A music fan reaches for a collection of cassette tapes

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Record Store Day 2018: Inside The Comeback Of Cassette Tapes

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It's no joke: Cassettes have fast-forwarded in popularity and re-emerged as the underdog music format of choice for experiential listeners
Julian Ring
GRAMMYs
Apr 18, 2018 - 8:56 am

Streaming is saving the music industry and vinyl is in. So say the numbers, anyway. According to Nielsen Music, listeners racked up 400 billion streams in 2017, a catalyst for the industry's overall growth by more than 12 percent. Meanwhile, as album sales continue to plummet, vinyl LPs have made up a larger share of the market each year since 2005.

Though vinyl has made a record-setting (and much-publicized) comeback in recent years, it's still not music's fastest-growing physical medium. That honor belongs to … the cassette tape.

You read correctly: Cassette sales in the U.S. have more than quadrupled since 2011, with 174,000 tapes sold in the last year alone. Data from Nielsen Music points to a few obvious explanations. Cassette pressings for high-profile releases like Taylor Swift's Reputation, Jay-Z's 4:44, Lana Del Rey's Lust For Life, and Marvel's Guardians Of The Galaxy soundtracks are selling well at retailers like Urban Outfitters, which also offers cassette players and recorders with USB adaptability.

Classic acts like AC/DC and the Wu-Tang Clan are also getting in on the trend, issuing small runs of classic albums — Back In Black and Enter The Wu-Tang (36 Chambers), respectively — on cassette for 2018 Record Store Day.

There's even Cassette Store Day, a smaller, scrappier celebration dedicated exclusively to the tape format. Each October for the past five years, independent labels have made exclusive tapes by artists like Green Day and the White Stripes available at record shops around the world. Sean Bohrman, the founder of cassette-only label Burger Records and an organizer of the celebration in the U.S., says Cassette Store Day's underdog spirit keeps it relevant.

"It's about showing stores that they can sell cassettes," he says, "because there are still a ton of doubters out there who think it's a joke or that it's just nostalgia."

Despite its growing availability in stores, much of the cassette's resurgence has played out online. A majority of tapes were purchased on the web in 2016, many from vendors such as Burger directly. That's in stark contrast to vinyl, which consumers overwhelmingly buy at brick and mortar stores.

In fact, it's hard to overstate just how much the internet has empowered the cassette's most ardent fans. Maintaining the DIY ethos that characterized the tape trading movement in the 1980s and 1990s, today's cassette culture comprises an entire online ecosystem with its own forums and marketplaces in which bands, labels and collectors buy and sell tapes for a fraction of the cost of an LP.

"I love cassettes for the experiential part — for slowing down the experience a little bit and having more choice in the matter, and not letting the whole process be impulsive." — Ari Rosenschein

For artists, the draw is as much financial as it is sentimental. Cassettes are cheap to produce — around $1.50 per tape versus $5.80 per vinyl record — and they can be ordered, produced and shipped in a matter of days.

"With cassettes, there is a lower risk financially," says Ari Rosenschein, a Seattle multi-instrumentalist who performs as STAHV. He began issuing music on cassette in high school, and more recently released tapes under his own moniker and as a member of the band Teacher. The latter have sold out.

"Pressing vinyl is extraordinarily expensive, and yet people are doing it like crazy because you can sell them," says Rosenschein. "With cassettes, you're not going to be able to sell them for as much, but they really don't cost very much to make. It's sort of like making pins versus making T-shirts."

Rosenschein also releases his music on LP and digitally so he treats cassettes like a "token" for hardcore fans. He orders them in small quantities, selling them at shows and online through platforms such as Bandcamp.

"There's a culture of people looking for these limited-edition pressings and weird, oddball runs of stuff," he says. "I've sold my cassettes on the idea that it's a very limited thing. … And there's a scarcity to it. Of the STAHV record, there's only 50 in the world, and they're kind of special."

Rosenschein is selling to people like Matt Mosz, a pizza delivery driver in the Chicago suburb of Naperville and a moderator of Reddit's r/cassetteculture forum. Mosz is 28 — young enough to have missed the cassette's heyday in the 1980s and early 1990s — and he claims nostalgia has little to do with his love of the format.

