By: Jake Linux

20-year-old Jake Linux, also known as Jake Henderson, is putting on for his city in a major way. Hailing from the historic city of St. Louis, Missouri, Linux is using music and creating to tackle depression and anxiety.

Growing up with parents, who divorced early in his life, is the main reason why he is so passionate in his flows. But music is something he was born into.

Linux’s paternal sides of the family are all musicians and have heavily influenced his musical career. His father’s eclectic taste in music ranging from jazz to NWA, helped him understand the power of words in music form.

His unique approach to music and crafty beat choices, are a direct result of his diverse musical knowledge.

“It is not easy to thrive in a city that bases talent off of popularity,” exclaimed Linux. As a newcomer he prides himself on remaining true to who he is as a person and artist.

His sole purpose for writing music is to help his self, and anybody going through the same hardships, over comes pain.

As St. Louis’ hidden jewel, Jake Linux has something special and plans to leave a lasting impact on the music industry. To learn more about Jake Linux, click here .

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The post Jake Linux: St. Louis’ Budding Star appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

From Snoop Doggy Dog, to Grandmaster Flash, we’re hopping in a time machine as we go through Hip-Hop’s 25 Most Memorable Album Covers.

25. Juvenile, 400 Degreez (1998)

From the diamonds and flames, to the Z in “Degreez” being a dollar sign…There’s just something about the WordArt feel of this album that keeps fans coming back.

24. Wale, Attention Deficit (2009)

The obvious shoutout to a digital world reigns as the focal point for this album cover. A strong, yet simple message burns through the vibrant cool colors, and captures your attention immediately.

23. De La Soul, 3 Feet High and Rising (1989)

You’ve probably seen these flowers before, or maybe even these 3 talented young men. Fun fact, rap group De La Soul actually hates this album cover. They felt that everyone would be associating them with flowers, peace, the whole hippie movement, when that wasn’t them at all!

22. Kanye West, 808s and Heartbreak (2008)

The minimalism in this cover is the beauty of it all. Kanye was hurting, simple as that!

21. 2Pac, Me Against The World (1995)

This album shook the charts, and you couldn’t go anywhere in 1995 without seeing it. 2Pac rocked the world right before his unfortunate passing, and sold hundreds of thousands copies of the album.

20. Run-D.M.C., Run-D.M.C. (1984)

Run-D.M.C.; Pioneers, legends, superstars. This classic cover had to make the list!

19. Lauryn Hill, The Miseducation of Lauryn Hill (1998)

Firstly, it’s Lauryn Hill etched into a school desk. This album taught everyone a couple of things. No further explanation needed.

18. Snoop Doggy Dogg, Doggystyle (1993)

From the dogcatcher in the back to the Snoop Dogg lookalike on top of the dog house, this album cover is full of style, steeze, and comedy!

17. Eric B. & Rakim, Paid in Full (1987)

Money. Harlem was all about money. Eric B. and Rakim made it clear that they had it, and there was never any problem getting it! The Dapper Dan Gucci sweatsuits, the huge rope chains… The aesthetic of it all represents a very transitional era in the development of Hip-Hop music.

16. Ice Cube, Death Certificate (1991)

Ice Cube next to Uncle Sam’s corpse. No further explaining to do.

17. Missy Elliott, Supa Dupa Fly (1997)

Missy Elliott has always held more swag than most artists in the music industry, remaining humble and subtly stunting on everyone! This cover embodies exactly who she is; chilling for the moment… but don’t forget that she’s fly.

18. Wu-tang Clan, Enter the Wu-tang: 36 Chambers (1993)

This album cover is actually kind of wild. Firstly, no face, no case. Secondly, does the guy in the front have a finger gun? This album cover is great for its immense mystery.

17. Jay-Z, The Blueprint (2001)

Jay-Z wearing a Rocawear jean jacket smoking a cigar. He won.

16. A Tribe Called Quest, Midnight Marauders (1993)

The various facial expressions in the background, the bulging eyes… What do we look at first?! This album cover is great because it leaves so much space for interpretation, the colors on the cover represent so many things, and everyone would formulate their own meaning.

15. Kendrick Lamar, To Pimp a Butterfly (2015)

We need to take over the White House… and keep it. Bring our culture, our families, our music… make it OUR country. Simply put.

14. Kanye West, The College Dropout (2004)

We all know the bear. This bear costume (that Kanye FOUND, by the way) looks like any college student during the longest finals week ever: TIRED. The album cover is warm, relatable, and not complex; perfect in a sense.

13. Grandmaster Flash, The Source (1986)

Do we start off with the fly guy with this legs crossed, or old boy with the red leather hat to match his shoes? This album cover embodies the true start of Hip-Hop. B-boys, spitting bars in New York City’s uptown train station, even down the pager on homeboy’s hip!

12. Snoop Doggy Dogg, The Doggfather (1996)

The Godfather is a critically acclaimed cult classic, and Snoop Dogg actually might’ve done something, by simply switching 2 letters! This was Snoop’s final album on Death Row Records under his name of Snoop Doggy Dogg, and he was owning the game. The West coast made no moves without you hearing about Snoop, rightfully making him the Doggfather.

