As the reconstruction period came to a close, America’s harsh trend of racism began to intensify. This systematic and overt oppression found an epicenter in the southern United States, a region that housed the majority of the country’s African-Americans. In an attempt to loosen the noose that was southern prejudice, many Blacks thought it better to move away from their homes in The South to a more “tolerant” portion of the country.

This large evacuation spanned from the years of 1910-1970 in an event that is now known as the Great Migration. During that 60 year period, Blacks loaded their cars and boarded trains with nomadic plans of finding a home as far away from The South as possible. This mass exodus resulted in The South’s Black population dwindling from 90% to just 53%, while the country’s rural population shifted from nearly 100% of African-Americans living in the country to only 20% of Blacks, not in an urban environment.

During the Great Migration, African-Americans established inclusive enclaves throughout the United States, none of which was more attractive than the city of Chicago. During this period of relocation, Chicago’s Black population grew from just 2% to nearly 40% bringing with it a shift in the city’s culture. A change that, through its music, can still be felt today.

Although there are definitive things outside its location that make Chicago undeniably apart of the Midwest. The large increase of its Black population in such a short period of time brought with it a “southern” connectivity to the music of Chicago. This began with Blues/Jazz invading the city and is reemerging in the work of its rappers. From the iconic Blues singers like Muddy Waters to the Millennial megastar, Chief Keef, Chicago artists have consistently found musical connectivity to their inherently southern roots.

This is a concept that is unintentionally expanded upon by one Chicago’s emerging talents, Valee (pronounced: “Vuh-lay”), who in an interview with RESPECT.’s Country Grammar series spoke about his lack of musical convention as well as the city that raised him.(credit: Addy Berge)

RESPECT.: “What was your life like before music?”

Valee: “Well, I was into cars. Customizing them, things like that. Other than that, going to clubs. That’s about it. Just chillin’.”

RESPECT.: “How did you get into music?”

Valee: “I used to do music in high school. But I went one day to get all my equipment back to make beats and happened to pick up recording equipment as well. So, then I just started making beats and recording myself, but not putting anything out until I was ready.”

RESPECT.: “Being from Chicago, it kind of sounds as though you have a southern feel to your sound and music. Even though your lyrics are very ‘Chicago,’ it seems as though you have a southern influence and I am wondering where that stems from?”

Valee: “I have family and friends from Atlanta. My grandma and them from Mississippi. Similar to a lot of people from Chicago. Even though I was born and raised here I have that in me. And I’m also attracted to Trap and certain other sounds like that. But I would say that’s where it comes from because I know it sounds different from the trap you’re used to or anything from Chicago right now. But I’m just doing what I know and giving it to the people that way.”

RESPECT.: “I think another thing that makes your music different is the way it ‘feels’ in the sense of cars being a heavy theme and your production style/beat choice makes it feel as though the listener should be riding in a car listening to your music. Is that something you think about when your making music, being as you used to deal with cars prior to music?”

Valee: “No, not really. My music comes from things I’ve done before. I just reiterate it and put it back into the music. I don’t think about it. I just rap and try to get on the song in a way that makes sense to me. Just a lot of the times it correlates to that because that’s part of me and my past.”

RESPECT.: “Being as your style is so different is there anyone that influenced your flow?”

Valee: “I don’t know. A few people, I guess, I’m sure that someone has influenced me. But I really don’t know, because I look for different ways to come on the tracks and make it sound new. So, yeah, if anybody had influenced me I’ve done so much bending to it and twisted it so much to make it mine that I don’t even know.”

RESPECT.: “So in regards to previous works, you happened to have made a joint mixtape with producer, ChaseTheMoney, and being one of my first introductions to his work I was wondering how you guys connected?”

Valee: “I think I saw a post of his on Instagram or something and I liked the beat so much that I had to reach out to him. But yeah, I didn’t know him from a can of paint I just reached out and turned out that he was in Chicago at a friend of mine’s house. Small world. So, I pulled up on him. Bought like three beats from him and did two songs. ‘Grandma’s House’ and ‘Thousand Dollars’ which are just hits already. But that’s how that happened. He just started f*ckin with me from then making songs and mixtapes and all that.”

RESPECT.: “Can you speak on your relationship with Andrew Barber, who this large figure and staple within Hip-Hop? Especially Midwest/Chicago Hip-Hop.”

Valee: “Yeah definitely. Andrew Barber is a wonderful person. I like him being my manager. H keeps me focused and on point. Easy to get along with. So, yeah, he takes a big load off me. He’s perfect for that. So, yeah, he had to become my manager. I don’t think there is anyone else that could or I would want to have in that position. They wouldn’t do a better job than him. For sure.”

RESPECT.: “It seems like you have a clear understanding of how you want your music to sound as well as timing when it comes to releasing it. With the mixtapes heating up and recognition from big names like A$AP Mob and GOOD Music, is there no pressure to drop anything soon or is timing still everything?”

I GOT WHATEVER – @1realvalee https://t.co/Gy0ZyJZYaN

— G.O.O.D. MUSIC (@GOODMUSIC) October 25, 2017

Valee: “Nah, you’re right. Timing is still everything so there’s no pressure. I’m just sitting and recording. Putting together things that sound right. I have at least a few 100 songs in the vault that I’ll put together and release when the time is right. But no. No pressure, though.”

RESPECT.: “So, I’d like to stray away from the music for a second to talk about Chicago. Being from Chicago, you guys are in the spotlight for a lot of reasons. Some good, some bad. Can you speak about your experience with the city and the things that are going on there?”

Valee: “It can be a little rough here, but you just got to stay out the way. Just have to be careful. I don’t think it’s as bad as the media portrays it to be. I was born in the projects of Englewood, lived in the city my whole life, and I don’t gangbang or any of that. I just really do the music and that, along with being known for customizing the cars and all that, helped me stay out the way for the most part. But I would say back when I was younger it was easier to stay out of the way. We had more programs and rec centers and thing like that than they do now. So, it was a little easier to not get into that. It was still hard, but not as hard. I think that lack of funding for our youth needs to change.”

RESPECT.: “Word. So, with a couple 100 songs in the stash, a lot of people want to hear what’s next for you. Both musically and professionally.”