"I kinda grew up with [cassettes] being books on tape, and I had a handful of albums from high school," says Mosz. "But it was just albums that I got because they were cheap at the time and I was, like, 15 years old."

While working on his car, Mosz's mp3 player broke. A short time later, he stumbled upon a used bookstore that sold tapes for a quarter.

"They had a whole bunch of albums I really liked," he says. "In the matter of a summer, I went from having 10 cassettes in my collection to having 50. And it just spawned from there."

Matt Mosz's cassette collection

A selection of tapes in Matt Mosz's cassette collection
Photo: Courtesy of Matt Mosz

Seven years later, Mosz has amassed a collection of 500–600 tapes. While most of his early finds consisted of '90s rock (he's a big Foo Fighters and Nirvana fan), meeting other collectors online helped Mosz discover new music on cassette as well.

"I found out, 'Woah, new bands that are around now, that are just starting out, that are my age — they're putting music out on cassette," he says. "It's definitely opened up my range of music."

As a moderator of r/cassetteculture, Mosz now facilitates those connections himself, helping the forum's more than 12,000 members meet one another and share their hauls. On any given day, posts about fixing playback equipment, online sales and the merits of tape hiss litter the main page. Mosz has even organized semiregular mixtape swaps, where users create custom cassettes for one another that are full of songs the recipient might like.

"[It's] kind of the first moderating thing that I put into effect," he says. "You can get 10 to 20 people involved for it. … Some people really like the undertaking of making a mixtape, and will make three or four different mixes for different people, and participate that way to make sure everybody gets heard."

Mosz and Rosenschein say the extra time and work required to produce and play cassettes is part of their appeal. At a time when quickly sharing playlists has superseded recording tapes or burning CDs, cassettes are some of the last remaining musical objects that make a statement and encourage fans of all ages to listen to music with a purpose.

"The idea of people consuming music [via] this defiantly old-fashioned format is bigger than genre," Rosenschein says. "[You're seeing] this overarching group of people for whom an archaic format is not a deterrent, but actually is a positive. They're being a little rebellious in their choice of listening format."

"I love cassettes for the experiential part — for slowing down the experience a little bit and having more choice in the matter, and not letting the whole process be impulsive," he adds. "You have to be a little bit more conscious with cassettes."

Catching Up On Music News Powered By The Recording Academy Just Got Easier. Have A Google Home Device? "Talk To GRAMMYs"

(Julian Ring is a music journalist and curator. His work has appeared in Rolling Stone, NPR Music, The Wall Street Journal and Consequence of Sound, and he has written for the Recording Academy since 2010. At Pandora, Ring oversees music blogging and reviews independent submissions. He enjoys playing the guitar and hiking near his home in Oakland, Calif.)

(The views expressed in this article are the author's own and do not necessarily reflect the views of Pandora Media, Inc., nor was the article written on Pandora Media, Inc.'s behalf.)

Gillian Welch

Gillian Welch

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Exclusive: Gillian Welch On Vinyl, Songwriting, 'O Brother...' & More

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The accomplished singer/songwriter reflects on her career, creative process and some of her most memorable songs backstage at World Of Bluegrass
Derek Halsey
GRAMMYs
Oct 12, 2018 - 5:10 pm

Picture this: it is late in the evening on Labor Day 2018, Sept. 3, and a wrap-around wooden deck topped with party-goers surrounds an A-frame home on the southern side of Beech Mountain, N.C. near the mountain resort town of Banner Elk. The outdoor tables are filled with grilled chicken and other brought foods, the libations are plenty and the spread-out tiki torches are providing just the right amount of flickering light.

Soon, a bonfire is lit, made up of old wooden deck chairs and seasoned logs, and the relaxed partygoers begin to migrate to the yard. Two musicians decide to strike up some fireside music and begin to contemplate on what to sing to fit the occasion. They choose a song they both know and love: Gillian Welch’s 2003 modern classic “Look At Miss Ohio,” written by Welch and her long-time musical partner David Rawlings.

Welch's songs, including "Look At Miss Ohio," are played and sung around the world, whether it be amongst tall bonfire embers, or in the shadows of small, tended cooking fires or in coffeehouses and clubs found throughout the land. With its memorable lyrics and unhurried-yet-funky chorus, the song is stark and real and special.

