A Quote by Murda Beatz
When Migos flew me out to see if I was actually making the beats, they didn't expect a white kid from Canada to be making harder beats than the guys in Atlanta. Being white in that environment, it was definitely different.
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Different identity groups hold specific levels of power over others when their battles play out in the media. To wit: Black beats white. Gay beats white. Black beats gay.
When I actually first moved to Atlanta, I was cutting hair. I was making beats and making music out in the Bay Area. But I came here to make - you know, I had to get my barber license, so I was cutting hair.
It's the way I enjoy making art - I like sitting down and making five beats; I enjoy that process. I can go two weeks without making a song and just making beats and I'll be OK.
I didn't want to be one of the 10,000 kids on the internet making beats. I went out there and got recognized as the white boy in trap music and made a name for myself.
I see racism as institutional: the rules are different for me because I'm black. It's not necessarily someone's specific attitude against me; it's just the fact that I, as a black man, have a much harder time making an art-house movie and getting it released than a white person does about their very white point of view. That's racism.
'Welcome to Atlanta' was a song I wanted to do on my first album. The idea was for me and Outkast to do it, but I could never come up with a beat for us to do it. Outkast beats and my beats were very different.
Thus when a barber and a collier fight, The barber beats the luckless collier-white; The dusty collier heaves his ponderous sack, And big with vengeance beats the barber-black. In comes the brick-dust man, with grime o'erspread, And beats the collier and the barber-red: Black, red, and white in various clouds are tost, And in the dust they raise the combatants are lost.
I made my entire first tape using Beats headphones - the studio headphones and halfway through the second one, because I finally started making a home studio. But I record and make all my beats with the Beats headphones.
I was about 18 when I started making music, making beats. My mindset was totally different.
I started playing instruments before I started making beats, and I was never the best guitarist or the best pianist or the best drummer. And when I started making beats, I was not the best beatmaker, and when I started making hooks, I was not the best vocal melody person. When I first started rapping, I wasn't the best rapper at all.
I'm a small-time white kid trying to represent hip-hop. If a hip-hop artist comes up and beats me in a battle, who did they beat? A small-town white kid who ain't never been an MC, who ain't never done nothing. Now if an MC comes to battle and they get beat by a small-town white boy, that's MC suicide.
I have been making hip-hop since I was a kid growing up in New York in the '80s and '90s. It's always been a hobby of mine - I've been making beats and writing songs for as long or longer than I've been acting.
I definitely feel excited to be able to put really hard beats - like hip-hop beats - behind my music, more than I did before.
When I first starting making beats, I didn't know samples were being used in any beats. I had no idea where producers were getting the real string sounds or the voices on their tracks. I knew nothing about loops or sampling off of records. So, by me knowing nothing about this it made me concentrate on my chords on the keyboard.
Throughout college I was getting better and better at making recordings, producing songs, making different kinds of beats.
I started off making beats when I was like 12. Then when I linked with people who make beats full time, I was like, 'Bet, now I can focus on writing and singing.'
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