Dope production. Dope lyrics. Supastition flat out makes good hip hop, the type where you put the disc in and let it ride. He has worked with a wide range of artists and producers and in this interview touches on who he has worked with, his career as a whole, and gets personal at times as well. If you are not up on Supa yet go out and grab Chain Letters as well as The Deadline and get familiar.
Whats good? Thanks for taking time out to do the interview. Can you take a moment and introduce yourself to our readers?
Thanks for the opportunity. I'm Supastition hailing from North Carolina. A few people know me from my own records as well as my guest appearances on a lot of projects.
The first thing I wanted to touch on, was that you do it all; you own your career in a way I think very few other artists do. You book your own shows, A&R your records, handle all management, etc. etc. Why did you decide to go this route with your career? What are the advantages and disadvantages?
That's true. I handle all the aspects of my career at this point. I never planned on doing it all but I grew tired of people making false promises and holding me back. I've always been the type of person to learn from my mistakes so if someone screwed over on anything, I'd learn to do their job so it would never happen again. When I couldn't get beats from anyone, I started doing beats. When nobody would book shows for me, I booked my own. Another thing is the trust issue and I haven't met too many people that I can rely on. The advantages of it is that I don't have split money with as many people and I know everything that goes on as opposed to someone telling what they want me to know. Every deal that I have had since my first album, I went in there and negotiated it and ending up keeping all the rights and masters to my music and publishing. You'd be surprised how many of your favorite rappers traded the rights to their music for less than 1500 dollars. The disadvantage of not having a manager is that people can't separate Supastition the artist and Kam the manager. When you have a manager and someone offers you a bullshit deal on a show or guest appearance, you can tell your manager to tell them to 'fuck off' and you really don't get the backlash because your manager is the 'face' of your business. But when you are self-managed, you are the face and everything you do falls back on you. There are times where you have to be an asshole to certain people in this business.
Have you ever had outside management? Would you be willing to accept help from the outside at this point?
I've had outside management before and there were good and bad experiences. I learned a lot by watching their smart decisions and their mistakes. I've approached people about management but it's usually the same runaround so I don't waste much time with it. You hear from them a few times and then they disappear. To be honest, a lot of managers never sought out to be managers but they just somehow ended up managing one of their homies. Then you have those who won't to take you in a direction that you aren't trying to go. I've got a lot of people I can speak to if I have a question about the business so I'm good right now.
Another aspect of your career that I find interesting is your ability to carve out such a strong niche for yourself overseas. Was this something you set out to do, and how did it come about?
I never made a conscious effort to promote myself overseas but it just worked out that way. It was easier for me back then to get production from producers all over the world than it was to get it from a producer in North Carolina. I worked with producers from Australia, Germany, France, and many other places so I think that helped to build my name up overseas. Plus I've always supported international hip hop and I wasn't as close-minded as a lot of other artists. I've done songs with artists from Denmark, Australia, Switzerland, and more. Another thing that helped was dealing with Karin from Subotage (Germany booking agency) in Germany. She gave me an opportunity to tour Europe and showed a lot of love.
For our readers that are not necessarily up on how strong the music scene is in Europe, Australia, etc. can you describe it some to them?
It's very strong because it isn't as trendy as it is here. There are some places where you have people who collect vinyl and they're not even DJs. Every time I tour their I sell out of merchandise and have to get more shipped to me while I'm on the road. People there are more open to hear a new artist and decide whether or not they like them on their own. No disrespect to the US because that's home but if we see someone hit the stage that we've never heard, we automatically expect them to be garbage. They are not as self-contained as we are.
Do you think the U.S. will ever be able to emulate the festival type quality that the scene overseas has? It seems to me in a lot of ways the concert market and general atmosphere around music is lacking in many ways when you compare what goes on in America with what goes on in Europe.
Well again it's more about hip hop in the US being something that's not as interesting as it was before. It's like... okay... yeah another rapper! Some people are spoiled and it's not entertaining for them to see someone who just good at rapping. European fans don't really separate the regions as much as we do. They don't care if I'm from NC and someone else is from Cali as long as the music is dope. I've seen some festival lineups overseas that feature everyone from J-Live to Snoop to some hard rock. You know that shit wouldn't fly over here. It's backwards how people can listen to all different types of music but just not at the same time.
You have also worked with a variety of producers from overseas from M-Phazes to Croup. How did these relationships come about, and why is it you work so much more with overseas producers then one's in the U.S.?
I was introduced to M-Phazes through a mutual friend and the same goes with Croup. Usually producers will refer me to other producers that they like so it makes things a little easier. I worked with more international producers around the time I was recording 'the Deadline' but I think I work with more US producers now. It wasn't by choice but it just came down to who I can communicate with better. I want to be able to tell somebody that a song or a beat sucks without them taking it personal. That doesn't sit well with some people.
Is there a negative aspect about not being able to get into the studio with a producer from overseas?