The two house-party musicians are Fireside Collective guitarist Joe Cicero and western North Carolina vocalist Hope Harvey. As they roll through their impromptu version of “Look At Miss Ohio” Cicero throws some dissonant chords and a Major 6th into the bridge, giving their inspired rendition an otherworldly groove, and it works. Then, as their blended voices fade, the sound of thousands of late summer katydids eases the disappearance of the final notes as they atomize into the mountain air.

Fast-forward 25 days later and Welch is sitting in a dressing room in Raleigh, N.C., the Tar Heel State capital. The sights and sounds are of a different nature here: traffic, car horns, pavement, police whistles, parking garage echoes, and electric scooters clogging the sidewalks. It is the height of the 2018 International Bluegrass Music Association World Of Bluegrass convention and musicians, concert bookers, publicists, and radio DJs are here to do the business of bluegrass in tall buildings. Towards the end of the week, the industry talk gives way to the music as the Wide Open Bluegrass Street Fest gets underway.

On Friday evening, Sept. 28, Welch is about to perform at the 5,000-seat Red Hat Amphitheater located in downtown Raleigh, wearing one of her trademark vintage dresses. Welch is a special guest with the headlining First Ladies of Bluegrass band, an all-star group of women musicians who have all made history by being the first to win an IBMA Award for playing their respective instruments.

Welch’s temporary band mates on this night include Missy Raines (Bass Award), Alison Brown (Banjo Award), Sierra Hull (Mandolin Award), Becky Buller (Fiddle Award) and Molly Tuttle (Guitar Award). Also onboard for the highly anticipated set is GRAMMY Award winner Rhiannon Giddens.

When Welch hears about her song “Look At Miss Ohio” being sung in such a cool setting, she is proud and happy. But her eyes really light up when talking about her and Rawlings’ efforts to release that cut and the rest of their music on vinyl albums.

While the resurgence of vinyl in recent years has been well documented, Welch and Rawlings never left the old school appeal of that technology.

“‘Look At Miss Ohio’ is one of our most popular songs,” says Welch, smiling. “And, we could talk a long time about how profoundly meaningful it is to have our records released on vinyl. Because, my thing is, I listen to records while at home, and it was listening to vinyl records that changed my life in the first place. That is how I decided to do this (career). Sometimes I wonder if it would have happened while listening to CDs. Listening to vinyl is a profoundly different experience.”

The lack of auditory depth on CDs that you do get to hear when listening to vinyl albums is important for other reasons, according to Welch.

“A bunch of the more detailed sonic information has been lopped off of CDs,” says Welch. “And, it is just that little bit of nuance that is particularly meaningful to musicians. Because, what CDs eradicate is the part that you really need as a musician to figure out how our heroes are doing what they are doing. You can hear the musicians addressing the microphone on vinyl. You can hear the touch on the strings. Sadly, that stuff just didn’t make it onto the CDs. So, we are very excited that people are going to get to hear our music that way, especially because it was all recorded in analog in the first place. Our recordings have always been analog, as in completely analog. But, it has been a lot of work because we are doing it all ourselves. We have a custom lathe, so we’re fully committed to doing it the best way you can do it.”

So far, the evaluations of the vinyl releases have been positive for Welch and Rawlings.

“We just got a review on this audiophile website called Analog Planet by Michael Fremer and he reviews the music and the sound quality with a one-to-ten rating, and with the Soul Journey album he gave us an 11,” says Welch. “That makes me really happy because we worked hard on it. We are working our way through our whole catalog by going backwards.”

Vinyl albums can be like family members to those that love them.

“Vinyl albums are really nice things to have in your home,” says Welch. “They are very comforting. They are like books. They are like friends, really. You see those faces on the covers, and they are life-size. You see that face looking back at you."

The recordings that inspired Welch to seek out Appalachian roots melodies as a young woman were made by the Stanley Brothers, who walked the line between bluegrass and old-time mountain music.

