words by Peter Marrack @petermarrack, photography by Loni Schick @elle_aye

Back in 2008 Lil Wayne took the opportunity to address Reverend Al Sharpton in one of his records, “DontGetIt”, off Tha Carter III. He described the Reverend as “…the type that gets off on getting on other people,” going on, “that’s not good, no homo, and rather un-human I should say, I mean, given the fact that humanity, well, good humanity rather, to me, is helping one another, no matter your color or race.” In retrospect, Weezy may as well been referring to your stereotypical Rich Hil hater, who condemns the underground rapper for his ‘hippie image’, given that he’s the son of fashion mogul, Tommy Hilfiger. Haters tend to forget, everyone has the right to portray themselves independently, independent of their father, independent of their family, independent of their former lifestyle. The liberty to express ourselves freely is one of the primary cornerstones of American citizenship, and ought to be respected. Hell, Rich Hil does not vent on the mic about slanging dope on the corner, moving weight, or kicking it with the OGs in the hood. He merely embraces a culture engrossed in marijuana smoke, tattoos, and honest music, something which haters might even applaud as ‘hippie culture’. If a middle-class blogger from Toronto, whose parents are both doctors, is permitted to secure an apartment in the seedy neighborhood of Parkdale, shop at second-hand boutiques, and pen witty critiques of popular music, then what exactly is Rich Hil doing that is ‘unauthentic’?

In Toronto, Rich performed a tight set of rumored S.Y.L.D.D. jams, as well as records from his recent mixtape drop, 500 Grams, produced entirely by Lex Luger. Rich slinked effortlessly around the step-up stage at Wrongbar on Queen West in his black Carhartt trousers, buckwheat Timbs, a black toque, and a vintage concert tee with holes in the armpits. The venue itself was somewhat buzzing, though most of the apparent rowdiness stemmed from a V.I.P. section full of XO n*****, which included The Weeknd and Omari Shakir. The event was by no means sold out, or even at half-capacity, but that didn’t stop Rich from crooning starry-eyed into the ether above the center of the floor. Quite frankly, Rich didn’t seem to notice the poor turnout for his second headlining performance, which, rather awkwardly, brings us back full-circle to the cons of leading an independent existence. Over time, Rich has been so adamant in his efforts to express himself uniquely, tatting his body, smoking large quantities of marijuana, dressing in the vein of Kurt Cobain, that he may well have lost sight of his current predicament… That his following is not large, yet he continues to pour his heart and soul into every uttered word. That’s Rich Hil’s greatest contradiction, not his trust fund or his father or his lyrical breadth, but the tragedy that is his every day. He sacrifices his soul on the chopping block, almost relentlessly, while all he receives in return is an earful of grief.

Read the full interview after the pic… and do pardon the experimental stages of my groundbreaking ‘Converspontaneous’ mode of hip-hop journalism.

How’s your trip to Canada been so far?

Good, man. I’ve been fucking high the whole time. [laughs]

When did you get in?

Umm, we got in yesterday. We were supposed to get in the day before yesterday but they stopped us at the border.

For how long?

Well, they stopped us for a minute. They told us to turn around, we couldn’t come into Canada.

Lola [of iLuvLola] got the lawyers going then or what?

Yeah, yeah, they were trying to not let us in because of my charges and shit.

But then they worked it out.

Yeah, got the lawyers on it. Jumped in a barrel and jumped off Niagara Falls to sneak in. [laughs] We snuck into the country.

Somebody just went over the Falls recently.

For real?

Yeah, there was a girl and her friend wanted to take a pic of her right on the edge of the rapids-

And she lived?

No, of course not. [laughs] But she fell in taking a pic for Twitter or something.

Wanted to tweet the photo. [laughs]

And then she fell in and went over.

Yo, that’s crazy! Some people have made it though, they’ve gone over in barrels.

Have you seen the Falls?

Naw, I haven’t seen it. We stayed in a hotel in the town of Niagara Falls but didn’t see it.

Last time I was there I got a flat tire on my car.

Yeah? Fuck.

500 Grams, man. It’s fucking awesome.

You like it?

Yeah, man.

Thanks, bro.

I was listening to [Limosa Nostra] Act. IV a lot this summer.

Oh word.

In Serbia.

I’m trying to remember- Oh, Act. IV. It’s a lot of instrumentals on Act. IV.