Valee: “Just working man. Continuing that. Making the best music I can when I get a chance to. I’ll probably put out a tape soon. I don’t know when. I was supposed to be in August, but I decided to wait. I put out so much music within this little year and a half that I’ve been professionally active that I want the fans to be able to catch up to what I’m doing.”

RESPECT.: “What about professionally? Anything with a major or things of that nature?”

Valee: “Honestly, I’ve had offers from pretty much every major label you can think of and I’m just fielding ‘em until I get one that I can’t pass on. There’s nothing right now that I can’t pass on, being as I do this for the love of the music and that’s it. So, until then, I’m fine where I’m at and with what I am doing.”(credit: Dylan Lee)

If the skilled listener cares to dissect Valee’s bass-heavy, melodic, tracks they will discover an innate attention to detail that shines through the purposefully foggy instrumentation. This attentiveness is a skill set that has allowed Valee to escape the obstacles of his youthful environment while gifting him with the ability to maneuver the manipulation of the music business. This is the same talent that gave Valee predecessors the foresight to move to Chicago, thus changing the trajectory of their posterity.

With this gift, he is unconsciously following the lead of the legendary, Chicago, rap group, Do or Die. By taking the southern influence found in some of Chicago’s production style as well as the city’s car culture and repackaging it in a way that appeals to both The South and The Midwest, Valee is swinging down a street lit by the career of Do or Die.

Yet what Valee is doing that Do or Die didn’t, is use his music to push the limits of reality. Listening to a Valee tape is like riding inside the Woofer system of Valee’s first Monte Carlo. Or feeling as though you are actually the spiked pop that is being poured out a bottle into his cup filled with ice and candy. You are not just experiencing the music; you are a part of it.

This talent paired with Valee’s methodical patience makes him one of Rap’s most sought out artists. If he is able to capitalize on this (something that is perfectly attainable with Andrew Barber in his corner), Valee can position himself as one of the catalysts that will not only shift the way rap sounds but change how the music is critiqued and consumed. A cultural migration that can only be compared to the one that transformed Chicago into the city it is today.

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The post Country Grammar Vol. 9: On the Move with Chicago’s Valee appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Throughout their historical existence, African-Americans have been both misplaced and misunderstood in the context of a country that was not created to cater to them.

In response, their confusing modes of survival have resulted in them being largely ignored only to be highlighted through the perception of stereotypes. And even though their sheer numbers and impact have tightly woven them into the fabric that holds this country together, the Black American has never truly been “seen” by the ominous beacon of light that the United States so proudly projects.

This desire for visibility has been the motive for almost every “Black” work of literature, and G Herbo’s debut album, “Humble Beast,” is no different.

In an interview with RESPECT., Herbo expressed that the hope for his debut is for the project to serve as an introduction to who he is, not only as an artist but also as a person.

A goal that is undoubtedly accomplished.(Credit: Eric Johnson)

Starting with the album’s introduction, “Street,” where he rattles off various self-descriptions: “I’m an extraordinary thinker / I’m a three percenter / I’m like a prophet / I know magic / I can speak a picture…”, to tracks like “Lil Gangbangin Ass” and the more playful “I Like,” (a song centered around the women he’s attracted to). Herb uses almost every song on “Humble Beast” to give listeners an exclusive look at who “G Herbo” is.

By doing this, Herb provided more than just an insightful look into who he is as a creative. Through “Humble Beast,” Herb also gives listeners the necessary content needed to grasp the decision-making, survival tactics, and the effects poverty has on America’s overly marginalized demographics.

This is done by gifting the audience with an intimate look into the mind state of Herbo and his peers. With lines like “Why I got to tote my heat? / I be on B.E.T. / You don’t want to see me free? / Be great. / Can I do me?” listeners get a feel for the internal struggle Herb has with the inhumane strides that are imperative to his survival.

Through songs like “Bi Polar,” Herb touches on the mental instability created by these conflicting contemplations as well as their origins. He expands upon this theme and the attempts to soothe it in the lyrics of “Black.” Despite its bass-heavy beat, this track is extremely intimate as it details Herbo’s known battle with drug abuse. With the help of auto-tune, Herb crones: “I was off them perkies sippin’ lean until my mind told me: ‘stop or you not gone have anything…’” in a way that subtly depicts his battle with dependency. This type of vulnerability is a facet of himself that Herb usually shies away from. But because he considers his infliction to be a direct result of the trauma experienced living on Chicago’s violent Eastside, it is mandatory that G Herbo shares this piece of his personality in order to better comprehend the byproducts of an impoverished community.(Credit: Eric Johnson)

Chicago’s violence and its catalysts are themes that are revisited throughout the album; most notably on the track “Red Snow.” But in the song “Malcolm,” Herb takes this concept to a more intrinsic level.

On “Malcolm,” G Herbo uses rhyme to paint a vivid picture of the “average” Chicago adolescent. He details how a lack of care at the familial and governmental level can lead to one’s demise. And while the project’s immaculate beat choice (harboring instrumentals from Southside, ChaseTheMoney, and more) combined with clever wordplay already put the album in direct conversation with the work of his stated idols, Jay-Z, Jadakiss, and Meek Mill; the use of one of Hip-Hop’s fundamental elements, storytelling, works to further solidify “Humble Beast’s” position as a potentially classic Rap album.

Outside of explaining poverty’s catalyst, Herbo also uses “Humble Beast” to act as a positive mentor that many people living a similar lifestyle might not have. As best displayed on “No Way Out,” Herb uses short monologues to explain how he wants to be the blueprint on how to make it out of a harsh predicament. This is not a new message to any “at-risk” youth. But by reminding his audience that he too shares a related struggle, Herb’s dissertations come across as palatable pieces of advice rather than sermons on better judgment.

