Tag Archives: Open Mike Eagle

Bonus Cut Presents: An Interview With Open Mike Eagle

 

The past year has been good to L.A. art-rapper Open Mike Eagle. Dark Comedy, his fourth album, was released this past June to much critical acclaim. Due to this, his already loyal fan-base has grown and continues to do so. Having signed a multi-album deal with Mello Music Group, we can expect even more from Mike as we transition into 2015. Whether you listen to Dark Comedy, an earlier project such as Unapologetic Art Rap (2010) or are familiar with his work with HellFyre Club and Project Blowed, Mike’s music has a way of blending melancholy with moments of hilarity and reality that are political, funny and downright intelligent. His Podcast, Secret Skin, combines these elements, giving the listener unique insight into the business side of hip-hop that is expertly mixed with priceless tour stories and other humorous anecdotes.

Speaking from the grisly depths of the Mac’s Bar basement in Lansing, Michigan, I expected him to have an energetic personality because, as he explains in the interview, I had bought into the aesthetic he created as an artist. Mike was very upfront about some of the occupational realities of being an independent MC. For example, you need to know the lay of the land when it comes to booking a show and setting up a tour. Additionally, making music comes with familial and financial responsibilities, something that didn’t exist in the same way when he was a young twenty-something. He spoke candidly about these realities, and how they serve as motivation. As we transitioned to more important topics, popular culture, tour stories and his natural comedic self instantly came to life. What I learned from Mike is that rapping and being on the road is still fun for him, but there’s more to it now. Additionally, I reaffirmed the thought that at some point, I’d like to go on tour, or a long road trip, in order to compile hilarious stories about places that no one has ever heard of. As a fan of Open Mike Eagle, it was an honor to have the chance to pick his brain and hear what he had to say.

Bonus Cut (BC):  You got started on the road, kind of paving your own way, right?

Open Mike Eagle (OME):  It wasn’t that I was making my own way. It was that I was pledging allegiance to the cause and operationally learning how things work. On my first tour, I literally followed Busdriver and Abstract Rude in my own vehicle, not getting paid anything for the shows and just trying to make money off merch. That was the start of my career more than anything else. Showing them, the promoters and audiences, that I was dedicated enough to do that opened up everything. Or began to open up everything.

BC:  Just showin’ up?

OME:  Yes. Showin’ up, executing, not complaining and learning the machinery.

BC:  What’s the machinery?

OME:  In that sense, the machinery was having lines into promoters and knowing where and how to book your tour. It was me learning how artists work with agents and how artists without agents work with promoters. Some of those same promoters brought me back when I started to get out on my own. Understanding how you had to be prepared promotionally as an artist. I have to have my own imaging, a flyer design. I have to know if I’m booking a show, who’s the best local talent to have on the bill that will bring more people and make the show make sense. It’s all of those different things. The other side of it is that maybe you get a major deal right off the top and let other people figure it out. Or, you get super good on the Internet, go the Youtube route, build a following that way and let other people figure it out. For an independent musician, on the DIY tip, you have to learn how all these different moving parts work together or how that attempts to equal success.

BC:  So it’s showin’ up, building relationships and not complaining?

OME:  Not complaining and executing. Trying to take the lessons onto the next run. Trying to build fan bases in different markets…

BC:  Does that change at all now that you’re a headliner?

OME:  Right now my strength is more in putting out more product at the platform level I have so I can attract more ears. I have management now. I have booking now. Now that those things are in place, I can really focus on making the strongest product possible and bring more people to the table.

BC:  Do you pay booking and management out of pocket?

OME:  That’s the thing. Most of the components of the music business, at least in my experience, is that everybody kind of pays for themselves. If a booker feels like they won’t make any money with you then they won’t book you. If a manager feels like they won’t make any money working with you, then they won’t work with you. Everybody kind of brings opportunity to the table so that we can all eat.

BC:  Is being a rapper lucrative for you?

OME:  I’m not making as much money as my last job that used my degree. But I’m making a decent amount of money. There are rappers that make a lot of money. Not even all the mainstream artists. There’s a lot of rappers that people don’t even really know about, but their business is set up right. There’s still a lot of money to be made in selling music. Digitial, physical and otherwise. There’s licensing and a lot of different revenue streams. It’s never going to be like it was when people were buying lot’s of CDs, but it’s still a billion dollar industry and believe, it trickles down in all kinds of ways.