On Act. IV? How about the one that goes, “Duh, duh, duh, duh”? [imitating the intro to “Hold Me Down”]

How’s it go?

Like that.

On Act. IV? You got it on your phone?

No.

Fuck, I don’t know.

I’m drawing a blank, whatever. “Can’t Stay Away” is actually on my iTunes Top 25 Most Played list, one behind Bob Dylan’s “Sarah”.

Are you serious?

You’re a Dylan fan, right?

Huge Bob Dylan fan.

Which records?

That record doesn’t stand close to no Bob Dylan shit, you’re buggin. [laughs]

Number 23, man, believe it or not.

Wow, man.

Which record do you like?

Bob Dylan, umm, there’s so many, man. Probably “Like a Rolling Stone” just to keep it G.

[then, addressing one of countless interview intruders]

You got dutches? Can we smoke in here?

[intruder opens a box to reveal a dozen or more packages of dutches]

Oh, fuck. [laughs]

Intruder: Yo, did you see the tickets? They’ve got your face on it.

Naw.

Intruder: It’s cool. You should ask to see one.

I need one. This dude [speaking of the intruder] tweeted me about bringing up dutches to Toronto for me so I could seem civilized, because I smoke Backwoods.

What are those ones from Atlanta? Splitarillos or something?

Cigarillos?

Naw, there’s a special one called Splitarillos.

Splitarillos? [laughs]

Intruder: Lola’s guys smoke some weird Canadian blunts.

Pom Pom’s?

You know Pom Pom’s?

I smoke Pom Pom’s.

Intruder: They’ve got one pack of Pom Pom’s and one that looks like Phillies. They call it Uncle Sam’s or something.

Ah, I’m going to pass on Uncle Sam’s. [laughs]

Are you saving any of the Lex Luger records you did for Support Your Local Drug Dealer? “Rollin” isn’t on there, the Trel joint.

Yeah, “Rollin”- I took that off 500 Grams last minute because Jonny Shipes called me and he’s going to put it on Good Talk 3, so I gave him that for that. Lex and I made thirty or forty songs, so we have a lot more records than what’s on the tape.

Are they going to be on Support Your Local Drug Dealer?

Yeah, one of the singles on Support Your Local Drug Dealer is Lex.

When’s that coming out?

Fuck, dude, soon.

Should we expect a longer wait now that you’ve dropped 500 Grams?

Naw, probably shorter because of that. That was just to hold the fans off for a minute. It’s December now, right? So y’all will definitely get Support Your Local Drug Dealer in January.

You tweeted a pic of what the tracklist might look like. I didn’t see “Light Up” or “Be Here” on there, and on the videos online they say Support Your Local Drug Dealer.

That’s because I record so much that when it comes down to picking out the songs for an album, it’s like I’ve already got 200 new songs, and “Light Up” and “Be Here” are already old, compared to the selection on the album. But I believe “Light Up” will still be on the album. That list that I put up on there was just my iTunes playlist, the 50 songs I got ready or whatever.

You called it an album. It it going to be an actual album, because you recently signed? What’s that changing in terms of your career?

More help from the label. I still like the independent feel of my shit, like I still like doing Smokers Club Tours and shit like this, but there’s something about Warners, there’s more help there. They’ll put out Support Your Local Drug Dealer and shit like that so it’ll be dope.

I caught you at the Smokers Club Tour here. I didn’t know you were coming. I was there early and I saw you on, but I missed like half of it, I was trying to get another interview done. I was like, “Shit, I’m missing it.” Is it ever weird when you open and people are still coming into the venue, and maybe the following isn’t the same?

Umm, no, it’s fun, because this is probably only my second show ever headlining. Opening for other artists gives me a chance to prove to the crowd and win the crowd over, you know? That’s interesting for me because I’m a different artist than a lot of people.

Fiend was after you, and I was like, “Fiend?” [laughs]

Well, Fiend is real good too because he does that smoking music, that lean back shit.

You’re grimy as fuck on 500 Grams, did that come out because of the beats?

That’s just me and how I rap.

Even more so on 500 Grams.

I switch up my voice, I’ll sing if it’s a sensitive kind of song, but on the Lex Luger beats he just gave me room to say whatever I wanted so I did.

Was the “Light Up” video inspired by Fear and Loathing in Las Vegas?

Yeah, I’m a huge fan of Hunter S. Thompson. I’ve got a Hunter S. Thompson quote tatted on me.