11. NWA, Straight Out of Compton (1988)

One of the most controversial groups, with one of the most rebellious albums of all time. These young men all banded together and shook the West coast with words that everyone in Compton couldn’t bring themselves to say.

10. The Fugees, The Score (1996)

Firstly, Lauryn Hill AND Wyclef Jean on ONE album cover… That’s art. The beauty lies in the minimal yet intense typography, and the 3 beautiful black faces.

9. Nas, Illmatic (1994)

This kid is too cute. Too cute for the cover, and too cute for the hood he reigns from. Nas showed that everyone was suffering and surviving, even the young.

8. Master P, The Ghettos Tryin To Kill Me! (1994)

The lace bra hanging from Master P’s name, the Boosie fade, my man creeping in the window “Cell Therapy” style… The lo-fi quality wraps it all together, you feel like you’re watching a movie, and you’ve barely even looked at the cover.

7. DMX, Flesh of My Flesh, Blood of My Blood (1998)

This album cover is bloody and gory, in every sense. Its beauty lies in the naive state of such a “Ruff” guy, and almost goes to show that the black man is one of the most sensitive species.

6. Redman, Dare Iz a Darkside (1994)

Redman is stuck buried in this Children of the Corn looking field, and its freaking me out. I love it.

5. Outkast, Stankonia (2000)

This album cover is great for 3 reasons: One, Andre 3000 was having an amazing hair day. Two, so was Big Boi. Thirdly, it calls out the entire country, so subtly, being a black and white world. We all knew… But did we really know?

4. Gang Starr, Daily Operation (1992)

Gang Starr is really giving off intellectual and successful vibes, and who doesn’t love that? “The goal is money, and this is how we get it. Don’t ask no questions, I thought this through.” Guys from the hood are smart too!

3. Ol’ Dirty Bastard, Return of the 36 Chambers (1995)

Have you seen the O.D.B tv special, where he took America into the food stamp office in Brooklyn, and got his money right? This man never cared, was never too embarrassed to live his life and let whoever wanted to look come and see. Hoping his unbothered soul is resting in peace.

2. The Notorious B.I.G., Ready to Die (1994)

Foreshadowing? This was Biggie’s debut album, and just as his career was being born, he was ready to die. Sadly, he would pass away 2 years after its release. But in those 2 short years, he conquered the world. He started off on top, and he achieved what he needed to; he was truly ready to die.

1. Geto Boys, We Can’t Be Stopped (1991)

This man… Is in a hospital bed. The rap trio is standing in a hospital, posed for an ALBUM COVER. Who was stopping the Geto Boys? NOTHING! They literally cannot be stopped, no matter the circumstance. This cover is full of hustle and desire to reach success, and has to be respected as THE most memorable. Who’s forgetting this?

Do you have any albums you think should’ve been on this list? Leave a comment below and let us know!

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Legendary skateboarder Stevie Williams announced his AYC apparel company’s new Skateboard Fresh collection featuring a limited edition Eazy E and Mike Miller collaboration. The new t-shirts feature an iconic image of NWA’s star Eazy E holding his infamous Natas skateboard in the parking lot of Ruthless Records, captured by photographer Mike Miller, a legend in his own right who captured some of the images that would come to define L.A. Hip-Hop. The new collection is now available online and in retailers.

Legendary Photographer Mike Miller

Originally designed for professional skateboarder turned actor, Jason Lee, the Natas skateboard seen in the image is notorious for its symbols of violence, horror, and sex. “With the gun and that Natas board, this photo is some evil gangsta shit,” notes Stevie Williams (@steviewilliams). Lil Eazy E, the legend’s son, says seeing this iconic image reminds him how much he really misses his father. He says this photo being brought to life through AYC apparel makes him think of “his father’s legacy on a different viewing and how his impact goes far and beyond just Hip-Hop.”

“Back then skating and Hip-Hop did not mix,” recalls Mike Miller (@mikemillerphoto). The new collection is symbolic of the unprecedented impact Eazy E and NWA had on the skateboarding world. “The world doesn’t know, but us inner city Compton kids in the early age of life, enjoyed the sport on the skateboard my father gave me. I learned how to skate from him!” says Lil Eazy E. The huge, raw beats, underground punk rock ideology, and shared contempt for authority was what every skater never knew they were always waiting for. The echoes of that explosion still resonate in every corner of skateboard culture in their apparel, soundtracks and their outlook on the world.

Pro Skateboarder & AYC Founder Stevie Williams

Williams is proud to announce the new Skateboard Fresh collection, described as a line that evokes pure, uncut nostalgia, and that pays homage to the artists, styles and musicians that have influenced skateboarders and helped to define the soul of skateboarding itself.