This is a power that Herb showcases his knowledge of on the album’s standout track, “Crown.” For this number, Herb chooses to rap over a beat laced with a sample from the popular gospel hymn, “I Shall Wear a Crown.” He then uses lyricism to repurpose the city’s accepted notion of “Crown,” from slang for running a certain area and a Crown Victoria (the common Chicago police vehicle) into a metaphor for escaping the trials of street life trading it instead for self-love and togetherness. This necessary message could be viewed as “preachy” if not given by someone of G Herbo’s connectivity. And by featuring one of his idols, popular Chicago Rapper and street legend Bump J, “Crown” exemplifies the relatable duality that is a literal “Humble Beast.”(Credit: Eric Johnson)

The inclusiveness and raw political stance of “Humble Beast” can liken G Herbo to the popular protest novelist, Richard Wright, and his work “Native Son.” Like the story’s main character, Bigger Thomas, Herbo is also a struggling, young, Black male in Chicago fighting desperately to be “seen” as a man in a society focused on his dehumanization. The systematic ignorance that they both experience lead these antagonists to do unthinkable things en route to fully actualizing their manhood. Yet unlike Bigger, Herbo has been gifted with the innate ability to foresee the obstacles of this slanted system. Because of this, he has eluded Thomas’s tragic fate resulting in a better understanding of what a “man” is.

And while “Native Son” is a fictional story with an all too realistic ending, Herb uses his actual life experiences to make “Humble Beast” a real narrative that results in a fantasy-like conclusion. In doing this, Herbo has provided the one thing that makes his story arguably more impactful than Wright’s novel: the element of hope. With this hope, “Humble Beast” lays a foundation for realistic positivity. Something that has been missing from Chicago Hip-Hop.

Unlike fellow Chicagoans, Chance The Rapper or Kanye West, Herb isn’t a kid who’s “uncle” is Spike Lee or a guy who could afford college but chose to make beats instead.

No, Herb is a harsh decision maker; but he’s also smart and listens. He’s him. He’s you. He is everything. This familiarity is similar to his fictional counterpart, but Herb’s advanced maturity has allowed him to utilize this connectivity to amass millions of views/plays and countless of accolades. Herb achieved this fame despite struggling with a lack of publicity. A burden shared by almost every independent artist but is heavier on Herbo due to his “graphic” content.

Yet because of his relatable charisma, Herb was still able to craft a prolific debut album. A project that he fills with tools for manipulating the ever-present millennial misguidance. With this, Herbo gave his fans something that street value exceeds any drug or gun floating through America’s third largest city. By using “Humble Beast” to tell this beautifully tragic tale of freedom, G Herbo, in turn, gives his hometown of Chicago hope.(Credit: Eric Johnson)

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The post Native Instinct: A Review of G Herbo’s ‘Humble Beast’ appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Throughout the 1960’s into the early 70’s, Barry Gordy’s Detroit-based, Motown Record Label turned this industrious city into the home of Black arts and music. By housing now-iconic artists such as Diana Ross and Marvin Gaye, Detroit and The Midwest had a strong hold on what pulsated through the American eardrum. Hip-Hop, however, ended this.

When the cultural storm that is Rap first hit the nation, the country’s attention began to shift from The Midwest to the region that birthed the genre, The East Coast. And as its winds migrated, The West and South entered this jockey for the musical notoriety. Yet, still, the contributions of The Midwest were ignored.

Despite it being the birthplace of many impactful Hip-Hop artists such as Bone Thug-n-Harmony, Eminem, Kanye West, and J Dilla, until recent The Midwest has never been able to turn the genre’s Triple-Threat match for recognition into a much-needed Fatal Four-Way.

But in 2007, this all changed.

As a Hip-Hop enthusiast, Andrew Barber attended almost every Rap concert that passed through his native Chicago. In doing this he encountered something strange.

While the city’s local artists could sell out venues without any hassle, the acts that seemed to get the more publicity nationwide found it difficult get their shows to capacity.

Like a calculated scientist, Barber began to wonder why these smaller acts, in the nation’s third biggest market, were not receiving the same attention as other artists? Eventually, he deduced that the litany of blog sites that were springing up at this time was continuing the trend of ignoring the influence of his hometown and the region it resides in.

(Credit: Juan Garcia-Quintero)

“I saw artists like Rocky Fresh or The Cool Kids selling out venues that other ‘bigger’ acts couldn’t,” Barber described during his conversation with RESPECT. “But, they weren’t receiving a lot of national attention. It was like if you weren’t one of the ‘Big Four’-Kanye, Lupe, Common, or Twista-then you were being ignored.”

To this, Barber had a solution. He would create his own site that focused solely on Chicago and its artists. This hypothesis was met with much opposition.

“Many people outside and in Chicago thought it was crazy to have a blog that focused on just Chicago,” Barber stated. “They said there was nothing there. That Chicago and The Midwest just consumed culture. That they don’t create it.”

Not yielding to this pessimism, Barber still launched the now-intensely popular site, Fake Shore Drive, which will celebrate its 10-year anniversary this October 10th. A momentous feat in the ever-changing world of music journalism.

(Fake Shore Drive Logo, Credit: Andrew Barber)

The longevity of his invention can be credited to Barber’s ingenious approach to music journalism. By choosing to specify his writing to one area, he set himself apart from any competing publications. And even though Fake Shore Drive has expanded outside of Chicago now encompassing the whole region, its dedication to The Midwest generates a unique perspective and loyal fan base.

In addition to this, Barber has an unmatched ability to not just locate and promote great artists but also identify cultural influencers. This was best displayed by the way he spearheaded one of The Midwest’s most potent exports, Drill Music. Not only did Barber coin the name of this subgenre, referring to the music as “Drill-Hop” in a 2012 Complex article, he also foresaw the impact of Drill pioneer, Chief Keef. A Rapper he now describes as the “most polarizing” artist Fake Shore Drive has ever encountered.

“It’s kind of funny to see how highly Keef is regarded in culture today,” Barber said when reminiscing on the backlash he received. “In 2012 people were actually mad that I took the time to promote and cover his story. It was like he was the ‘Anti-Christ.’”

But over time the world of Rap has conceded to Barber’s brilliance. Now instead of condemning his vision, many companies are now choosing to collaborate in support of it.

