A Quote by Zaytoven
A lot of people want to blow up as a producer, but what helps you blow up as a producer is an artist that matches well with your music. When that artist gets popular and blowing up, and people start knowing them, that's when they start knowing you.
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You know, it's nothin' quick overnight. If anything happens to you quick, you need to start questioning that. You know, you hear young people go, aw, I'm gonna blow up. You gonna blow up but with a controlled explosion. Don't just blow up all over the place.
The worst part is that if you become part of a major - all these independent labels become farm teams for your corporate parent. Basically, you do all the work for years, blowing up an artist - you discover them, blow them up, you build their fan base. And then that artist is like, "Okay, now I'm here. Now I want more. I want to be bigger." And you're either going to be able to accommodate them, you're going to be able to figure out how to take that step with them, or you're going to lose them.
I'm not a pop rapper. That's nothing against pop music - I love pop music. I've jumped on pop records for people and still will, but I'm not a pop artist. I didn't start from there. I started in underground music. I consider myself an underground artist, as well as a producer.
Being able to hear an artist and emulate them has been a huge part of being successful as a producer and co-writer. I think it's a problem when a producer comes in to work with an artist, and you can't hear the artist as well anymore. It's very important to me to be invisible.
You meet a lot of people [in Dubai] coming from a lot of different places. Even me, I'm always in transit. I don't stay anywhere too long. I like the energy that I found when I came here the first time. I start knowing people, and people start knowing me as well.
Popularity gets up people's noses. But I understand the importance and the function of popular music. There is an artistic purpose. Popular music helps people to develop a curiosity and leads them towards classical music.
What's the point of blowing up if you can't give back to the people who helped you blow up?
I don't work with an artist to try to blow up, but to see if the music can be medicine, if it can be therapeutic and serve a bigger purpose.
In terms of being a kind of popular artist figure and knowing how isolating that is, and knowing what it feels like to be skeptical of people, and to be taken advantage of, especially by your friends. That's a hard to pill to swallow, and we've been through that together, or watched each other go through it. It helps to have somebody that close to you who can relate. I can say with some confidence that I feel like Sky saved my life.
I marked their location in case Kell wanted to blow them up or something.” “I don’t have to blow up everything I see. I just like to.
Life is terrorism, so spare me your indignation. Life is one big infiltration of our secure defenses. Some people put bombs on buses and blow them up: those are terrorists. Some people speak to you and their words blow you up: what would you call those people? Life is a condemned cell. . . . That's the only way to protect yourself . . . to understand that you're always under sentence of death and to try to get a temporary remission.
I'm obviously really opinionated, but as a producer, you don't necessarily want the person you're working with to try to impress you - you want them to just be themselves. Then you can edit or mess around with what they've come up with. But you have to allow the artist that space.
Unlike a lot of choreographers, I don't always start with the music. I often start with a visual artist, and then find music that fits the world of that visual artist.
I think there's a fear once things start to blow up - as the people say - that if you stop for a second, it will all go away.
The plot details of B movies are irrational: accept that people do things that are contradictory, against their own best interests, have short term aims & limited attention span, and do incredibly stupid things while things blow up. Apart from things blowing up, this is just like the music industry.
We singer-songwriter people, we're used to getting up and doing our own thing in front of people, and we're it. We're the band, artist, writer, producer, front man. We're the whole thing. You develop, it's not smugness, but this self-reliance, that can limit your creativity. When you're willing and able to invite others into it, you wind up getting a piece of work that's bigger and better than anything you ever imagined it could be.
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