Who is drummer boy producer

ABC: How does an up-and-coming artist get their music into your hands? Can they buy their way in? Now, you've got to make people pay attention. I say that to say I don't focus on asking anybody for favors. I just focus on getting my music out and that's all did as a producer was producing for everybody I can. I made people fans of me by them hearing me on the radio. Can you check me out? So, now, it's like a demand where you have to hear about me. ABC: How do you see the balance of hip-hop as a tool of racial unity and how that relates to cultural appropriation?

DB: In general, music and hip-hop is no color. Hip-hop has no face. Hip-hop is not about race and has never been about race. Hip-hop was a form of expression whether you are black, white, Indian.

The Chinese are doing hip-hop. The roof is wide open for good music, man. Hip-hop is hip-hop. Hip-hop is a sound. Hip-hop is more of an expression than anything whether it was dance whether it was graffiti whether it was rap. You had graffiti artist who was in the hip-hop world — white black, African-American, whatever.

You had hip-hop painters. You look at Jonathan Mannion and what he has done in the hip-hop world. I had him come to Memphis and photograph me in my city of Memphis and I had Jonathan Mannion do video like you've never seen him do video.

It's been fun to break the barriers —to do things they say can't be done and to integrate and interact with people that you never thought you would. You look at Pitbull — the Spanish community is hip-hop. There are so many different communities that are evolving with hip-hop so I definitely wouldn't just say hip-hop is African-American.

ABC: Atlanta loves its bass. We've been doing that. EDM has been popular for quite some time. EDM and Trap has been merging for at least 10 years. Like let me merge orchestra with EDM. Let me merge orchestra with Trap. You can merge genres and try stuff like that.

I mean how smart was the guy who merged ketchup and mayonnaise. It's just about trying different sauces and mixing those sauces together to give you your ultimate formula. I've gotten some beats from him. I rapped over beats. I just did some stuff with Rex Kudo out of L. I'm always down to work. DB: Oh yeah. Daz just came into the studio and did a song. Have you ever worked at Patchwerk? DB: Oh, yeah. Of course. Patchwerk, I did a lot of stuff. That was my first platinum plaque. I did a lot of Gucci Mane records.

Did all that stuff over at Patchwerk. ABC: Both of your parents are classically trained musicians. Did they teach you music when you were young? ABC: How important was that classical training to you when you went into hip-hop? Do you think it gave you a better understanding of the basics? It definitely gave me a better understanding of the basics and the fundamentals of music.

Anything that you want to do professionally, you need the fundamentals. That's just like dribbling in basketball and peripheral vision and all of this stuff on the court. Music theory has allowed me to understand key changes what key a beat is in and being able to work with like going from a Jeezy session to a Mariah Carey session or Keyshia Cole session as opposed to just rap, rap, rap, rap, Trap, Trap, Trap, Trap.

So,d it's definitely a blessing that has allowed me to be very flexible and to dip and dab in different worlds. ABC: Who is your team? The Memphis Grizzlies or Atlanta Hawks? DB: I will kick 2 Chainz's ass in one-on-one. Laughs That's the homie. Everybody knows my team.

I'm the youngest black African-American floor season ticket holder on the wood. Everybody knows I'm serious about the Grizzlies. We post pictures and stuff all the time. ABC: On the business side of things, what's one of most important lessons you've learned? DB: I'm glad I learned how to run my own company, run my own business, run my own team, get my own management, my lawyer and all of that in place, and trademarking.

I keep speaking on trademarking because I was so glad that I had trademarked my name and it only cost a couple hundred bucks to trademark but then it saves you millions and millions of dollars. I definitely was thankful that I trademarked my name and copyrighted my music. That's always insurance for anybody who ever tries to steal or take your music. Just beats. We did some stuff with Ro James. Whoever kind of gets at it first, first come, first served type shit.

He is more of a piano player. So making beats was easy. I did the drums, he played the keys and it was a perfect marriage. I did a beat for my math class when I was rapping the quadratic formula and got extra credit.

My teacher still uses that tape to this day to teach. That was like 10th grade. So, between that and when I did a whole project with this group out of Bartlett, one of the suburb areas of Memphis. I think I was only like I produced all the beats, mixed the whole project. Put it out and we did a show and packed out about people. We sold out all the tickets and just seeing a mass group of people all reciting your music word-for-word. Making beats.

My older brother was a big influence. Fourteen years older than me, so him and the guys he was running with, his crew…a lot of the legendary guys out of the city of Memphis.

It was just a crazy inspiration. Hurricane Season Hurricane Chris. Cheez N Dope 3 Project Pat. Who Shot Cupid? Bloody Summer Young Greatness.

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