FSD 10 YEAR ANNIVERSARY SHOW #30DaysInChicago

NOVEMBER 4TH

w/ @Tee_Grizzley & MANY SPECIAL GUESTS

BUY TIX NOW: https://t.co/kIdBw96xE7 pic.twitter.com/OO3msLRi7w

— Andrew Barber (@fakeshoredrive) September 6, 2017

Outside of Fake Shore Drive, Barber pens a column at Noisey titled: “Old Rap Shit” where he annotates several obscure but important events in Rap history (something he has been doing on his social media for years prior). He cohost’s a satellite radio show on Sirius XM’s SHADE 45, a venture Barber describes as “natural” being as the station is run by two native Detroiters/Midwesterns, Paul Rosenberg and Eminem. Barber curates Apple Music’s “The New Chicago” playlist. And his site has a partnership with Red Bull Sound Select which will help in the production of a November 4th concert in honor of FakeShoreDrive’s 10th anniversary. An event that will be headlined by Tee Grizzley and will, according to Barber, feature “multiple surprised performances.”

i knew r. kelly was capable of anything after fat joe told that story about taping himself fighting in an underground boxing league in chi pic.twitter.com/DkRVpdFNca

— Andrew Barber (@fakeshoredrive) July 17, 2017

Yet even with this major success, Barber chooses to keep the essence of Fake Shore Drive as closely rooted to its intended purpose as possible. He does this by continuing to highlight up and coming talents rather than focusing on the genre’s bigger names. A tactic that further solidifies the site’s individuality.

“Maybe if I chose to focus on ‘big’ names then I, in turn, might be ‘bigger,’” Barber explained. “But, that wasn’t me. I wanted to create my own lane. Show people what’s next in Rap. I’ve never been caught up in the ‘celebrity’ aspect of journalism.”

(Credit: Mr. Wildstyle)

By purposely trading fame for the preservation of a culture he so deeply loves, Barber has unintentionally become one of the go-to names in the music industry. On top of getting shouted out by Chance The Rapper during his Grammy acceptance speech, Barber has also been honored with a position as one of the award show’s board members. This dedication to his home region paired with his unsatisfied hunger to push Rap forward creates a permeating passion that is hard for any music lover to ignore.

When @chancetherapper shouts you out after winning his first Grammy. Amazing day!! #Grammys pic.twitter.com/UaBzvIuMsu

— Andrew Barber (@fakeshoredrive) February 12, 2017

Barber’s absolute affection for all things Hip-Hop has equipped him with the foresight to navigate a region that was seemingly untapped by Rap journalism. By doing this, Barber combined this love and knowledge of the culture like alchemy. He took what seemed to be nothing and created a lane where others can further progress a genre that he only wishes will “keep going.”

Check Out Andrew Barber’s Apple Music playlist, “The New Chicago,” as well as his “Old Rap Shit” Column.

The post The Alchemist: Andrew Barber’s Scientific Approach to Longevity appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

“I know a couple n*gga’s that’s down to ride for a homicide when it’s drama time…”

Like a skilled thief perfected by the struggles of poverty, the Rapper then known as Lil Herb, used the opening lyrics of his 2012 song, “Kill Shit,” to slip into the world of Hip-Hop and successfully steal the genre’s attention.

While the song’s superficially violent lyrics helped to further the Chicago creation that is “Drill Music,” at only 16 years-old, it was Herb’s age paired with an amateur music video that featured a litany of adolescents brandishing military style weapons that turned him into an instant celebrity.

Since the explosion of “Kill Shit,” Lil Herb has been featured on multiple songs with several popular artists including fellow Chicago native, Common. Been dubbed “the future” by Rap superstar, Drake. And even underwent a name change, choosing to continue his career under the moniker G Herbo. Yet despite this success, G Herbo has yet to release a debut album.

This, however, is set to change.

After years of displaying his skills as a versatile lyricist, G Herbo is finally ready to drop his first official album, “Humble Beast“, which is slated for a September 22nd release date.

In an interview with RESPECT., Herbo spoke about the origin of his stardom, the plight of his beloved Chicago, and what fans can expect from his upcoming album.

RESPECT.: “With your debut album, ‘Humble Beast,’ set to release on September, 22nd, I would like to take you back to your ‘introduction’ to mainstream Hip-Hop with the song ‘Kill Shit’ featuring Lil Bibby. What was it like making that song and did you expect the reaction it received? Did you guys know y’all had a classic on your hands?”

G Herbo: “We were just doing what we do. We didn’t know it would blow up the way it did. We were just rapping like we always did. Like even the video. We shot that b*tch at like four in the morning. Just in the neighborhood with the guys. We didn’t know it would be the thing it is today. Looking back on it that whole thing is crazy. It’s crazy to think that that song is our biggest collaboration to date.”

RESPECT.: “What prompted your transition from the street-life of Chicago to being 100 percent committed to music?”

G Herbo: “It was just natural. There’s nothing that really made it happen. I just knew that you can’t be in the streets all your life if you’re trying to make something of yourself. I knew I wanted something different.”

RESPECT.: “Drill Music has impacted and influenced almost every facet of today’s Hip-Hop. How do you feel about the tremendous impact of a sub-genre you helped pioneer?”

G Herbo: “I don’t consider myself a ‘Drill Artist.’ I just came up at the same time as Drill Music, but I wouldn’t consider myself a part of that. Don’t get me wrong, I have nothing against those guys, but I can talk about that drill shit and more. If you wouldn’t consider Nas or Meek or Jay a ‘Drill Artist’ then I wouldn’t consider myself as one.”

RESPECT.: “In your music, you tend to not only speak about the violence of Chicago but also address the issues that could be its catalyst. A perfect example of this is your song ‘Red Snow.’ Why is it important for you to create songs like that one?”

G Herbo: “Because a lot of people judge us. You can’t really judge us if you don’t really understand our story and what we’ve been through. The things we had to go through to get where we are. We grew up doing negative and thinking negative and that negative environment is still apart of us. People don’t understand the decision we made or the things we went through. We survived. We really just adapting to our environment. All the situations we have been in. I wouldn’t say we chose this. I didn’t choose this life for myself. It just naturally happened. It chose me. People have to understand that there are certain thing and situations that make you the man you are. And if I could relive my life, I would do it exactly the same way I did it before because it made me the man I am today.”

RESPECT.: “It appears that you have created a genuine connection with your 2016 XXL Freshman classmates, most notably Lil Uzi Vert and Dave East. Do they having dropped well-received projects add any additional pressure for your own release?”