“Those Stanley Brothers records really changed my life,” says Welch. “It was one of those live tapes recorded by Peter Kuykendall [musician and co-creator of Bluegrass Unlimited Magazine] called ‘Legendary Stanley Brothers Volume 1 and 2.’ There is a black and white photo of Ralph and Carter Stanley on it, and one record has a red banner and the other record has a yellow banner. [As for other influences,] Norman Blake also blew my mind. The Stanley Brothers blew my mind because of their sound and their harmonies and the old-time stories. I knew those folk songs from growing up, but to hear them with this crazy mountain harmony; I loved it. But then, Norman Blake was the one that made me think, ‘You mean you can write new songs that can sound old?’”

And, Welch has done just that with many of her classic cuts. If you listen to “Six White Horses” off of The Harrow and the Harvest album, you will swear that it was written 150 years ago, but not so.

“David and I wrote ‘Six White Horses,’” says Welch. “It was meant to sound that way. We were trying to write songs that had that ‘good stuff’ in them. I want that ‘good ole stuff,’ and then I want to also express what is going on in my life. Not to get morbid, but that song is not a museum piece or a recreation thing. My Mom was dying when we wrote that song. That is all I was thinking about. These things are real. This is the stuff that happens. This is what happens to people. Your parents die. Your lover cheats on you. Your baby is sick. You’re broke. All of this stuff happens. This is not back in time. It all depends on how you feel like voicing it. For me, voicing that stuff, as in the way of ‘Six White Horses,’ that is how I like to talk about these things. I like to boil it all of the way down to the image of it all. That works for me, but it may not work for everybody else. Some people like the real modern conversational and confessional approach. But I like to use folk poetry. It helps me.”

Although Welch has been nominated for a GRAMMY Award multiple times, she won her one and only GRAMMY for her work on the 2000 O Brother, Where Art Thou? movie soundtrack, which went on to sell nearly eight million copies and help create a new generation of lovers of bluegrass and old-time music. There is still an “O Brother Generation” coming to age now that took up playing musical instruments because of the impact of that movie and its songs.

For The Record: 'O Brother, Where Art Thou?'

“I know that album inspired a lot of people, and I love it,” says Welch. “That was basically my record collection come to life. [Producer] T Bone Burnett said to me, ‘Who is doing this music?’ The answer was Ralph Stanley, John Hartford and Norman Blake as well as The Whites and Alison Krauss. The one thing about it that was funny was that at the time, it wasn’t meant to be the greatest people in bluegrass brought onboard. I feel like it turned into such a big thing that I think there were some hard feelings for people that were left out. But, nobody knew what was about to happen. We were just making the music for this movie. It wasn’t any big deal then. But then, it happened pretty quickly. The movie was a hit, and the movie did that great thing where ‘Man Of Constant Sorrow’ was also portrayed as a hit song in the movie and that is a powerful thing. That album was a really great overview and sampling of that music.” 

A few years ago, Welch admitted to a bit of writer’s block when it came to creating new songs. But, that has since changed and fresh music is on the way.

“We have been writing a bunch of new songs,” says Welch. “The Harrow And The Harvest has been out for a while now and we have written two albums since then, but they were under David’s name. Sometimes, I feel like people think I have been twiddling my thumbs, but I have not been twiddling my thumbs. We are just about ready to start recording and we have a little pile of songs. We write songs in all different ways by this point. Sometimes they take two days to write, and sometimes two years. ‘Look At Miss Ohio’ was written really quick, and ‘Everything is Free’ was written quick. ‘Tennessee,’ however, took a long time and the song ‘Elvis Presley Blues’ did as well.”

As a testament to her talents, Welch's quick songs certainly feel fully rich while her slow songs are definitely worth the wait. Her calming command of her craft balances the chaotic energy surrounding the World Of Bluegrass festivities, and the mountain music community she helped build show her due appreciation as she takes the stage in Raleigh.

Sister Sadie's Beth Lawrence And Gena Britt Discuss Their New Album & More

Janelle Monáe

Photo: Jolie Loren Photography

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Janelle Monáe On Choosing "Freedom Over Fear" & Creating 'Dirty Computer'

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The GRAMMY-nominated trailblazer discusses her Atlanta roots, taking risks and finding creative community through creative solitude of 'Dirty Computer'
Jewel Wicker
GRAMMYs
Oct 8, 2018 - 2:30 pm

It’s been nearly a decade since most fans got their first glimpse of Janelle Monáe in the back of a pink Cadillac in OutKast’s “Morris Brown” video. The appearance was a fitting nod to the singer’s start at the Atlanta University Center, which houses Spelman College, Morehouse and Clark Atlanta University, and Morris Brown College, the first Historic Black College or University founded by black people in Georgia.  

Today, Monáe is front and center, but her dedication to Atlanta remains as clear as ever. I sat down with the singer in front of an intimate audience of Recording Academy members for an Up Close and Personal program at the Marquee Club inside The Fox Theatre on Oct. 2. The conversation spanned about thirty minutes and delved into Monáe’s artistry, as well as the Wondaland collective she helms.

Early in the discussion, Monáe told attendees she would often get escorted to the children’s church as a kid because she’d break out singing Michael Jackson’s “Beat It” during the Baptist church service. She said she was always inspired by her musically inclined family, including her father and grandmother, but there was one moment in particular that still stands out to her today.

“I remember the first time I got goosebumps when one of my aunts was singing in the church. She was just recovering from drugs and she had an amazing voice,” Monáe said. “When she got out of rehab, she came to church and my grandmother played the organ and I just remember getting chills. I remember her having this testimony and her speaking her truth and that feeling just stayed with me. It felt very magical. It felt transformative.” Throughout her career, this is a feeling she’s strived to give fans with her art.

Citing the quote “culture eats strategy for breakfast,” Monáe said she’s always focused on walking in her truth and contributing something unique to the ever-changing music industry. One of the first times she remembered feeling like she’d achieved this was the day she simultaneously released “Cold War” and “Tightrope” back in 2010.

“I felt in my zone and no matter if it was on the radio and no matter if it got the number of downloads from a business perspective that everyone was hoping for, I felt like I was being very honest and true to where I was,” she said of the two singles from The ArchAndroid.

This authenticity has long flowed through Monáe’s work, from the time she was a child writing sci-fi-based short stories at the Coterie Theatre in Kansas City to when she was performing at the Atlanta University Center (AUC).

“I started my career right here in Atlanta performing on the library steps of Club Woody, shout out to the AUC,” Monáe said. “I probably had like three fans. I loved them and it was a connection. They helped me feel like, ‘Man, I can really do this. People are listening.’”

It’s at the AUC that Monáe also teamed up with several Wondaland leaders, including her creative partners Chuck Lightning and Nate Wonder.

“We challenge each other. They’re amazing at what they do,” she said. “Obviously it starts with me but once we all get into the room I think that’s when the innovation happens. That’s when the magic starts.”

Monáe said she doesn’t have a go-to songwriting or production method, although she says she loves collaborating and getting feedback from Wondaland artists such as Jidenna and St. Beauty, who sat in the front row during the Up Close & Personal program. Monáe says she recorded much of her latest album, Dirty Computer, by herself in Atlanta, however.

Janelle Monáe_gallery_1
Janelle Monáe Up Close & Personal | Atlanta

“With this particular album, I actually recorded a lot of it by myself because I knew that it was going to take me going to some different dimensions of who I am as an artist and I just felt more safe doing it first and then letting everyone hear it,” she said, nodding to songs such as “Dirty Computer” and “So Afraid.”

“It’s all about growth and trying new things and being unafraid to fail in front of people, too,” she added. “I force myself to let people watch me sometimes.”

The collaborative spirit Monáe enjoys is also one of her favorite things about Atlanta’s music scene. When asked why it was important for her to set a company like Wondaland in the city, she responded “Atlanta is the s***” to cheers.

“I love that Atlanta is a collaborative place,” Monáe said. “As an artist who is on the rise has one hand up, they’re taking the other hand and they’re reaching back and pulling up the next artist. That’s what I love and respect about Atlanta.”

Monáe said Atlanta-based LaFace Records, which launched the careers of major artists including OutKast, TLC, Toni Braxton and Usher, was a huge inspiration for her. But, she’s also inspired by the college students in the city who are graduating and building companies in Atlanta. Monáe hopes Wondaland can contribute to the creative atmosphere that’s already thriving in Atlanta. Her goal is to work with artists who have something to say and aren’t afraid of being open and honest. “The real juice is through your vulnerability,” she said.  

The recording process for Dirty Computer may have been mostly isolated, but Monáe said her latest album was created with “community” in mind. When I said her recent Atlanta concert reminded me of a “rally,” the singer said that’s exactly what she was striving for.

“It’s funny that you mentioned [the word] ‘rally’ because that was one of the words I wrote [down]. If you go to Wondaland now it’s on the whiteboard,” she said. “We wanted it to feel like a rally. We wanted it to be fun. We wanted it to feel like a party. We wanted [concert goers] to walk away feeling better about life.”

In order to do achieve this goal, Monáe said she knew she had to be clear about who she wanted to celebrate with this project (“Those of us who want this country to work for all of us and not just some”) and who she wasn’t afraid to “piss off, with love.”

Monáe wants to pass the clarity she has as an artist on to other people in the industry, especially women. She started the organization Femme the Future to create more opportunities for women in entertainment.

“[Creatives] have the power to create the culture and shape it to what we want it to be,” she said. “And we also have the power to undo the culture if it does not serve us well.”

Monáe said she learned early on in her career that, “We don’t all have to take the same coordinates to reach the same destination,” but she also hopes to pass along the importance of self-assuredness to anyone hoping to follow in her footsteps.

“Know what you want to say because if you don’t know what you want to say, somebody else is going to put words in your mouth,” she said. “You’re going to be living someone else’s story until you figure it out.”

“In those moments of fear, choose freedom over fear,” she said. “That’s something else I try to tell myself. I don’t always listen, to be quite honest.”

Getting it right isn’t the point, though. For Monáe, being unafraid to take the risk is what ultimately yields the best results.

Jewel Wicker is an Atlanta-based entertainment and culture reporter who has written for Billboard, The Hollywood Reporter, The Fader, Atlanta Magazine, and more.

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Rickey Minor

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Exclusive: Rickey Minor Talks Whitney Houston, "American Idol," Positivity & More

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From Gladys Knight to Beyoncé and beyond: How the music master continues to grow his legacy with passion, positivity and a whole lot of hard work
Malikka McDuffie
GRAMMYs
Aug 24, 2018 - 9:41 am

When entering your career with your legacy in mind, you put forth effort to building it with grace and determination, and you come to understand there will be challenges and victories for others to learn from. Few professionals in any industry have done this as well as music director, composer, and producer Rickey Minor, who excels at not only enriching his own live but the lives of others.

The Emmy Award-winning stalwart has worked with a multitude of renowned artists such as Whitney Houston, Gladys Knight, Beyoncé, Elton John, Usher, and Aretha Franklin – and the list continues to grow. He’s acquired a wide range of television credits including the GRAMMY Awards Telecast, "The Tonight Show," "The Emmys," and "American Idol." While building his legacy and continuously developing his craft, Minor has never lost sight of the impact he’s wanted to make on the lives of the people his work has touched.

"I think what your real legacy is, is how you make a difference and how it impacts the lives of the future," he says. "Music is what I do, it’s not who I am. Who I am is going to be really passionate about the future."

Before writing his self-help book on hard work and positivity, There’s No Traffic On The Extra Mile, Minor taught himself what it meant to go the distance in order to live a fulfilling life. After picking up his first instrument at 14-years-old and attending UCLA on a full scholarship, Minor discovered his purpose early in his career when he landed the gig of a lifetime at the young age of 19.

"A real defining moment for me was getting the gig with Gladys Knight because then I felt like I could do anything," he reminisces with excitement. "The fact that I left school to play music and in a year’s time I got my very first gig... It was at that point that I thought it’s possible for me to make a living. Then all of the other things lined up as they do when you just stay focused and work hard."

His work with Knight led him to working with the late Whitney Houston years later. In 1986, Rickey Minor joined Houston’s band and a short time later became the band’s music director. While in that role, he viewed each member as his peers and as people he could learn from.

"We weren’t looking to break any records. We didn’t know anything. We were kids," he says.

Rickey Minor - Musical Director Of The Tonight Show

Minor appears in the new documentary, Whitney, where he discusses his experience working with the superstar. He's still astounded by the Houston's groundbreaking performance of the "Star Spangled Banner" at the 1991 Super Bowl, which Minor arranged and produced, and he knew that his purpose wasn’t to be achieved alone.

"No one knew how it would impact the world and that we’d talk about it years later," he says. "That was a game changer. To contribute to that is just incredible because it takes a team. It’s not a one-shot I did or you did; it’s we did."