Which one?

It says, “You better take care of me Lord. If you don’t you’re gonna have me on your hands.”

Which book is that from?

I forget what it’s from, man, but he wrote it. It’s just that whole trippy kind of- It’s the idea of him as a philosopher or writer who has all this information to give out to the world, and he killed himself because he knew he had to die, he knew his talent-

His health was going downhill too.

Yeah, but also the way he viewed the world is inspiring to me. He shot himself because he knew that he didn’t want to give out any more of his information, he’s like, “Fuck it, fuck the world, I gave y’all everything.”

He has that quote, “If I’d written all the truth I knew for the past ten years, about 600 people – including me – would be rotting in prison cells from Rio to Seattle today.”

That’s wild.

When you were younger you were a Freeway, State Property fan, right, Philly music?

Not so much Freeway, but Beanie. I fuck with Freeway, but Beanie was like my favorite of all time, and State Property.

How was that, I mean, where you’re from? Did you listen to that in your headphones during lunch at school, or did you come home and blast that in your room. How did you listen to the music?

I would listen to them in the car on the way to school, on the way back from school. I would write to their beats, a lot of D-Block shit too I was listening to. We were wearing all Dickies with Timbs to school everyday.

I had a question about one of the lyrics from “Wouldn’t Let You Go”. You go something like, “They used to pay me back in high school to fuck her.”

Naw, I said, “Lacey played me back in high school, so fuck her.” Lacey’s a girl from high school who wouldn’t go out with me in high school. I was thinking about that, so I’m talking to the new girl and I’m telling her, “Lacey played me back in high school, so fuck her.”

I missed that one. I wondered about the “Never Coming Back” video.

You liked that?

Yeah, it reminded me of Halloween in Madison, Wisconsin.

Oh, word, that was Halloween in L.A. on Santa Monica. It was wild, mad people dressed up and shit.

Will that song be on Support Your Local Drug Dealer?

Yeah.

On there you’re in pure singing mode, but you have two modes, like you said, the rapping which is like a devilish voice, and the subject matter changes too. When did you begin to switch back and forth between the two?

Well, I started rapping originally, and then I stopped rapping completely and only did the singing shit. Then I got some beats, because if I have 12 beats in the studio, I’m going to do them all that night. Some beats don’t permit singing and shit like that, so I just started rapping on that shit too. Girls were telling me like, “Yo, you should rap more like that, I like that.” So I kept on doing that.

Does that reflect different parts of your personality too?

Yeah, yeah. I’ve got like an emotional, sensitive, pain from my past side [laughs], and then that rebel ‘I don’t give a fuck’ misfit kind of side. You can definitely hear that in my voice.

Why do you think your music alienates older people, even ex-flower children, when you call yourself a hippie?

I guess because nowadays, at my age, with my tattoos, and we go out in public, a lot of the stuck-up community or older community is looking at me like, “What happened?” You know? So that’s basically like I put the middle finger up to them.

What’s the drink the guy in the Observer profile was talking about, he was like an ‘off-menu lemonade mojito concoction’?

I don’t know. It was like some vodka shit maybe.

What about the drink from “The Deal” video?

Oh, that was Summertime Lemonade, that’s like strawberry lemonade with vodka in it. I stopped drinking vodka like that though, man, because after I got off probation I stopped drinking and got back into drugs, because alcohol makes you feel sick.

There’s a photo on The Weeknd’s blog. He’s wearing a Tommy hoodie. Are there any classic pieces you have tucked away?

Yeah, I have a lot of shit from the 90’s. The tag will say Large but the shit fits like a 3XL.

What pieces? I saw that Ferrari jacket.

Umm, flannels, I sent that Ferrari jacket to Curren$y, because he got a Ferrari, so I thought he might like it.

– By @petermarrack

The post Exclusive Interview: Rich Hil @ Toronto appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Toronto rapper Belly recently sat down with respect-mag.com  contributor @petermarrack for an exclusive video featurette. The CP Records foreman discusses his latest DJ Drama-endorsed mixtape, The Greatest Dream I Never Had, his affiliations with Drake & The Weeknd, as well as providing insight into his recording process.

Watch the interview after the jump.

