of the local artists. And in the underground world where professionals are absent, professionalism is certainly a good bargaining chip.

Listen to what local artists D.Liv(E) and Carter have to say about working with Proper-T:

Local rapper “Carter” speaks to “Proper-T’s” professionalism and

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Hear local artist D.Liv(E) on what it was like working with Prop

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In fact, his drive and professionalism have led to several golden opportunities, including a trial contract with a major record label and the opportunity to visit the famous Hit Factory studio in Miami. The Hit Factory has seen some of the world’s most well-known artists and producers including Beyonce, LL Cool J, and Missy Elliott to name a few.

Making it big is something everyone in the independent hip-hop world aspires to, and Johnson is well on his way. With his already outstanding reputation in the local community, It won’t be long before we hear one of his smash hits all over the national airwaves.

“I just try to work with what I was given. I know the rest will fall into place.”

-Taylor “Proper-T” Johnson

Ask And You Shall Receive…

See, the problem with underground hip hop (and probably all indie music) is that the fans often get left out. Let’s face it, the independent artist has no boss to answer to, and therefore doesn’t have to “market” himself to any particular demographic that a record company is interested in capturing. Independent artists and producers are so concerned with letting their own creative lights shine that often the musical tastes of fans take a backseat to the whims of a young, inexperienced rapper.

 Long story short, the fans sometimes get the short end of the stick. Unless–of course–the fans take it upon themselves to get involved with the underground scene. I’ve posted a list of 5 frequently asked questions and answers that will help fans of local hip-hop find their way.

1. How can I get in touch with my favorite artist?

Myspace. It seems like every independent rapper in the world has a Myspace page, and if they’re smart they use it frequently. The importance of Myspace to independent artists is immeasurable, as it can be used to link artist with producers, A & R’s, dancers, back-up singers, record executives and many other important contacts.

And–unlike the other young adult males who use Myspace to attract young girls–you won’t have to see an array of shirtless pictures and corny phrases. Well, maybe just a few.

2. I’m tired of buying the same old records in the store, where can I buy an independent album?

Shopping around is key. Frequently visit independent performances around the area and you’re guaranteed to find a local rapper peddling his or her own album or mixtape–usually at a price much cheaper than in record stores.

3. Should I be ashamed to like mainstream AND independet hip-hop?

Not at all. There are plenty of decent mainstream rap artists whose beginnings are similar to the independent artists followed by this blog. There’s nothing wrong with blending mainstream culture and interests with the realism of indie music. Each person should be proud of the music that works for them.

However, if your CD collection includes Vanilla Ice and Will Smith albums, you may want to at least think about seeking counseling.

4. How do I actually find a local performance?

Keep your eyes open. The Raleigh-Durham-Chapel Hill area is fortunate enough to have several colleges in the area, and these colleges are often very important to the independent music world. Each university has its own version of an open-mic night at least once a year, and these can be great places to hear performances.

Also, venues like Cat’s Cradle, Blend, and The Library in Chapel Hill and East End in Durham are hotspots for indie rappers and musicians.

(Finally, probably the most frequently asked question) 5. I’m trying to get into the game. How do I do it?

Record something! Whether it’s a microphone attached to a computer or you’re lucky enough to get time in a recording studio, just get your voice recorded over music. After that, do your best to get to know people who can help improve your music. It’s that simple.

DJ, bring that back…

The art of being a DJ holds a special place in the hearts and minds of hip-hop fans around the world. The pantheon of superstar disc-jockeys is a long list, and the artist-DJ tandem has long been a staple of hip-hop stars (see Run DMC and Jam Master Jay). Before 2 turntables and a microphone gave way to new technology, a DJ with enough talent could build his own superstar status simply by being a DJ.

Independent hip-hop DJs, however, often have trouble finding their niche and breaking into the game. Nowadays in nearly all professions you have to be a jack-of-all trades; able to contribute a little of everything to a project. Independent DJs are no different, choosing to hone their rapping and production skills in order to catch a break.