G Herbo: “There’s no pressure in general. I’ve always been a calm person. Even when I was on street shit, in the field, I was always calm, I never froze up. And personally, don’t worry about what the next man is doing. Yeah I f*ck with them and their projects are nice, but I don’t base my moves off theirs. So, there’s no pressure for this album because I don’t feel that.”

RESPECT.: “Speaking of Uzi, you two released a song last week called: ‘Everything.’ Yet, you have also been seen in the studio with many up and coming talents such as producer, ChaseTheMoney. How important was it for you to find the right sound rather than the right name for this album?”

G Herbo: “It’s never about that. It’s never about ‘the name.’ It’s all about the music and the connection. If I f*ck with you and I like your music than we can work. Like Uzi, I f*ck with him and he’s talented so we made a song. ChaseTheMoney. He’s a really talented dude. I like his production so I chose to work with him. I don’t care about a name. You could be a guy off the street if you got talent I’m going to f*ck with you. You never know who that next ‘big name’ is so I don’t get caught up in that. I just create good music with talented people.”

RESPECT.: “You stated that you would like your album to be ‘perfect,’ resembling Nas’s ‘Illmatic’ and Jay-Z’s ‘Reasonable Doubt.’ What makes these albums the standard for you and how are you planning on reaching that bar?”

G Herbo: “That’s self-explanatory. Those are two of the most complete albums in Hip-Hop. So, if I want to be the best I have to compare myself to the best. But, I’m not doing anything different. I’m still going into the studio and being me. I just want to be great so I have to put myself up against greatness. Those should be standards and goals. Those are people and albums I look up to.”(“Humble Beast” cover art)

RESPECT.: “The latest installment to your ‘4 Min of Hell’ song series has been added to “Humble Beast” as a bonus track. Fans were under the impression that Part 4 was the last one. What made you revive this popular series?”

G Herbo: “It was just natural. Even when I said after 4 I wasn’t going to do another, everyone was like: ‘do another 5.’ But there wasn’t anything that ‘made’ me do it. I got the beat and when I got to rapping to it people were like: ‘yeah this needs to be another 4 min.’ But there was no stop to the series. Even when I said part 4 was the last one, I knew I could pick it up again at any time. It was really about the beat and timing that made me do it. Nothing other than that for real.”

RESPECT.: “What can fans expect from ‘Humble Beast’ and what’s the hopes for your debut album?”

G Herbo: “I feel like the fans can expect, me. What’s true to me, Lil Herb/G Herbo. Everything I’ve ever been through that got me to this point in my life. Everything that I plan on doing 5 to 10 years from now. This is my story. I feel like ‘Humble Beast’ is the introduction to who I am. To who Lil Herb/G Herbo is to everybody. To the fans and to people who have never heard my music before. That’s what it is. An introduction to me.”

RESPECT.: “So, will fans be able to witness the growth and obstacles that turned ‘Lil Herb’ into ‘G Herbo?’

G Herbo: “Of course, that’s what everything I make is about. It’s to showcase my growth. I’m not the same 16/17-year-old artist. So, of course, you’re going to see tremendous growth.”

(Credit: Eric Johnson)

Since his emergence, Hip-Hop has witnessed Herb’s transition from the fiery and exuberant ‘Lil Herb’ to a still passionate but more collected ‘G Herbo.’ And although a lot has changed throughout this journey, what has stayed consistent is the advanced sense of maturity that has accompanied Herb’s career.

This accelerated wisdom hasn’t only allowed Herbo to maneuver the epidemic of impatience, it also equipped him with the ability to propel himself onto a stage of cultural reverence.
Herb’s skill, age, and subject matter speak directly to the plight of the oppressed millennial. Because of this, he bypassed the short-lived sensation of “fame” while on route to establishing himself as one of this generation’s more prophetic prodigies.

Herb’s intellectual standing paired with his passion to be great creates hopeful expectations for his debut. It is understood that G Herbo possesses the skill and awareness to not only create a legendary album but also affect lives. This rare combination only heightens anticipation. Yet if Herb taps into his unique charismatic abilities, “Humble Beast” will undoubtedly surpass the expectations that precede it while molding the lives of its listeners.

Pre-order G Herbo’s forthcoming album Humble Beast via iTunes/Apple Music.

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The post The Prophetic Prodigy: How ‘Humble Beast’ Will Be The Reintroduction of G Herbo appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

The 1995 Source Awards was littered with ill sentiment and tense acceptance speeches. Although Death Row sent the most lethal subliminal shot, almost leading to very real bullets, Andre 3000 of the then fresh faced Atlanta-based duo, Outkast, delivered the night’s most prophet statement:

“The South’s got something to say.”

At the very time of this declaration, CyHi The Prynce was a budding adolescent in Atlanta. Here he was exploring the forbidden secular genre that was Hip-Hop and the omnipotent power that was the catalyst of the award show’s tension. This discovery led him to hone his skills as an artist eventually earning him a divine placement on Kanye West’s iconic G.O.O.D. Music record label.

Even though CyHi has acquired writing credits for several legendary songs as well as producing critically acclaimed mixtapes, as one of G.O.O.D. Music’s first signees, his debut studio album has been long overdue.Because of this, it was exciting for fans to hear that after clearing up the numerous label confusions which have blocked the previous release dates, CyHi The Prynce is set to finally drop an actual album later this year.

In an interview with RESPECT.’s Country Grammar Series, CyHi spoke about his storied musical tenure and the release of his upcoming album, No Dope on Sundays.

RESPECT.: “It’s well known that you grew up in a strict Christian household that didn’t allow you to listen to Hip-Hop. Coming from that, how did you get your first taste of Rap?”

CyHi: “I always loved music, because I always did different types of music besides Hip-Hop. But what got me interested in Rap, was the fact that I use to write poems to work on my diction because I couldn’t read that well. But then a guy from Philly moved to my school in Atlanta, you know they’re super rappers up North, he introduced me to some artists from up there. They were wordplay driven and used metaphors and things like that. It intrigued me. But what really got me into it was, like I was saying, a lot of up North guys were moving down to my school and there was this guy from New York who was battle rapping and getting so popular. He was untouchable. He was like Goliath. So my friends had got me, David, to go home and write some of the best raps I could think of at that time. I came back to school like two weeks later and destroyed him. That’s when I knew that Rap was for me.”