The post Exclusive Video Interview: Belly Talks ‘The Greatest Dream I Never Had’ & The Weeknd appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Photography by Loni Schick

RESPECT.‘s Peter Marrack recently caught up with French Montana during his stay in Toronto. French addresses Coke Boys branding, drug accusations, and one very special birthday cake.

Read the complete review & interview after the jump.

My ex Tamara and I were rolling through Yorkville in my dad’s Escalade when I came to the conclusion that some questions are better left unanswered, especially the question of Moroccan-born, Bronx-bred rapper French Montana. Montana is the popular dude behind a string of successful mixtapes, entitled Mac & Cheese 2, Coke Boys, Mr. 16: Casino Life, Coke Boys 2, Coke Boys Run NY, and Lock Out, on which he collaborated with Brick Squad phenom Waka Flocka Flame. Frenchy, as his fans call him, is somewhat of an enigma, in that his music and live performances arouse heated questions within the tight-knit hip-hop community, such as 1) Will Frenchy sign to Bad Boy, Maybach, or GOOD Music, or will he sign at all? 2) When will the ears of a Coke Boys’ concert-goer recover from French’s hard-hitting bass and thundering ad-libs? 3) How does French Montana make so much money, being a newcomer in the game? These are all questions I set out to answer during French’s brief stint on the Canadian concert tour, performing for the Toronto crowd this past weekend at the Kool Haus.

As of late, rumors have circulated that French Montana will sign to the GOOD Music imprint of Def Jam Recordings, while other sources speculate that the Mott Haven-native is more likely to sign with Maybach Music Group or Diddy’s Bad Boy. No matter where Frenchy ends up, one thing’s for damn certain. He’ll go where the money is. “I need more money,” demanded Frenchy over the phone, gazing out at the Toronto harbor from his room at the Westin Harbour Castle. It was Saturday evening, 24 hours after Frenchy’s sold out performance at the Kool Haus, and French was busy dismissing rumors that his performance had sparked two drive-by shootings which occurred after his show. “I don’t understand how that has anything to do with French Montana,” Frenchy complained, addressing a room full of his supporters, LoLa of iLuvLola, a dude named Fresh, the Spiff TV guy on Maybach’s payroll, and of course, yours truly. “Maybe you got them so revved up they went out and shot up the block,” joked Fresh, but French was already back on the phone (locking in a feature for fifteen grand) and couldn’t respond properly. “Naw,” was all he said. Now, all this may sound fine and dandy for a so-called ‘Coke Boy’ from the Bronx, however, if you paid close enough attention to my paragraph you would have noticed the bit about a media guru on Maybach’s payroll. Hell, I assume Rozay’s bankrolling the dude, as he adorned a Maybach Music chain up on-stage the night before… Regardless, what’s Ricky doing sending a photographer out to shoot Frenchy if he isn’t about to ink a deal with him? Logic tells us something’s probably in the works there.

Moving on to the show, LoLa of iLuvLola has to put on the most commendable, if not best, hip-hop events in all of Toronto, and French Montana was no exception. First of all, rumor has it that LoLa is hooked up with the same high-powered Canadian attorney who coerced customs officials to let Lil Wayne into the country (for three hours) to perform at Drake’s OVO Fest. She negotiated a similar deal with Frenchy, making up for the Waka fiasco a couple of weeks prior. LoLa also managed to convince Kool Haus security to look the other way when it came to blatant smoking violations, as concert-goers toked freely for the entirety of the performance, even during the opening acts when the floor wasn’t so packed. Hell, I’ve never witnessed so much weed being smoked in public as I have in Toronto over the past couple months. The city is beginning to act like a mini Amsterdam, spurning French Montana to remark, “I may even buy a house here”. The only downfall of the show had to have been the extreme sound levels they had the speakers jacked up to. My right ear is still ringing from Frenchy’s coke-slanging anthem, “Move That Cane” featuring Waka Flocka, 48 hours later. It didn’t help that the Coke Boys’ DJ insisted on treating the show like an extension of Frenchy’s mixtapes, unleashing violent gunshots and Coke Boys ad-libs every couple of seconds, to the utmost discomfort of my Vestibular nerve. In terms of the set, French ran through some of his more recognizable mixtape records, including “New York Minute”, as he swaggered around stage between an usually-cumbersome pack of supporters, including fellow Coke Boys, dressed in various leathers, designer belts, and sparkling diamonds, and a few too many caramel honeys done up like Drake’s pros from Club Paradise. The only odd moment was when French brought out Canadian artist Belly, who’s managed by LoLa [correction: LoLa does Belly’s online marketing], to perform the record, “Num8ers”, off his new mixtape, The Greatest Dream I Never Had. The feature appeared more like a business transaction, arranged by LoLa, than a gesture of mutual respect by French. But hell, who’s to blame a gal for taking care of business, right?