BC:  Are you trying to license your music?

OME:  Always. Every independent artist should be trying to do that. There’s a lot of movies, television and people who want music, but don’t want to pay for what mainstream music costs. People should consider that as a revenue stream for sure.

BC:  Do you miss home when you’re on tour and vice versa?

OME:  Yeah I do but being on the road is such an important part of my job. You kind of have to turn down the natural, human emotions about missing home. If I stay home, I’m not working as hard or making as much money as I could be and things like that. On tour I’m getting paid to perform, selling my music to people and reaching new audiences in that way. There’s a real benefit to pounding the pavement if it’s set up right.

BC:  Do you have to practice your raps?

OME:  If I haven’t done a song in awhile I have to go over it. When I first started constructing the set that I have now-as much as it pained me to do it at first-I realized it was a good idea to practice my performance at home. Just turn it on, not look at it and just do all the songs. It’s just a muscle memory thing. I don’t have to, but it helps me to stay sharp.

BC:  Does that mean you go back and listen to your music?

OME:  I listen to my music a lot when I’m making it. Before I share anything that I’ve made with anyone, my management, the producer I made it with, anybody, I’ve heard it 50 times at least. By the time something is an album of mine, those songs I’ve heard hundreds of times. Usually by the time it’s out, I’ve stopped listening to it. I like to distance myself from it emotionally.

 

BC:  At this point, rapping isn’t just a hobby for you. This is a job.

OME:  Yep, this is it.

BC:  With that, how do you balance hip-hop being something that you love but that it’s also a job?

OME:  I mean I get paid more the better I do at it. Even just in terms of it being something that satisfies me. The more pure of a vision I can have, it’s better all the way around. I’m not in a position where it would suit me to try and do what other people are doing. Except in the licensing world, that helps. In terms of my appeal, my music selling and people coming out to shows, the closer I can get to what I’ve built as my own aesthetic, the more successful the projects and the songs are. To me, I don’t have to balance anything. I just have to go even harder.

BC:  Given that, where do you see yourself in five years?

OME:  Ummmm…on television.

BC:  Speaking of T.V., are you a fan of the show Community?

OME:  The first two seasons, definitely. I didn’t watch too much after that, I don’t know if it got any worse. I stopped watching NBC’s Thursday nights when The Office went away. I love Parks & Rec, but The Office was the thing that anchored me to that night. I wasn’t able to keep up.

BC:  I had to ask about Community because my friend loves the “Inspector Spacetime” line in your song, “Middling.”

OME:  No doubt! The first two seasons, I was all about it, man!

BC:  What are some of the shows you’re watching right now that you think have the best writing?

OME:  I really enjoy Veep. I think Veep is an incredible television show. I really enjoyed Fargo this year. True Detective was great. Breaking Bad was amazing.

BC:  It’s weird thinking about how Breaking Bad only just ended this year. It’s been a long year.

OME:  Starting with Lost, I’ve kind of always had a television show to come back to. Now I kinda don’t [that Breaking Bad is over]…Ohhhh! I’m trippin.’ I forgot about House of Cards and Orange is the New Black! Personally, I love both of those shows. Binge watchin’ all day.

BC:  Yes! I can’t get over Kevin Spacey in House of Cards.

OME:  Oh yeah, he’s amazing!

BC:  Do you have a memorable tour story you don’t tell often?

OME:  I performed in a barn once. That was a crazy story. There’s this town outside of Fresno where for some reason there’s this weird, strange pocket of underground hip-hop fans and they booked this tour I was on. I wasn’t in a position to get much information on where we were playing and when we showed up, it was literally a three walled barn in the middle of a field. It was nighttime and we did our show at a barn, with a generator and it was very fucking frightening. There were no bathrooms or anything. I remember at one point, I had to go piss. I was walking out to the field to piss and I heard some animal. It sounded like a howl or bark, and I just walked back to the barn. I didn’t even pee. I didn’t know what to do. You know, you just end up at a barn sometimes.

BC:  Show up, it’s just what you do!

