How a once underground music form made it to the mainstream in Chattanooga
The transformation of Chattanooga’s music scene into a vibrant, healthy, diverse community full of possibilities and opportunities has taken place at an exponential rate in recent years. This is no longer “the place you drive back to when the gig is done.”
Reputations are made here, albums are recorded, concerts and festivals are played and loyal and enthusiastic fan bases are built. Virtually every genre music is represented here now; rock, folk, pop, country, jazz, blues, punk, metal, experimental, but of all of the styles and categories of music in the city, none has risen so swiftly from relative obscurity to front page prominence as Hip-Hop.
Twenty years ago, Hip-Hop didn’t exist in this city, not in any measurable way. Ten years ago there were a handful of dedicated and talented artists who, unfortunately, rarely found an outlet for their music unless they were on the bill with some other kind of act. It was around then that Isaiah Rashad made his name, but even so it took going somewhere else to finally “make it”.
Chattanooga was still the place you lived, not the place you performed. Even five years ago, with a rising tide of fresh young talent, Hip-Hop was largely relegated to an underground existence, house parties and a small selection of venues better known for their rough crowds than their musical showcases.
Underground may be a place to hone your skills and earn some street cred, you may even manage to launch a career, but the odds are against you in an industry where the odds are already slim. The artists were already here, they’d been here, practicing their craft for years. The fans were here, too, though their access to the music had been less than robust.
Then, about a year ago, something happened that revolutionized the style of music, thrusting it firmly and irremovably into the spotlight.
After speaking with a number of local artists, producers and promoters about the state of things today, where they were, where they’re headed, it seems undeniable that the scene’s sudden and enthusiastic embrace of a genre that was not so long ago struggling to even be acknowledged can be traced to a singular event.
Where the long overdue success and respect for these talented performers is concerned, all roads lead to Hip-Hop CHA.
Formed just over a year ago, the original four (John, Nano, Sammy and Shun) came together to share their mutual appreciation for the music, a sort of “Hip-Hop book club” in the words of Cameron “C-Grimey” Williams.
“In January Kay B Brown, Mickey Real, DJ D-Whit and myself were asked to join the administrative team,” he tells us.
From that point forward the group’s mission changed to focus on offering artists support and resources they might not otherwise have access to.
“Our goal is to is to continue growing the hip-hop community, the artists, the culture, and (put a) stop to stereotypes while bridging the gap between hip-hop generations,” Williams explained.
“We aim to promote inclusion through Hip-Hop-centric events all across Chattanooga,” Mickey Real adds. “We try to provide a platform for local artists and ideas.”
Having established relationships with The Revelry Room and Spot Venue, the organization has worked tirelessly to put on a large number of productions, showcases, DJ battles and Chattanooga’s first ever Hip-Hop Festival. The access to quality venues, attributable to their high level of professionalism, is one of the many valuable assets they are able to offer artist, according to local performer, writer and recording artist Kindora Camp.
“The current state of hip hop in our city is at an all-time high of acceptability and respect. I’ve never been invited to more hip hop shows ever and I’m happy about this,” notes Real. “Hip-Hop CHA is able to book venues that artists have a hard time being considered for. They are giving them nice PR, PR that a lot of artists have a hard time realizing they need, PR that artists typically have a hard time paying for.”
DJ D-Whit has a similar take. “I came here in 2012 as a student at UTC and for the first couple of years I was mainly on campus but when I started getting out in to the city, it just wasn’t happening yet, but then here in the last year or so it’s been like watching a child grow,” he says.
“It’s gone out of the underground and in to the mainstream with dance parties and showcases. They put on the first ever DJ Battle and put up $1,000 for first prize. There was nothing like that before and now people have been paying attention. I’ve been on the TV three times in the last year.”
The watchword seems to be opportunities. There are more opportunities for rappers and DJs than ever before, due in part to the phenomenal talent available (Kay B Brown, reviewed earlier this year in this publication, is one of the most promising young stars from this area in years, and one to watch) but the impact of Hip-Hop CHA as not-for-profit artist collective is undeniable.
Essentially ambassadors for the genre, they are not only building bridges with venues and redefining the image of the genre, they also fulfill a valuable mentoring role for new artists who might not yet understand the business side of the music business.
“The scene is definitely thriving for local artists,” Real explains. “Advances in technology are part of it, but there’s a spirit of entrepreneurship too. Artists have figured out that you don’t necessarily require a label anymore as long as you develop a solid brand. When Isaiah (Rashad) took off, a lot of people realized, hey, maybe I CAN make it!
“We’re seeing a lot of talent now, though,” he adds with a grin. “There’s a lot of rookies out there too. Kids who focus so much on image they forget about stage presence or they get up there and they forget lyrics because they haven’t rehearsed. Then too, a lot of them don’t get that you have to go out there and meet the club owners, you’ve got to talk to the media, you can’t just wait for them to come to you. You’ve got to make that impression, be professional, and show them that you’re not just all image.”
It is precisely this sort of guidance and advice that has allowed what essentially started as a music appreciation club to bring Hip-Hop music into the limelight, adding a new, important, valuable and rapidly growing dimension to the local scene.
Their dedication to the promotion of their art, community and unity are nothing less than inspirational and the results speak for themselves as Chattanooga Hip-Hop takes its seat at the table. Thanks to their selfless hard work, for the new generation of up and coming artists, the sky is the limit.