RESPECT.: “Being one of the core members of G.O.O.D. Music, how is it working so closely with Kanye and in an environment like that?”

CyHi: “It’s great. I’m able to share ideas and see how they put things together with some of the greats. I get to see how we’re similar and different. It’s been great working with them, especially being part of so many legendary projects and studio sessions. Like, I’ve seen every superstar you can imagine in the studio, outside of Michael Jackson or Prince. But other than that it’s a great experience and you learn a lot of things. Things you’ll see when it’s time for my album to drop and experience that growth.”

RESPECT.: “So with your album coming out soon, No Dope on Sundays, and the anticipation leading up to it is there a scheduled release?”

CyHi: “There’s a ‘release month’ which is coming up. So it should be out within a month. I haven’t finalized it, I got like two more signatures, but other than those two more signatures you’ll have it in less than two months. I guarantee it.”

RESPECT.: “Does this release take a lot of pressure off of you as an artist or add to it? What’s your mental state going into the release of this highly anticipated album?”

CyHi: “You know me, I’m just ready to put my score down on paper. Being signed to Def Jam and being in a messy situation with them, you know, I used to put out mixtapes and they would have 3 to 4 million digital downloads, but I never did it professionally where a label could really see the numbers. There’s not accounted sales or streams. But, now I can put my numbers on the paper so everyone can see my worth. But, I mean, there’s really no pressure because I am the best Rapper. When you really look at it from an off the mic freestyle to a radio standpoint to an artist being featured on a song and sticking to the subject matter of the song, I am the best. So now it’s just about being able to put down my score.”

RESPECT.: “What can listeners expect from your album?”

CyHi: “This isn’t something off the wall by someone who hasn’t experienced anything. I didn’t have to make this hieroglyphic ass project and concept. When you hear it you’re going to be like: ‘Oh this is a motion picture, and he just took the audio from it and made an album.’ So, that’s what I think No Dope on Sundays will illustrate. All the powers I have acquired through my journey in music projected on the highest level.”

RESPECT.: “So, what do you want this album to do for your career being as this would be your first album, but you’ve been solidified as an acclaimed artist?”

CyHi: “I don’t look for it to solidify myself in the eyes of my fans. I want to change lives. I want to go through a lot of stories that you guys have never heard. It’s funny because what you will hear on this album is from ages 18-21. You won’t hear about the life I’m living now until ten years from now. I never got to tell y’all my story, I only got to give y’all dope mixtapes or songs. You never got my story and I think my story can change lives. But also what I mean by ‘putting my score down’ or ‘numbers on the board,’ is acquiring funding to change the things I want to change within our communities. I need funding to do the philanthropy work I want to do. So when I ‘put the numbers on the board,’ and people see how many people I can affect that just brings more resources to my access to impact the things I want to impact. So, on both sides, I need both to do well.”

RESPECT.: “One of your more popular recent releases is the song ‘Nu Africa.’ It seems as though that song is coming from the standpoint of Black ownership. Is that something your philanthropy will focus on?”

CyHi: “Yes that too, but really being able to have that influence within the school systems and discuss with the ‘higher ups’ about how we can change the community. And also be a person who can galvanize the community and bring them to your door step as well. I’m not into the cliché giving out turkeys on Thanksgiving and Christmas, that whack to me. I want to do stuff that will affect the neighborhood, like make the Dope Boy’s pay for the parks in the hood. Or put a carnival together for the kids and have them all come out. Make them partner with Kroger and have a food drive during the carnival. And I want to do that on like June 18th, or some random day. So these are the things I’m interested in doing. But ultimately it starts with the music. It starts with that message and then it will branch off from there. That’s why I need everyone who’s been supporting me to support me and kind of help me. I’m not this guy that’s going to take all the money I’m blessed with and keep it. I want to give it away…. I want my legacy to be built on how much I can give away to the community, not only through monetary means but spiritually as well.”(press photo)

The career of CyHi The Prynce can be likened to the biblical story of Job. CyHi’s skills and aid in the creation of multiple masterpieces have placed him a sphere of “blamelessness,” allowing him to prolong his career and avoid the temporary victory that is fame. But despite this steadfastness, like his biblical counterpart, CyHi’s faith in this musical journey has been tested numerous times. The shelving of albums and label tensions have led to a delay in the popular recognition that CyHi deserves. Yet, even in the face of this adversity, CyHi has managed to stay true to his intended purpose. And because of his patience, this M.C. will undoubtedly be rewarded.

The release of No Dope on Sundays will give the world of Rap a tangible product of CyHi’s talent. It will create accessibility to his support system, reaping him benefits that are two times the recognition he is used to. Through this album, CyHi will be able to solidify his legacy by generating a platform in which he can contribute to communal uplift. No Dope on Sundays will also further solidifying the fact that despite the region’s somewhat loathed melodic direction, The South still has something to say.

Listen to CyHi The Prynce latest single ‘Movin’ Around’ ft. ScHoolboy Q:

The post Country Grammar Vol. 8: The Patience of CyHi The Prynce appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

As KeLow LaTesha’s distinctively regional voice brings to life her feature on Goldlink’s album, At What Cost, one can’t help but think about how the lines of this prayer characterize the cultural shift that is taking place in their native DMV.

Historically, D.C. and its surrounding Maryland and Virginia communities have been notoriously tolerant and open to all walks of life. Yet in 2017, this ideology looked to be under attack. With an increase in gentrification, resulting in Blacks becoming a minority in D.C. for the first time in nearly 40 years, as well as a president who seems to be the exact opposite of the city now calling it home; there was an increased urgency for residents to protect their way of life from outside forces.

This imamate threat, makes the words of KeLow’s prayer feel more like a residential plea for battle graces rather than just an interesting interlude. In an interview with RESPECT.’s Country Grammar Series, Prince George’s County’s KeLow LaTesha talks about her musical career, life in the DMV, and how this region is fighting to protect their vibrant culture.

RESPECT.: “What was your life like before music?”

KeLow: “I’ve always been into music. My first project I really did was when I was 12. God Bless my older sister, but she took me to the studio, I copyrighted that joint by myself, I printed and pressed every CD, and I put it out. But, I can say I wasn’t that serious because in high school I was thinking like: ‘okay, what are my options.’ Thinking about what I wanted to do because I was really into art too. But once I realized that I didn’t want to go to college, that’s when I jumped into music like this.”

RESPECT.: “How did you learn how to do all of those things you did for your first project at 12?”

KeLow: “It was actually a teacher that reached out to me. She told me I could go to the Library of Congress and copyright my material. So at 12, I had my mom drive me into D.C. to copyright my first CD. Then my mom gave me this old pressing machine that only pressed 1 thing at a time. So, I pressed about 50 to 100 by myself, got the stickers and all that, and started moving them.”

RESPECT.: “Has this ‘self-made’ trait that you embody impacted your approach to music and the music business?”

KeLow: “I mean it just gives me motivation. Knowing I can do it myself and seeing other people do it themselves, without a label, is just motivation. I like being independent, it works for me because I know I can do it. I’m not opposed to signing, but it would have to be a partnership. Where they appreciate what I know I can bring to the table.”

RESPECT.: “D.C. has a very storied musical culture; I was wondering if this music influenced you as an artist?”

KeLow: “What comes before you, helps to birth what comes next in a sense. So growing up, especially in the DMV, I had various influences. With Go-Go, R&B/Neo-Soul, Hip-Hop, which was influenced by both R&B and Go-Go. Like, Go-Go has influenced me and every artist from here. If they say it hasn’t they’re lying. But, I also I remember growing up being influenced by alternative rock and things like that. I was never the one to know the band name or go to the concerts, but I liked certain songs that I heard. It was like: ‘this is what I like, so this is what I’m doing.’ But not everything I listen to influences what I’m making and I feel if you let it you won’t make the best thing you could have.”

RESPECT.: “We’ve talked about how the DMV has influenced you musically, but how has the culture of this region impacted your life?”

KeLow: “Being in the DMV and seeing a lot of successful minorities, as well as, being around the people I was made it so I was like: ‘yeah, I want to own my own. I don’t want to work for nobody. I want to own property. I want to keep saying where I’m from and talking about what I grew up to.’ It had that influence. It made me want to do it because I saw people doing it. It’s right there in front of me from the different business and thing. It just solidifies that I can do whatever it is I want to do. I’m not subject to be one thing and I won’t be one thing.”(Photo Credit: Michael Anderson)

RESPECT.: “So, you have some pretty big collaborations with Lil Uzi Vert and Goldlink, how did those come about?”

KeLow: “With Uzi, it was just like he heard the track, “Finna” and hit me on Instagram telling me: “yeah I want to get on that joint. That joint, yeah.” I sent him the song and he put his verse on it, then I put it out as the remix. It was just like that.

Goldlink, again like Uzi, it was random. I was just coming back home from Atlanta and we were DMing each other and he was like: ‘hey can you come by the studio?’ I went by he let me listen to the album, explain the concept, then and he asks me ‘Hey can you do this prayer for me?’ I never knew I would be doing or anything. It was completely random. But, we did that joint and it was sweet.”

RESPECT.: “Historically, the DMV has been very accepting and open to all walks of life. But with the new president, as well as being in a male driven industry, do you encounter issues because of your sexuality?”

KeLow: “It grew to a point that I’m just comfortable with myself. Even when I was younger, I’ve always been a Tom-Boy. I’ve always been this way. I’ve always had this style. This is comfortable to me. So, I’m not going to wear a dress just to make you feel comfortable. Don’t get me wrong, there’s nothing wrong with dresses and I’m positive I could rock one. I have before. But it’s just about me being comfortable. Now the industry is very male driven, so I have been tried, in that way, by certain people. I think it’s a combination of me not being ugly and an ego thing. They want to be the one who did what no one else could. It’s not because they like me like that. But as far as everything else, I’ve learned to be comfortable with myself. As everyone should. Some people have that confidence off bucks, but for me, it was something that was learned. But now that I have it, I want other people to see this confidence and comfortability and apply that to their lives and situations. Because you have to be comfortable in yourself for yourself.”

RESPECT.: “So what’s next for you?”

KeLow: “I’m definitely stepping more heavily into the fashion world. I want to design. I want to create different things, like furniture. I want to create different things that people can get enjoy every day and use all the time. Oh, my cooking show coming soon. I be cooking my ass off, real sh-t. I can cook. But, the show is going to show how to make healthy dishes and make healthy food choices. I really into that. I think it’s necessary for us especially as Black people. So I just want to show off all these little sides to myself. Hopefully, I can help people live better, more healthy lives.”(Photo Credit: Michael Anderson)

From the outside looking in, the DMV is a mythical land where the historically oppressed can live uninhibited by certain burdens of other realms. And with her uniquely specific accent and self-made self-confidence, KeLow LaTesha is a personification of this utopia she calls “home.” Like the DMV, KeLow possesses an eclectically sophisticated set of muses that allow her to produce one of these kind pieces. Although these influences are distinctive, the acceptance of their contributions is not only indicative of the region, but they also make KeLow the antithesis of the current governmental helm.

The recent presidential change brought with it an influx of intolerance that is not native to the DMV. This combined with a growing wage disparity has put the magical kingdom that is the DMV in danger. Yet despite this, KeLow’s embodiment of the region showcases the power that lies within the people of the DMV. True to the characteristics of the oppressed, the residents of the DMV have transformed the area from a sinking afterthought into a profitable metropolis. This is an ordained type of sorcery. The type of magical blessing that will allow the Queen of Prince George’s County, KeLow LaTesha, to utilize her talent to protect the culture of the region she loves. Thus answering her prayers, and allowing the DMV to reign indefinitely.

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The post Country Grammar Vol. 7: How The Queen of Prince George’s County, KeLow LaTesha, Is Protecting The DMV appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

(Photo Credit: Aaron Rhodes/Shuttlecock Music Magazine)

Throughout its history in Hip-Hop, The Bay Area has always been the mecca for musical independence and entrepreneurship. Many of The Bay’s popular artists formed their own labels leading them to tour small markets in order to promote their music with Kansas City becoming a frequent stop. Because of this, the culture of The Bay Area began to seep into the soil of Kansas City producing a deep-rooted connection between Northern California and Western Missouri.

Yet, the 2005 killing of Kansas City’s most popular artist, Fat Tone, who was believed to have murdered iconic Vallejo Rapper, Mac Dre, only six months prior, led to a severance of ties between the two regions. With their exodus, The Bay took with it a strong musical culture leaving only a heavy gang presence and a few distinct slang words.

This lack of musical guidance left Kansas City searching for an artistic outlet. The city became a blank canvas where many rappers have tried to paint a distinctive, but marketable picture of the area to no avail.

This tide, however, seems to be turning.

In an interview with RESPECT.’s Country Grammar Series, emerging Kansas City artists, Rory Fresco, speaks about the new sound of the city and how he intends to use it has the backdrop for his creative impact on the music industry.

RESPECT.: “What has been your experience with Kansas City?”

Rory: “I been all over the city between living with my grandparent, dad, and mom. I have been in the worst parts, best parts, and the not so bad places. I don’t know, Kansas City is a blessing and a curse. It’s a one of a kind type of city. There’s a lot of negativity but there’s also a lot of great stuff here too. There’s potential but that potential is overshadowed by the negativity.”

RESPECT.: “How did you start making music?”

Rory: “I started making music in middle school, but I didn’t start taking it seriously until I was around 15. I was really a producer before I started rapping, but I couldn’t get anyone to rap over my beats. So I was like: ‘I know my sh-t hot, let me go ahead and rap on them.’ And it went from there.

RESPECT.: “So, do you enjoy rapping more or making beats?”

Rory: “Man, I just enjoy creating. I can’t really say. I do enjoy making beats, but it’s so second nature and comes so easy. Like when I make a fire ass beat I don’t really get the thrill of it that I do when I make a nice song. But, they’re neck and neck. I enjoy them both. I just like creating.”

RESPECT.: “What other things do you create? Other than music.”

Rory: “I write scripts, I act, I make cover art. Almost everything you can think of honestly. I’m a creative. I just like creating.”

RESPECT.: “It kind of the ‘SoundCloud Generation’ when it comes to music. You got popping that way with your song being randomly placed behind Kanye West’s ‘Only One.’ What do you think about that?”

Rory: “Man, I can’t really say it was random. Even before that, I was on the blogs and all that. I had a few labels talking to me and stuff even before that sh-t even happened. But, when it did happen it kind of boosted me up. It went from one or two labels to now every label was trying to sign me. But, people already knew who I was. Really the only thing it got me was a hit for real. That got me the attention from major labels. But, it was destined to come regardless of that. It just made it happen faster.”

RESPECT.: “Being a newer artist in the city, how would you describe the music scene in Kansas City right now in comparison to the past?”

Rory: “I feel like there is a divide. Like you have the thug/gangster rap of the past, but now you got kids that know how to do more sh-t. Now you got kids that know how to design, mix and master, all that, in high school. You got people who have a Rock Start level stage presence at like my age. Back then it was more about the rapping, now we got kids moshing and all that at our shows. So there’s a divide, but also kids just got smarter and figured out how to do it on their own so that they don’t have to fit into the mold.  And that’s not even in Kansas City, that’s worldwide. Kansas City just gotta start believing in themselves and know that it’s not for these old niggas to change the culture. It’s for us. Like Soulja Boy and people like there were the first to show kids they can do it young and by themselves. So now that they can see they can do it young, they’re gonna do it while being themselves and it’s going to take off from there.”

(Photo Credit: Rory Fresco)

RESPECT.: “Historically, Kansas City has been a dangerous city and that violence has spilled into the music scene. Has that changed? And if not how has that hindered the city’s musical success?”

Rory: “I mean, Kansas City has real issues, not just music sh-t. Young kids have an issue with finding themselves. There’s not established ‘culture’ here that can be grasped by the outside looking in. Not too many people make it out so they can’t look at them and be like: ‘this who Imma be.’ And that leaves some of us lost turning to other things that are productive. But we trying. That’s all I can say, for real. We’re trying.”

RESPECT.: “This lack of popular culture could be a good thing though, right?”

Rory: “Yeah, it’s good and bad. I’m glad we have a lot of young kids in the city smart enough to see this music sh-t as an avenue and working to perfect their craft, but we’re so behind. You look at other cities and they’re so ahead with like who they are and finding individuality within that. Places like Atlanta where people come together in music, it’s like a big ass family, out here it’s not like that. But, like I said, we’re trying.”

RESPECT.: “So, as far as your next step in your career as an artist what do you want it to be?”

Rory: “I want to tour off this project, Teen Spirit. I want to get this short film off that will be a visual interpretation of my tape, so I can show people that I am skilled in different areas. That’s basically the main reason I do what I do. I show people I can produce, I show them I can make melodies, that I can rap. I show people I can design art and now I just want to show people I can direct videos and sh-t. Because I’m going to direct it and star in it so it will show people I can act as well. I eventually want to direct movies in the future. I just want to showcase my talents in all areas.”

(Cover Art For Rory Fresco’s “Teen Spirit”)

Rory’s desire to project himself through his art has a clear origin in Kansas City’s need to be solidified as a cultural staple. This urge has prompted Kansas City’s youth to utilize their skills in order to perfect their talents and neutralize their city’s disadvantages. Out of this has emerged a litany of talented artists who are putting not only their skills but also themselves up for exhibit. These youths are hungry to turn Kansas City into a musical hub that will house legendary artists. And Rory Fresco might be the creative to soothe this rumbling.

With the world in front of him and Kansas City on his back, Rory has the talent to lift his city to its deserved height. He has the ability to impact the trajectory of not only his hometown but the music industry as well. This type of potential, if honed and supported properly, can garner Kansas City the positive attention it needs so desperately.

https://soundcloud.com/roryxxx/sets/teen-spirit

Check Out Rory Fresco’s Teen Spirit Below:

The post Country Grammar Vol. 6: How Rory Fresco Uses Kansas City As His Canvas appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.