OME:  That’s right, and you don’t complain when you’re drinkin’ beers out of a station wagon, know what I mean? Just do it, just try not to do it again.

Advertisements
Tagged , , , , , , ,

Bonus Cut’s Starting Five: 1/29/14

Every week, Daniel and Gus pick five songs to share called The Starting Five. This week, they’re personally sharing these tracks as a feature.

Gus’ Picks

Awon & Phoniks – “Midas Touch”
MC Awon and Producer Phoniks team up to bring you a jazz influenced, boom bap laced track that is socially conscious lyricism. This song and its album, The Golden Era, has been out since July and it may be one of the most slept on albums in 2013. It is truly worth the listen. Support these dudes.

Uptown XO – “Lime Light”
⅓ of Diamond District, Uptown XO talks about the perils of seeking out fame. What is the cost being in the lime light? What would you do to have that sought after five minutes of fame? Is it really worth it? Over a haunting track, XO makes you think about fame and what people may or may not do to be in it.

Tyler, The Creator – “Sandwitches”
If you’ve followed hip-hop at all within the past 3 years, you remember Tyler and his antics with Odd Future Wolfgang Kill Them All. Tyler and friends blew up in every way possible beginning with the television debut of this track with the help of The Roots on Fallon’s show. Their fame and popularity within the college community was something to behold. I will never forget seeing them in the Midtown part of Detroit, almost getting swallowed up by the crowd as they tore up the stage and having to leave early as bottles were thrown and a brawl seemed iminent. What a night. Golf Wang.

Sango – “Tres Horas”
Having spent time living in Brasil I am always excited to hear new hip-hop that incorporates influences of Brasilian music. In all honesty, some is better than others at capturing the unique culture of this unbelievable South American country . To date, I am not sure if I’ve heard a hip-hop representation of Samba that is more spot on. Sango and what he’s doing with his sound is something special.

Truck North – “Band Of Au”
Is there ever bad hip-hop from Philly? From Truck’s recent EP, Murder By Mourning, “Band Of AU” calls upon Black Thought and STS for this other-worldly cut. I am totally biased but this track is flawless. The bassline is tight and the rhymes even tighter. As Black Thought says, “If there’s rapper that could test me alive/ Nigga, Elvis Presley alive.” Need I say more?

Daniel’s Picks
My picks are all releases from the Mello Music Group Mandala Tape releases. You can purchase Mandala Vol. 1 and Mandala Vol. 2 here. 

Miz Korona, Quelle Chris, T. Calmese, Nick Speed – “Supreme Codeine”
Talk about a posse cut worth blasting. “Supreme Codeine” eats you up, and digests you through its grimy intestines, and when these four artists are done with you, there’s nothing else to do but go through the process all over again. If anything, “Supreme Codeine” is that one song you can play at a social gathering, reminding everyone that hip-hop’s vivid collaboration aesthetic is alive and well.

Blacastan – “Stardust (prod. Gensu Dean)”

Blacastan is great at explaining himself in the filthiest of punchlines. Concocting a Raekwon-like rhythm and style, matched with Gensu’s Big L and Gang Starr sampled production, “Stardust” feels like a classic East Coast blast.

Muhsinah – “Up (prod. 14KT)”
“Up” is a track that is mystifying. It also jingles with a certain darkness that makes its characteristics gritty and tough. Muhsinah’s pitch is moving, hopeful, uplifting, sensual and on point. “There’s no worrying up here,” she digs, “and I want you to see it.”

Open Mike Eagle – “A History of Modern Dance (prod. Jeremiah Jae)”
Open Mike Eagle has stated numerous times that his music is “art rap.” The way he styles his set-up and flow reinforces this, as he goes off on tangents about random subject matter that bends each and every rule. It works though, and matched with Jeremiah Jae’s shivering production–something that could attend a Hitchcock film–“A History of Modern Dance” just oozes with uniqueness.

Murs – “The Pain Is Gone (prod. Apollo Brown)”
The poetry about love and romantic interests has always been Murs’ M.O. Over a very recognizable Apollo Brown-structured beat, Murs tells us a story about a girl. Murs 3:16.

Tagged , , , , , , , , , , , , , , , , , , , , , , , ,
Advertisements
%d bloggers like this: