locked in your head. Now don’t go humming and beatboxing all the time for the sake of impressing your homies, they’ll just think you’re wack, schizophrenic, or suffering from delusions of grandeur. If you’re in public when inspiration strikes, these skills work just as well if you’re doin’ em under your breath. Don’t underestimate tha importance of these skills; inspiration comes all the time, not just in the studio. Someday, you’ll be walking down the street, and someone’s car stereo gonna mix with traffic noise, creating a funky sonic interaction – Suddenly, you’ve got a musical idea that you think you can re-create with violins and some percussion samples. Now what are you going to do to hang onto that idea? Track it in your head, whistle the melody, beat box the bass and percussion, do it over and over, reap the rewards.
VI. Show and Prove – Peace Makin platinum beats is one thing, getting your prospective clients to dig ‘em and use ‘em is quite another. Let us ask you this: If you were an emcee, and you just spit the best set of your at the club – everyone in the club, men and women, is hot for you, tellin’ you how dope those rhymes were – and two audience members told you they wanted to lay down beats for your rhymes, which of those two would you take seriously? Would it be the guy that said “Yo that was tha illest rappin’ I heard in years. I got some supreme beats, man! For real, we gotta get together, you got an email address? I’ll send you some of my tunes!” or would it be the guy who said, “Yo, I dig your lyrics. You got time to check my repertoire? What do you drink?” then handed you an ipod full of brain-boiling 30-second demos. Simple beats, and rockin’ guitar riffz. Since you spit it like Three 6 Mafia, you into it bigtime. The second dude clearly has his shit together, and those beats were fuckin’ hot. There’s no contest. When he meets with you the next day and sets a time and place to spit a three song-demo into a studio microphone, it doesn’t matter if that microphone is in a
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