Although David is mostly known for his rapping and TV interviews, the multi-talented entrepreneur also has his hands in other fields of entertainment such as video production, editing, and script writing.
Check out Part I of The Crowd Updater’s Interview with David “The Indikator” Fuller below, where he share details about transitioning from MC to TV host, how Hip Hop has changed over the years, and his 3 man rap crew, Tha Genysiz.
Please introduce yourself to those who may not know who you are.
My name is David Fuller, also known as The Indikator; CEO and President of Damage Entertainment, formerly known as Damage Productions. I have an indie label, Damage Recordings. I’ve been putting out music since 1994. On the label, we’ve had artists signed over the years. We’ve been putting in work, a lot of work , over the years, and we’ve been very fortunate.
We want to continue that trend.
A lot of people don’t know that you’re like an “Entertainment Entrepreneur” in many ways. You do everything from music, to production, to editing, to hosting and more. How do you juggle everything?
In terms of budgeting time, it’s difficult because I’m doing so many different things. I have difficulty delegating certain things to certain folks, because folks will prove to be unreliable. So I’ll usually cut out blocks of time in the day. I may take maybe 2-3 hours just for the show. I might do another 2 hours for production. I might take another 2 hours just to finish the script that ‘m working on. And then multi-tasking. I can have something going on in the laundry while I’m finishing my script.
I’ll usually devote blocks of time on my days off; there’s never been a day off where I’ve just done nothing. I do more on my days off from work than I do when I’m at work, and I’m OK with it. Sometimes it can be a pressure thing, especially when you’re on a deadline to get something done. But I’ve been fortunate that my time is not beat up, and it’s not not utilized correctly. So I’m fortunate in that sense.
How did you transition from just mainly music to television?
While I was doing music, a friend of mine by the name of Tony Lankford, had me on a show that he was doing, and a lot of folks who saw me said “Hey yo, Indikator, I saw you on TV, Philly channel 7.”
And then he (Lankford) plugged me in with a guy by the name of Gene Cliett, and we talked. I wanted to do an infomercial talking about the artists and who was on the label at the time. So he said, “Well, why don’t you do a talk show.” I said, “I don’t want to do an Oprah, ‘sit down and talk’ type of thing.” So he said, “Why don’t you just try it out, and go from there.”
We actually started filming on location… the first filming we did was on the corner of 19th and Chestnut, during rush hour back in August of 2005. From thought process to air time, it took us 88 days- from talking about it to actually going on air.
I was feeling my way through everything. I didn’t know how to edit, I didn’t know how to work on sound, that kind of thing. I actually delegated that to Tony, and then afterwards I watched him and said “wait a minute, I can do this.” So I cut that cost and started doing it myself. Shout out to Tony, good guy.
So I started doing it myself, and I just progressed. I learned the in’s and out; working on sound, what sounds good, what doesn’t sound good. What looks good and what doesn’t look good on screen. And I just continued on that path.
But that’s really how it started, the TV show actually started… it was supposed to be an infomercial, and I just went ahead and went from there. TV chose me, I didn’t choose it. It was a natural progression from doing the music, it chose me.
My father, he’s also in entertainment, he’s a playwright. Actually, he’s a Pulitzer Prize winner, he wrote A Soldier’s Play which transitioned into the movie A Soldier’s Story, in 1984. I was at The Academy Awards as a teenager. So I think with that, writing is hereditary.
I was writing lyrics. I just moved from that and kept moving forward.
You’re still involved with music, tell us more about that.
Tha Genysiz is a three man crew made up of Khallas, Majic, and The Indikator. It was something we talked about doing and we all came together. We all have different styles of MC’ing…
We combined our talents together and we started spitting, if you will. We did a video here in this studio and the name of the song was called Gettin’ It. It was actually the remix of an original song that was for the strip club. That song and the lyrics are not for the faint of heart. (Laughs).
The concept behind Gettin’ It, the original version of Gettin’ It, was the music was the woman herself. The mindset was treating the track like a woman, not in a negative way. But just saying “Yo man I’m gonna spit my game to this lady,” but it was the music. So we transitioned it and made it work in that way. And then when we did the remix of it, we (went) straight 90’s: drum track, church bell and rhyming.
What are some of the differences you see from when you started doing music compared to how people take in Hip Hop now?
The technology number one! First and foremost technology. There was a time when I had 12 inches. I was going to the post office with crates of records, packaged up, and the whole nine, mailing them. And in the line, there are 10 to 15 people in line behind me like “Yo, what is he doing?” I was going out pounding the pavement, calling folks seeing if they wanted the music, and it was a job.
Now, the cats that are doing Hip Hop, they don’t have that. They don’t have to worry about that. With the push of a button, your track is everywhere, around the globe.
Before you had to have mail, you had to have a mailing list, you had to have money to get the postage, you know; and this was 92-93 when we were doing it. That’s one of the real, major changes I’ve seen over the course of time I’ve been in music.
And it’s great, it’s good thing!
Stay tuned for PART II!!