Nah not really. I'm not even in the studio with the producers from the US either most of the time. I've pretty much met all of the producers I've worked with except for maybe Croup from Germany. They send the track and I knock it out in the studio. If there are any changes that need to be made then we handle it. I've been in the studio with a couple cats and it was a pleasure working with them. You also have been doing a lot of work with Illmind, should we expect an album from the two of you soon? Any details you can give us on the project?
No doubt. Illmind will always be family because he hit me with beats when nobody else would. We got started on a project last year before he signed to G-Unit but we both got caught up in different things. I was always on the road and he had deadlines to meet, beats to shop, and some setbacks of his own. We agreed to scrap what we have so far and start over once our schedules clear up. We'll definitely be doing more work together.
Do you find that working with one producer for a whole record, in this instance Illmind, but it could be anyone, leads to a more cohesive record? How does working with one producer as opposed to several affect what you bring to the table as an emcee?
Sometimes it makes the project more cohesive and sometimes it can bring it down as well depending on how much range the producer has. Not everyone has the strength to produce a full album without sounding repetitive. I couldn't do a whole Supastition solo record with just one producer. An outside project (like the one planned with Illmind) is different because you can step out of the box and experiment with ideas and concepts. In the beginning, I wanted M-phazes to do most of my beats because we had great chemistry but it never worked out that way for various reasons. The negative thing about working with one producer is that if he leaves or something happens then you are ass out. I've seen history repeat itself too many times and I watched the reactions from fans when artists like Guru, CL Smooth, and Little Brother parted ways with their main producers. I'm not gonna put myself in that same boat. On a Supastition record you might hear an Illmind, M-phazes, or Nicolay beat but then again you might not. Using the same formula or producer can hurt you sometimes. Lately you've been working with some heavyweights from Little Brother and DJ Drama to Royce and Elzhi on DJ KO's forthcoming album. How have these relationships come about and do you see yourself branching out more into the mainstream as time passes?
No doubt. Me and LB have always had mutual respect for each other plus we're friends outside of music. The joint with Royce and Elzhi came through DJ KO so I can't sit here and say that we all decided to do a song together. I don't know Royce or Elzhi personally at all. The lineup was different when I recorded the song. As far as the mainstream thing, I'm not one of those dudes looking for popularity or trying to be in the limelight. I just wanna make the music I want to make and feed the fam. I'm not a people person so I like being able to walk around and nobody knows me unless I'm on stage. I'll let the people decide whether it's mainstream or whatever category it falls into. I just do Supa every time and I don't worry about the rest.
If you could work with any emcee, active or now who would you like to collab with and why?
I've said it on a few occasions and I'll say it again but I'd have to build with someone to see where their head is at. I can't work with arrogant and egotistical people (male or female). I'll rap on somebody else's record with no problem but I gotta have chemistry with you if it's going on my album. I'm not a fan of the 'forced collabo' thing. 'You rap pretty good and I rap pretty good so let's do a song or an album together!' Nah... no thanks.
Are you willing to collab with artists you don't know of? That is to say, can someone reach out to you through myspace or another avenue, send some music and try to work with you?
No doubt. I've worked with plenty of heads that I don't know. They can contact me though myspace or supastition.com. Just don't expect me to do a whole song for $50 or good exposure in Bolivia. I rap for a living, I got married 'for the love'.
Being an artist who is not from what is considered to be the mainstream, what advice can you give to upcoming artists who are trying to find a place in a extraordinarily over-saturated music market right now?
I'd tell them to decide from the beginning what and why your are making music in the first place. If your main aim is to be rich then do whatever it takes to make it happen. But if you are looking to get rich and become a star then you are wasting your time making music that a small percent of the world listens to. If you are just looking to be heard and respected but you're realistically not looking to go platinum off of your music then maybe this indie/underground thing is for you. That way you can never be mad at someone who is actually making money. So many new artists are jaded and they go into situations blindly expecting to blow up. You can make the best album you want but if there is no marketing, promotion, and distribution then you can believe that it's only going as far as the budgets allows it to go. I've seen rappers mad that their CD can't be found anywhere but the label only shipped 1500 copies. That's not even enough to put one CD in every music store in America. Just be realistic with yourself.
Since a lot of people dream of being involved in music, but don't necessarily understand what it entails can you describe it a little bit for them? How hard is the business, what is the day to day like, etc?
Man it's not easy but it's not rocket science either. You have to be aggressive with your approach but not to the point that you come off annoying to people. Another thing is that you gotta work for a long time before you see any money coming your way. There are no days off! And remember that nobody owes you anything when you haven't done anything for them. On a regular I'm recording for myself, other projects, or songs to be licensed to tv/dvd/video game companies. I go back and forth with promoters about shows and try to set something up. The phone rings off the hook so I'm talking to producers, labels, and other artists. I run my online store as well so I'm shipping CDs and all that plus I update my website when I have time. Then you throw in some quality time with the family & friends and that leaves me with no time for myself haha.