The only further (relevant) question pertaining to French, that I was able to squeeze in as we convened in his hotel room overlooking Toronto Harbour, Lake Ontario, and beyond that, Niagara Falls and Lewiston, had to do with his jewelry, the Mr. 16 pendant, his diamond studded ring, and a blinged-out bracelet. “I like your jewelry,” I said, seated across from French in a chair by the window. “Is that all from rap money?” “50/50,” he responded. “What’s the other 50?” “Construction,” said French, which drew a smirk from his fellow Coke Boys lounging around the beds. “Hmm,” I thought. “So the Coke Boys thing is not really a show, or a performance huh?” French looked at me sideways. “Are you asking whether I sell drugs?” I grinned, and said, “Well, not necessarily now, but in the past.” French made no comment. “Okay,” I regrouped, “Well, then can you tell us when you started in construction?” Another chuckle came from French’s camp around the room. “I can’t tell you about that either,” smirked French. “Maybe one day when I’m in a better mood I’ll tell you.” [read the complete interview below]

And that’s the exact story, word for word, I recounted to my ex, hours later, as we toured the ave’s of Yorkville in my dad’s Escalade, pumping A$AP Rocky’s new mixtape, Live. Love. A$AP. “I can’t believe I came out empty-handed,” I kept complaining to her, tugging at the wheel, when Tamara cut me off and said, “Wait a minute, maybe the questions are more interesting than the answers, right?” After all, French Montana is foremost a businessman, and it’s in a businessman’s best interests to stay elusive, even if that means putting on a ski mask and rocking out to “Chopper Down”, as Frenchy did in Toronto. I contemplated this idea some more, watching Tamara skim through the queue at Club V. Then I revved the engine and swept the Caddy back onto Avenue Rd., accelerating off into the night.

It was your birthday the other day, right?

Yeah, on the 9th.

Happy belated, man.

Thank you. Thank you, bro.

What did you guys do?

We had a stripclub party.

In New York?

Yeah, everybody came out for me.

Who was there?

Lloyd Banks, Flocka, Uncle Murda, I think Amber Rose. Mad people came out. Shout out to the whole city, DJ Clue. Everybody came out.

Did you receive any incredible gifts? Do you have anything left to wish for, at this point?

I mean, I got gifts, but the best gift I got was my birthday cake. It was nice. It was with the Pillsbury Doughboy on it. It was fly.

What kind of cake was it?

It was regular cake, but just the whole theory-

What is that? You guys keep talking about the theories.

Yeah, yeah, that’s Spiff’s dictionary.

Is that going to show up on the mixtapes?

Yeah, it’s already on the mixtapes.

Which one?

[speaking to Spiff of Spiff TV] He’s asking you about the theories.

Spiff: He wants to know about the theories?

Yeah.

Spiff: He can’t know about the theories yet. [laughs]

[laughs]

I listened to Coke Boys 2 again the other day. Did you record that while you were smoking? I have my own theory [laughs]-

[laughs]

If the artist records something high, I think it’d probably sound better high.

I was definitely high and drunk.

So I guess that’s why it sounds so good.

It sounds a lot better that way.

Yeah, “Yah Mean” is fucking incredible.

Crazy, right?

Yeah.

Thank you, bro.

Coke Boys 2 sounds almost like a movie, in the same way Reasonable Doubt sounds like a movie. You said Smack, the film, inspired you.

For the DVD, for the Cocaine City DVD. It was kind of doing the same thing.

Are you inspired by movies a lot?

Movies, yeah, all I do is watch movies. I love watching movies.

What have you watched lately?

Lately I’ve been watching Scarface. Scarface is funny to me. It’s action but it’s funny. It’s the accent and everything, the way he runs things, it’s funny to me.

Any recent movies?

I want to go see that new one, The Immortals, it dropped today. It looks cool.

The Immortals, yeah, my buddy wants to see that.

He said it’s good?

He doesn’t know, but he said it’s supposed to be sick.

Yeah, so I’m going to go see that tonight, but I love movies. I think movies can brighten up your mind about a lot of things.

