Galactic Beings unity
So I’m currently seven tracks into my next album Galactic Art Deco. Of course the main man MUTT has dropped some serious gems on me. So the tone is starting to be set, however, I intend to write thirty songs for the album. This would be the first time that I didn’t write a precise number of tracks to fill the LP.
I’ve managed to start reaching out to producers from other corners of the world. From Brazil to Seoul, the goal is to not only put out Galactic Art Deco, but also, release a series of mixtapes that bring together artists from all around the globe. Not only is the goal of these mixtapes to connect myself with more artists from around the world, but to connect artists together that have never met under one umbrella to bring us more serious gems.
I’ve already touched base with producers from Prague, Berlin, Argentina, Brazil, Italy, England, and South Korea. I’m hoping to connect with more. This doesn’t include the producers from around the United States that I hope to work with for the mixtape.
Serious Gems over Everything
When I was over seas this past year, I noticed how open artists are to working with others. After spending seven years in Chicago making my bones in this rap shit, I’ve realized that people outside of Chicago are generally more open to working with new collaborators. Don’t get me wrong, I developed a raw as fuck network of artists, MC’s, producers, and Dj’s while living in the Chi, but when you head outside of that midwestern circle, you find that people look to collaborate more frequently and are desperate to create their own serious gems.
A lot of it has to do with the level of competition that is bred from Chicago. It’s a city with not a ton of music industry companies residing within it, so what connects and legs up that artist from Chicago get, so they are naturally weary of helping others. It’s a very survival of the fittest scene, which is both good and bad. On the one hand the Chicago hip hop scene breeds extremely talented artists. You can come across an artist on any given night that is doing things that no one has done yet in popular music. The envelop stays pushed in the GO. On the other hand it causes moments like the one that I had when I first got to Berlin.
On Arrival homeland Haters gon’ hate
I arrived in Berlin and found out that a group from Chicago that I’ve known since I first started in the scene was playing at a bar in the city a week after I had played there. They were ending a two or three week long tour and it was nice to get to see them play in a foreign country. At least I thought so at first.
The leader of the rap duo (Josh) told me about some of the place they played on tour and how well they did, so I asked him if there was any places he could put in a word for me or even just shoot me the booking agents email, and what I got was a lot of bullshit. Dude kept going on about how hard he worked to gain the contacts he had, and when I told him I could hook him up with some more shows in Berlin, he was quick to try and squeeze the contact info out of me…but after noticing I wasn’t gonna get his contact info for a venue in Leipzig, I thought, well fuck this guy then.
See Josh came up in the Chicago scene to a certain degree and due to that, maybe that is the reason he wasn’t capable of helping out a fellow rapper. He still looked at it as if every contact was gold and he had to hold on tight to those emails, even overseas didn’t change this.
Things like this are what bring me into a negative head space. It didn’t make sense for him to guard his contacts so tightly. In the end, I not only could have connected the group with talent buyers out in Berlin, but also Prague and Barcelona and others. Josh was always a bit of a pompous prick anyways. Dude’s crew was signed to a fairly well known independent label, and honestly I always respected his hustle, but if you can’t help out a fellow countryman and MC, then I got no love for you.
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