Understanding that everything had to line up to make the evening perfect was first on his list. "This was the Gulf War, so there was a lot at stake there," he explained. "The country was feeling like it needed to ban together and [Houston] did that with that vocal. No one understands what it takes to do that, in a stadium like that."

After being on the road, to joining other musicians in studios and conducting symphonies Minor has picked up various valuable lessons along the way, from being on the road to hunkering down in the studio to conducting symphonies. Today, he's a generous teacher to those willing and ready to learn.

"My job in theory is very easy," Minor says. "My job is to add value. It’s not to change somebody’s mind. It’s to make whatever you are better. To make sure people know that you’re there working."

Minor also explained that, while working with an artist, he’s not there to try to make them someone else, he’s there to assist them in finding their center and propelling them to be the best version of themselves.

"I’m going to give them options and let them pick the best one for them," he says.

Minor’s leadership has helped many aspiring artists find their voice. As a returning music director to one of America’s most sought out talent shows, "American Idol," he has demonstrated the opportunity shows like "…Idol" and "The Four" can create for developing a long-lasting career. This type of extra preparation has helped certain artists set themselves apart from mere viral sensations plucked from the social clouds and placed into high pressured situations.

"I think it’s a great thing that this outlet happened," he says. "'…Idol' is a great platform because people get a chance to be seen where they never would’ve been seen before."

"That’s the incredible thing," he continued. "That’s where the Carrie [Underwood]s and Jennifer[Hudson]s have really made it big but in a lot of cases. The problem becomes that [viral sensations] don’t have enough experience so they aren’t able to rise to the point where they can sing a duet with Adele or Beyoncé. It’s because a lot of those folks had a natural ability and they were going to be strong no matter what, and to top it off, they’ve had more experience. They’ve had a chance to get more experience."

Aside from emphasizing the importance of gained experience, Minor shares what he does in his beloved "Rickey Time," where he returns to his center, spends time with family and friends, while unplugged from the remaining parts of the world to reflect and practice gratitude.

This reflective time helps manifest his contagious philosophy on positivity, which he shares with anyone who may cross his path. Being a Louisiana native, later raised in the Watts, to beating all odds and stereotypes placed in front of him for being a Black man, Rickey Minor has transformed his positive way of thinking into a lifestyle.

"Where it starts is in acceptance of yourself. Accepting who you are, where you are, where you’re from and being okay with it," he says. "Whatever I am, I am. If you don’t foresee the thing that you wanted anymore, know that it is okay to change your mind. Don’t feel like you need to prove anything to anyone. It is your life. Ask for help. People will help you."

Rickey Minor - Advice For Artists

Asking for help and reciprocating it is something Minor has mastered. He’s guided many of the greatest into the highest operating level of their careers while aiding in their defining moments. For Minor, those moments are made through dedication and hard work, which in turn forms a sustaining legacy.

 "We have limited time. You can make more money but you can’t get anymore time. For me, I would hope that the music part of my legacy is that hard work and focus will help push you forward in whatever career you pick."

Rickey Minor is a member of the Recording Academy and can be seen in the Academy's We Are Music campaign.

Catching Up On Music News Powered By The Recording Academy Just Got Easier. Have A Google Home Device? "Talk To GRAMMYs"
 

Swizz Beatz

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Swizz Beatz: Inside The Philosophy Of A Hip-Hop Hitmaker

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Take a closer look at the method behind a musical mastermind's 20-year track record of success
Ogden Payne
GRAMMYs
Aug 17, 2018 - 8:58 am

There is a distinct difference between beat-maker and a producer in the music world. While the former might get one’s foot in the door, the latter will determine the length of the stay. A seasoned veteran such as Swizz Beatz knows the importance of mastering both crafts.

Born Kasseem Dean in The Bronx, N.Y., Swizz’ production has permeated generations of ears throughout his 20-year career. His ability to create and direct sonic landscapes for a myriad of artists, from a heavy-hitting lyricist such as DMX to a beloved vocalist like Whitney Houston, has solidified his name among music's elite.

Swizz Beatz, Ken "Duro" Ifill On DJing & Mixtapes

Though there was no survivor's guide for Swizz Beatz to follow, he cultivated a handful of philosophies from years of being regarded as one of music’s in-demand producers.