Speaking of movies, I wondered how big of a role performance plays in your music. Obviously you’re going to assume the persona on-stage, but how much of it is you?

I feel like when you make music it’s like a movie, because you picture it. When you write something, you thinking about it being done. It’s like you’re doing it, like an action thing. Like yesterday when I performed “Chopper Down” with the ski mask on- were you there?

Yeah, I was there. My ears are still ringing.

Yeah, when I put the ski mask on and came out. That’s like a movie scene, bringing it closer to the song.

Was there a moment when you were coming up, when you thought, “Okay, I need to brand myself like this,” you know, create something out of yourself?

Yeah, that’s all I think about every day, how to brand myself.

Any more you can elaborate on that?

I mean, it’s branding, brand myself as like- I try to brand myself as far as making the same street music, but being separate. I don’t know if that makes sense. Like when they hear that sound they know it’s the Coke Boys. Like the beat could just drop, and they know it’s some Coke Boys shit.

Distancing yourself from the Lex Luger thing, kind of like that, but on your own.

Yeah, on my own, like see how Coke Boys 2, if you hear something off that, I want them to be like, “Damn, that’s Coke Boys 2”. It’s branding yourself. A beat could drop right now, and you could tell it’s a Dr. Dre beat, cause you brand yourself.

What producers are you working with to accomplish this? You work with Harry Fraud a lot, right?

Harry Fraud, yeah. He’s my brother. He’s my main producer.

How did you meet him?

I met him way back, a couple years ago. I met him through a mutual friend. I’ve just been building with him. I heard something in his music, so I said we’re going to make it happen.

And speaking of branding yourself, do you ever worry about losing touch with the kid who grew up in New York? I look at someone like Rick Ross and I think, who really is Rick Ross? Does anyone know?

[Spiff chimes in] We know who he is. We know who he is.

Yeah, yeah.

Spiff: His boys in his crew who’ve been with him know who he is.

That’s what is is, yeah, yeah. As long as you keep your immediate family with you, you going to keep making the same music. I don’t feel like Rick Ross’s music changed. I feel like it’s the same music. He just grew. He grew as an artist. But after a while the immediate people who grew up on your block not going to like you anyway. At the end of the day, you can’t go by their opinion. That happens with everything. You make it big in anything and there’s always going to be some dick riders, there’s going to be niggas who hate you, there’s going to be family, good people around you, that’s how it is, how the game goes. I don’t give a fuck if you play rugby.

I like all your jewelry.

Oh yeah, thank you.

And the chain you were wearing.

Oh, the Mr. 16?

Yeah, what is that?

It’s the Joe Montana jersey.

Ok. Ok. Ok.

Flocka gave me that idea.

And this is all from music money, the jewelry?

Huh?

All music money.

Half and half.

What’s the other half?

Construction.

Yeah, because I wondered-

[laughs]

Is Coke Boys part of the brand, or is there truth to that?

Are you asking do I sell drugs?

No, not anymore. But I don’t know. No disrespect.

Naw, man, we do music, sixteen songs, we do shows.

What about in the past?

No, I don’t know nothing about that. I just do music.

Okay, let me talk about the construction then.

Yeah.

Was that before your music?

Naw, I don’t know nothing about that. I just do music, my brother.

What about Waka?

Yeah, Waka’s my brother.

You ever party with those guys?

He’s the one who took me to the airport to come here. He’s my brother, man, we’re on the same label. We’re under the same management.

What about Gucci?

I don’t know. I can’t tell you if somebody’s crazy.

What can you tell me?

[laughs] You’re asking the wrong questions. You want me to talk about selling drugs, you want me to tell you Waka’s crazy. That’s negative shit. I don’t need any of that in my life. [laughs] I want you to talk about something positive, like we the hottest niggas in the streets, we about to get these M’s, you know, theories.

What Toronto artists do you like?

Um, Drake, Belly.

How long have you known Belly for?

Oh, for a little minute. I’ve known Belly for a while. I’ve seen him grinding. I’ve seen his work ethic.

You listen to the new project, The Greatest Dream I Never Had?

Yeah.

What stuck out that was different about that?

I like the first song on it, that “I’m Falling”.

I like the beats.

I like the production. Yeah, I like the production.

The post Concert Review & Exclusive Interview – French Montana @ Toronto appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.