Chapel Hill’s own Jeffery “DJ Free” Smith has caught on to the trend early, spending most of his time producing and running his entertainment company Top Shelf Entertainment. H’s also venturing into the rap world, laying down verses for some local rappers.

DJ Free currently is working on producing local rapper Carter’s album “Free Carter”. He plans on doing an album of his own in the summer.

Since DJ’s are usually seen and not heard, here are some videos of DJ Free talking about what it means to be a DJ in today’s times.

DJ Free on his Nickname

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JFree on Versatility

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” Being a DJ is an art form. The hard part is, now you can get all of your stuff done on a computer and people will think you’re doing everything live when you’re not. Technology is definitely taking over the game.”

                       -DJ Free

 

 

Affirmative Action

Let’s be honest: racism still exists. There, I said it. Are you happy?

It may take this country hundreds of years to overcome racial divides that have haunted us in every aspects of our lives–including our music.

Furthermore, the fact that mainstream hip-hop is primarily an African-American industry isn’t exactly breaking news. But try explaining this to 20-year-old Andrew “Apollo” Rooney. As a Caucasian male Apollo has dealt with something that takes away from his credibility in the eyes of many fans before he even touches a microphone: his skin color. He uses his lyrical talents to express these issues on the track “Color Blind” from his debut album titled I Hope They Know.

“All I can be is me,” said Rooney.

“Being him” includes a comfort in his own skin that transcends the ignorance of some critics. Rooney has relied on his tireless work ethic and desire to make it big to keep him on track. He has made a name for himself and worked with some of Chapel Hill’s best known independent rappers including the Administration. Apollo was also featured on D.Liv(E)’s album The Industrial Revolution. He’s also worked with popular local producer “Proper-T”.

Apollo has performed all over the UNC campus–a place where he thinks his skin color matters less

“This is a majority white university,” he says, “I know that if I were performing somewhere else, people may be less understanding. But there’s seems to be a little more tolerance here.”

-Apollo

Buy Apollo’s Album I Hope They Know Here!

In Stores Now…

Now, what kid growing up didn’t have aspirations to record their own album? Well, at least we all used to sing in the shower or use a comb for a microphone and think to themselves “Hey, I should record this.” Oh, that was just me?

Fortunately, some artists more talented than me decided to take the initiative and record their own album independently, devoid of a record contract or backing from a major label. One such talented artist is Chapel Hill’s own Donovan “D.Liv(E)” Livingston.

D.Liv(E)‘s first official album was released November 6, 2007 and was entitled “The Industrial Revolution”. The project was produced, written and recorded by Livingston and other independent artists with no professional help or record company bankroll. The album became an initial underground success, selling quickly after its release.

According to Livingston, the project took nearly 11 months to finish and was an eyeopening process.

“It’s the logistical things that make putting together an independent album feel like work” Livingstn said. (Hear Livingston talk more about the process of making an album.)

Few understand better than indie rappers how gratifying making it on your own can be. D.Liv(E) is definitely on his way to making it on his own. The release of his album came after one of his highest honors: opening up for his idol, Grammy-award winning rapper Lupe Fiasco.

According to Livingston, it was one of the most important days in his life and an important step on his path to success. That and the production of his album have vaulted him to the upper echelon of the independent scene and he looks to go from making it on his own to someday making it big.

“I definitely want a record deal. I don’t want to be independent forever, there’s no money in that!”

-D. Liv(E)

Livingston on the importance of putting together his own album

Hear Livingston’s take on being an independent

A No-Show Is a No-No

The old saying that “whatever can go wrong will go wrong” seems to be especially true in the case of musicians everywhere. Any artist can tell you a story about a scheduled performance gone horribly wrong due to unforeseen circumstances.

As I prepared to do a post about how UNC rap group “The Administration” got started, I realized that they are currently living in one of those stories. The group’s scheduled performance at the University’s Dance Marathon on Friday February, 22 has hit a few snares to say the least.