Trust Your Vision

Most family businesses can be a gift and a curse, and Ruff Ryders Entertainment was no exception. Founded in 1988 by Swizz’ uncles Joaquin Dean and Darin Dean, the New York label was built in the midst of hip-hop’s Golden Era.

At the time of the label’s founding, Swizz Beatz had built a reputable business as a DJ and had yet to flex his production muscles. But when the young talent yearned to get into making beats for his uncles’ roster, he was slighted. Undeterred, Swizz proved all he needed was one chance.

The first beat he created became “Ruff Ryders’ Anthem,” an instrumental ripe for the vocals of gritty Yonkers lyricist DMX. What the beat lacked in sophistication (due to Swizz’ limited production abilities and access to equipment at the time) it made up for in raw, unapologetic energy. Initially, DMX refrained from recording over it, deeming it to be a rock ‘n’ roll beat. He quickly came around after a room full of counterparts, including Swizz Beatz, hyped him up while recording the track.

The song only reached No. 93 on Billboard’s Hot 100 charts, but quickly catapulted DMX and the then-unknown Swizz Beatz into commercial strata – evidenced by a Woodstock ‘99 performance in front of an endless sea of fans religiously chanting each lyric.

Since then, Swizz has made contributions to hundreds of albums, including the Ruff Ryder’s platinum-selling Ride Or Die Vol. 1 compilation album. He won his first GRAMMY alongside Jay-Z at the 53rd GRAMMY Awards for Best Rap Performance By A Duo Or Group for "On To The Next One."

“If you have a dream that your closest friends and family members can’t understand, stick to it,” he advised in a one-on-one interview with GRAMMY-nominated engineer Ken “Duro” Ifill. He continued, “If I would have stayed in that box as a DJ where they felt I was comfortable, we wouldn’t be having this discussion.”

Evolution Is Everything

In his purest form, Swizz was, and is, an audio architect who carefully surveyed his clients while laying the proper foundation to construct a masterpiece. In 1999 his instincts notified him when it was time to showcase beats with literal bells and whistles, like “Party Up (Up In Here)” for DMX, while tugs on his heart strings prompted a scaled-back bed of production for Eve to pour out her emotions on “Love Is Blind.”

But navigating the minds of an artist isn’t a simple task. The idea of chart-topping commercial success is alluring for any up-and-coming musician on the verge of superstardom. Swizz, however, challenges his collaborators to think past current trends and popular sounds.

“If we can’t make history, then it’s a waste of time,” he claimed.

Despite his past achievements, he prefers not to relish in them. Instead, Swizz craves to accomplish similar feats as an executive producer who orchestrates an entire body of work from top to bottom.

“When you’re really, really, managing a project, executive producing a project, and giving your stamp, it shows longevity, it shows responsibility. It shows the numerous choices that you’ve made that should be honorable.”

Remember Why You Started

The music business is filled with highs and lows, and Swizz admits to experiencing both.

“When you hot, your phone is hot. When you cold, your phone is cold," he said. "I learned to not take it personally.”

Though he has built an empire in and outside of the music business, he didn’t set out to make a lucrative living when he started making beats at age 16.

“I didn’t even know you could make money from music when I was doing it,” he admitted. “It was to the point where they were sending me checks, I thought they were fake.”

The skepticism eventually wore off. In 2017, he raked in $17 million for his musical contributions and a handful of savvy investments, some he credits to his Harvard Business degree.

Inside The 2018 P&E Wing Celebration

In a full-circle moment the following year, Swizz was honored by the Recording Academy's Producers & Engineers Wing at their 11th Annual Celebration alongside his wife, GRAMMY-winning artist Alicia Keys. In front of a room full of industry titans, Swizz and Keys were the center of attention, feted for their devotion to the craft of making records.

Despite a 20-plus-year career, Swizz Beatz has seemingly just gotten started. As he strives to outdo past accomplishments, he provides a simple piece of advice to those looking to follow in his footsteps: “If you’re not having fun, don’t even do it. I don’t care how much money it is, don’t do it unless you’re having fun.”

Swizz Beatz is a member of the Recording Academy and can be seen in the Academy's We Are Music campaign.

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