There are producers that conform to the popular motion but then, there are rebels who create their own motion. We Are The Tay is definitely one of those producers. He understands that his instrumentation is more than the music by creating an artistry that is cohesive with strong branding. With his undeniable wit and talent, this Detroit native is a visionary who will not only captivate you, but humor you as well. Get to know the man behind We Are The Tay.
#############
Bria: Let's rewind to the days of Young Tay, an offspring of Detroit. He awakens in the morning and the first thing he does is:
Tay: Young Tay wakes up in a bunk bed above his little brother, on the second floor he shares with four other siblings. He goes downstairs to make a CD of beats that he stayed up until 4 AM creating, and songs he downloaded off Kazaa [P2P music software program]. Then, he treks through foot high snow to wait in fifteen degree weather for the bus to school.
B: Growing up in a cultural mecca such as Detroit, what aspects did you admire the most? Which did you despise the most?
T: I loved the car culture in Detroit. Old school cars would ride by with trunks rattling to the rhythm of the bass. I loved figuring out which song the person was listening to by hearing the trunk. What I hate? Well, in Detroit, I was kind of a homebody. I purposely sheltered myself because when I did step out, away from the beat machine, I got into trouble. I was a good kid, but I hated that all it took was walking down the wrong street, or talking to the wrong girl, to have your life be in danger. The one situation I did get in was over a girl. It was stupid.
B: What is responsible for cultivating you into becoming a producer?
T: My brother really. I always thought it'd be cool to make a beat, but my brother showed me the program [software] he used to actually do it. He was/is a highly skilled rapper as well. I just wanted to be as cool as he was/is.
B: Conceptualization seems to be a large part of your brand; even the artwork for your projects is impeccable. What inspires the concepts for your music collections such as Girls Like Kings, Cool Under Shadows, and the rest of your repertoire?
T: Stories. I'll come up with a crazy story in my head, write it out, and then figure out how to put it in music form. For instance, Girls Like Kings wasn't about girls at all. At one point in my life, I had gotten complacent. I was working at CVS [retail pharmacy] and all of my dreams were fading each time I rang up a cigarillo and pregnancy test. The album was me reminding myself that I'm talented and worthy of realizing the dreams I had. I had to work hard to pull myself out of that situation, and I wouldn't get rewards (i.e. girls) until I did so. I had to be King, so I could get the girls. Because Girls Like Kings. Get it? Yeah you get it.
B: Your production is versatile throughout every element that you create. What separates you from the majority whom choose redundancy over diversity?
T: Well, being diverse in style has its positives and negatives. When people go to pick up some Krispy Kreme donuts, they usually go for original glazed. They may go for chocolate, they may try the sprinkles, but the original is usually what people want the most. When someone wants to collaborate with you, they want something like they've heard from you before. They want what you're known for. When you create diverse sounds, how do they know what to buy from you? Unless you have a hit, or a signature style, it's hard to have someone in mind. With me, I understand that I will have a hit song, and people will come to me for more of that style. I'm cool with that, because I switch styles like Hwoarang from Tekken [video game]. They will put me in a box. I will just have many boxes.
B: You are multi-faceted as a producer, comedic entertainer and writer with your group Dormtainment, but you were also a student, and you worked a regular day job as well. Can you describe your trials and tribulations of balancing your dreams and responsibilities?
T: I am so happy to put that muthufuckin "ed" on the end of that work though...it gives me sexy chills. There was one time in my life where I'd travel by bus an hour and a half to get to school at 6 AM; travel back afterward to work at my job; then travel another hour to go shoot with Dormtainment; then sleep on their couch to do it all over again. Those were hard times. Working a day job was hell. Not because the actual work was hell (not saying it wasn't either), but because I had to work for the advancement of another business instead of working on my own. Everyday I'm seeing these young people with riches that they worked for and school, work, and anything else was just a distraction from me building towards that.
B: What advice can you give to another aspiring creative who’s balancing the same responsibilities and is struggling with doing so?
T: People who are better than you have gone through worse. Set goals. Stay connected. Keep practicing. Keep pushing.
B: Is there a misconception about music producers that you aspire to lessen? If not personally, is there a misconception that you wish could be lessened?
T: As much time as fans of hip-hop spend arguing about whose album is better, whether or not it's a classic, and who makes better beats; the fans of the genre don't even realize that hip-hop isn't viewed by the masses as "real music". Same thing goes for electronic [dance] music. Music producers are not viewed as real musicians or respected as creators. I'd like to change that.
B: With your recent relocation to Los Angeles, what's the next phase for you as a producer?
B: You mentioned that you have a new project in the works. Can you introduce it to the readers?
T: The title for my next project is Pink Syrup. It's about this fairy with a fat booty who tries to tempt me with my vices and addictions. I structured this album like a movie. There's the scene where you fall in love, the sex scene, the fight scene, and the climactic ending. It's gonna be personal and beautiful.
############