The first mishap came when one of the group members, UNC Junior Donovan “D.Liv(E)” Livingston, learned he would be unable to perform due to extenuating circumstances, leaving the group with 3 able-bodied members instead of the usual 4.

Or so they thought.

The next bump on their tragic road came when another group member became physically unable to perform only a few days before the scheduled performance. Craig “C-Threat” Hailey sustained an injury to his lower back, making it difficult for him to move around stage. There was so much uncertainty about the health of the group that some members wanted to cancel 2 days before the scheduled performance.

“Unacceptable,” said group member Lawrence “LA” Crocker IV. “We signed a contract and put our name out there, so what will we look like if we don’t show up?”

There’s a phrase you’ll hear several times when you spend time around an independent group of any genre: “paying your dues”. There’s no shortage of that phrase between members of “The Administration”. It means sticking it out through uninspired crowds, poor performing conditions and little or no compensation while still trying to make it to the upper echelon as performers.

“We’re not stars yet, so no matter how bad it gets we gotta honor our contract and perform. We still gotta pay our dues; one day we’ll be to the point where we can cancel and it won’t hurt us.”

-Lawrence “LA” Crocker IV

Deal or No Deal…

The culmination of an independent hip-hop artist’s hard work can end with being offered a record deal from a major label. But some (usually those with a substitute form of steady income) prefer the slower pace and reduced pressure of the independent circuit. Working with a major label also reduces the control the artist has over his own music: breaking one of the cardinal commandments of independent musicians.

Take for example 24-year-old UNC student Gregory “Gzaz” Jackson. Jackson’s first solo album in 2002 was an independent project that earned him local notoriety. The attention he gained paved the way for contract negotiations with a major record label. Jackson–like so many other independent artists–opted to maintain control over his own projects instead of signing with the company.

“I started negotiations with a label a couple [of] years ago,” said Jackson, “but after a while they just fell through. After that I decided to do it on my own for a while.”

While working the local circuit, Jackson performed at several unconventional venues including a Carnival cruise ship and even the Justice League of Durham.

Jackson continued to practice the tools of his trade, focusing on songwriting and production with several other local Chapel Hill artists. His songwriting has earned him several awards and his production and lyrics have been featured on the albums of several local independent artists. (Hear some of Gzaz’s work!)

He credits the mishap with the label for helping improve his skills.

“In a lot of ways, I’m glad I didn’t sign with the label. I learned that I can do these things on my own and I got an opportunity to get my hands dirty.”

One thing he does understand, however, is the power of the almighty dollar.

“Make no mistake about it, if the right deal comes along then I’m going to take it. As long as I don’t have to water-down my creativity and I’m being paid how I should be, then I’m all for it.”

-Gzaz

Youth in the Booth

Independent rap artists have a passion that cannot be learned, they must be born with it. This is especially true in non-urban environments such as the Triangle area of Raleigh, Durham and Chapel Hill, N.C. The Triangle’s aspiring emcees must battle a bevy of seemingly insurmountable odds: limited resources, less-than-adequate venues and a very small audience to name a few.

 But for some, these are merely small sacrifices on the path to success.

 Take for example 19-year-old Orin Elwood Carter Jr.–better known as “OhCee” or simply “Carter”. The Fayetteville, N.C. native is an independent rap artist and UNC-Chapel Hill student. Carter’s most recognizable work has come as a member of the rap group ”The Administration”, but he has recently branched out and started working on a solo album tentatively called Free Carter.

“I’d like to release the album by early next semester–hopefully in August,” says Carter.

Carter is no stranger to the local performance scene and has graced the stage at several Chapel Hill venues such as Vespa, Blend, Cat’s Cradle and The Library. His next performance will take place later this month at UNC’s Dance Marathon.

In the near future, the gritty southern rapper plans to take over the local scene by stepping up his game:

“Alot of people rap and alot of people are producers. The rap skills are here, but I’m in the learning stages of production. I’m trying to become a hybrid artist, so that way I can bring the Triangle something they’ve never heard before.”

                                                                                     -Carter

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