What is something you would want your fans/our readers to know that probably won't get touched on in this or other interviews?
Basically that if you knew me personally then you'd understand why I make the type of music I choose to make. I was a father at the age of 16 so I had to mature faster than most people my age. I got 2 daughters and everything I do is for them first. I'm not here to save hip hop or bring back the golden era, I'm here provide for my fam by any means. One of my daughters is in high school now so me getting on a song talking about childish shit is out of the question. I have survived a lot of craziness. I've watched my oldest daughter's mom go to court/jail because she got charged with the death of her younger child. I saw my daughter go to a temporary foster home because of it. I've seen a lot of bullshit in my personal life so that's probably why I come across serious, angry, or bitter. There is a lot that fans don't know about me man but I'm not about to exploit my family on a song just for entertainment.
Do you hold down a job outside of music? Do you ever see yourself stopping with music for this or any other job?
Nah this music thing is my full-time job. I made the decision to leave a good job to do it and I'm not looking back. But if I have to ever get another job then I don't have a problem with that. I'm not one of those cats who have too much pride to work a 9 to 5 because I'm supposedly known in a few places. I come from a family background where people did well for themselves then failed but got back on their feet again. It's nothing to be ashamed of as long as your children are taken care of. I can't see myself rapping when I'm 50 but I want to continue working within the music business because this is my passion. I've been doing it since I was 9 so this is all I know.
So switching gears some, you have done a lot of touring/shows over the years. Do you prefer making music live or making it in the studio?
I prefer performing more. Performing live is based on feeling and being spontaneous so it's way more entertaining. When you record, everyone wants to dissect everything from the high hat and snares to the damn mix of the song.
What is the most ridiculous thing that has happened while out on tour?
Watching the behavior of the people that you tour with. You get to see sides of artists that you never saw before. You'll see who doesn't take fucking baths and who whines about everything. I think the wildest situation was when me, Chief Kamachi, Jus Allah, and DJ Illegal (of the Snowgoons) were fighting some guys from Norway. We got called 'niggers' and 'boy' and my attitude is too fucked up to let it slide. I hit the first guy in the head with a bottle and it was on. Looking back it wasn't the smartest thing to do but they had a 2-day marathon of 'Roots' on TV in Oslo so I was a little angry haha.
Who have been the strongest influences on your music?
Rappers like Run DMC, Rakim, Kane, Redman, Slick Rick, Lord Finesse, Masta Ace, and different dudes from that era.
A lot of dudes these days say they don't even listen to hip hop anymore...do you? If so who do you check for?
Don't believe those dudes that say that bullshit. They usually think they are better than everyone that's out. They probably don't listen as much because they were just fans of the music before. Now everybody is rapping. There are some ill people out there in my opinion. I'm more of a person who listens to lyrics first so just rhyming bullshit over a beat doesn't do it for me. I like people that can actually spit. Monch, Joe Budden, Joell Ortiz, Phonte, and some others.
Do you think the access that fans, other artists, etc. have been given to each other through myspace, e-mail, sites like certifiedhiphop, etc. has been detrimental to hip hop? It seems as though some of the need for so much access has lead to a lot of over-saturation, collabs that never would have come about otherwise, and less focus on music with more on marketing, sales and business.
It's good and bad I guess. Without the internet, it would've taken a lot longer to even be heard especially overseas. You get to connect with fans and speak with them personally sometimes. I've heard of some good artists through the 'net too. Now the downside is everybody has access to the internet and you no longer have to pay dues before releasing music. You can literally start rapping today and release an album next year. Another thing is you realize why some people have security and bodyguards because there are some mentally-unstable dudes out there hahaha. The whole experience of buying and hearing an album is dead because of technology. I remember hearing my first RUN DMC song at a party on some big ass speakers. The first time I heard the Blueprint album was sitting in front of my computer listening on some shitty monitors haha.
What's going on with your new record? Any sort of time frame, who's lined up production/feature wise, etc?
The EP is done and the album is almost finished. I'm negotiating with labels right now to see who offers me the best deal and then I'll make a decision. It's looking good though. I was going to go with Soulspazm again at first but I'm not too sure about the that situation right now and they really didn't offer me much. Other labels are interested. The 'Guest of Honor' mixtape is out right now and it's doing well. The 'Leave of Absence' EP will be released digitally this year and the hard copies will hit the store later in the year. Realistically the album ain't gonna see the light of day until 2008 due to all the legalities that need to be handled. The EP has beats from Anthony Accurate, DR, Analogic, and few more cats that are on the come up. The album so far has beats by Khrysis, Illmind, Anthony Accurate, M-phazes, and Marco Polo. Anything can change so the production could change before it gets released. As far as artists features, there are a couple but I don't wanna put it out there too early.
Thanks very much for the time, is there anything else you would like to say to our readers?
Thanks for taking the time to check out the interview and hopefully I gained some new fans off the strength of it. Check out Supastition.com and myspace.com/supastition for everything you need to know about me.