The post Stevie Williams, AYC Release Iconic Eazy E & Mike Miller Apparel Collaboration appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

BE GREAT

“I believe greatness is an evolutionary process that changes and evolves era to era.” – Michael Jordan

20 years ago Outkast stood on a stage at Madison Square Garden, and got booed after receiving the Source Award for Best New Rap Group. Being the birthplace of hip-hop, a vast majority of New York City natives were quite territorial back then, and not as open to receiving other areas representing the culture artistically. Plus, the amped-up east coast/west coast feud being elevated throughout the evening’s ceremony didn’t help. But little did we know at the time, that awkward experience ultimately turned into a milestone moment in hip-hop, after ‘Kast member Andre ‘Dre’ Benjamin stepped up to the mic and made it clear that “The South got something to say.” Not only did that rejection fuel the Atlanta duo to work harder to get better at their craft, but it also ignited a movement for every other aspiring rap act outside of New York to not only be themselves but to also be okay with not trying to sound like, be like or be accepted by anyone resistant to the change that was coming.

The cool thing about hip-hop in that era was the fact that it wasn’t cool to sound like someone else. Although it’s natural to be influenced and inspired by heroes and peers, what makes artists great is the ability to master the existing skills that best fit one’s personality, and to creatively make it their own. LBJ started off wanting to be like Mike, but now LeBron James has a great legacy of his own. Somehow we’ve arrived at a place, musically, where a lot of what’s being played on the radio and in the clubs is sounding the same. Based on those existing playlists, it’ll be hard not to credit Future and Mike WiLL Made-It for initiating the current trend. For only the second time ever, the two brilliant minds sat down for an interview together to share their perspective on why they continue to win, and how they’re continuing move the culture forward, which is the centerpiece for this issue’s theme on inspiring greatness.

Within the last 20 years, a lot of the great music that has helped reshape the way that the culture has been received has made it’s way through Patchwerk Recording Studios in Atlanta. From T.I. to Young Jeezy, Missy Elliott to Beyoncé, Nas to Kendrick Lamar, a lot of history has happened inside those walls. Across town, K Camp has quietly been kicking down doors and making a name for himself by being himself. Ice Cube has been relevant since 1987, when his controversial, sociopolitical organization disguised itself as the gangsta rap group N.W.A. The west coast legend’s new biopic Straight Outta Compton exposes a lot of new information regarding the methods behind their madness.

Years ago I had a talent and production deal with Starz, so it’s great to see my former team doing big TV numbers with Power and Survivor’s Remorse. We wish continued success to 50 Cent, Naturi Naughton, LeBron and RonReaco Lee. Not enough can be said to express our appreciation for our outstanding POV line up, Kyle Christy and Todd Spoth. Dig deeper, learn more and please join us at respect-mag.com for more digital coverage on this issue’s participants. Much love goes out to Greg Street, Jason Jeter, A3C, Courtney Lowery, Yvette Gayle, B. Write, Tony Draper, Robert Redd, Talitha Watkins, Joy Phillips, Curtis Daniel, April Love, Zaytoven, and Tony Gervino, our super-dope RESPECT. editor whom I missed in my last letter. Until next time…

#FocusOrFold

Adell Henderson

Editor-In-Chief
Issue Inspiration: Eric Thomas, “The Combat Jack Show,” 1 Goal 1 Passion, and the victims, families and friends of the Charleston shooting for inspiring the #RespectPlanDemand initiative. Stay tuned—more to come.

The post Future & Mike WiLL Made-It COVER: Issue #23 Editor’s Letter appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

We got a treat last night with a trailer for the NWA biopic titled “Straight Outta Compton.” This trailer came with an introduction from Ice cube & Dr. Dre as they ride through the city. The trailer seems very promising & as we get closer to the August 14th release date hopefully we start to see more promo. Check out the trailer here.

The post Watch The NWA Trailer For “Straight Outta Compton” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

The legendary NWA could find themselves in the Rock and Roll Hall of Fame next year. Following in the steps of Public Enemy, Beastie Boys, and Run DMC, the Compton crew are on the ballot for the 2015 inductees. You can cast your vote here. Other nominees include Green Day, Nine Inch Nails, The Smiths and more.

The post Photo of the Day: Straight Outta the Hall of Fame appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

It’s been over two years since Meridian, Mississippi’s own, Big K.R.I.T. released his major label debut album, Live From The Underground, but that doesn’t mean he hasn’t been busy. Last year he dropped the well-received mixtape, King Remembered In Time and he’s been hitting the road with the likes of Macklemore and Talib Kweli. The fourth installment of his See Me On Top series just hit the internet last week and his new album, Cadillactica is slated for release this November. Although he’s currently gearing up for his Pay Attention tour with Two-9, Young Krizzle to the time to talk with us about life in Meridian, musical influences and artistic growth, among other things.

You are a very soulful artist. It comes out in your music. Who were some of your early influences and who introduced you to that kind of music?

I would say that my father was the first person to play Geto Boys and NWA around me. He had tapes and I remember he was really into electronics. He had a lot of old cassette players and things of that nature and he was the first to really introduce me to that. I didn’t find out about Outkast until I was riding around with one of my first cousins. I would attribute my grandmother to putting me onto the blues and soul music. Like James Brown, B.B. King and people of that nature. So growing up, I had a wide range of things I could pick from. When I got to an age where I could start buying my own CDs and turn the radio onto what I wanted to hear, that’s when I started discovering Willie Hutch, Bobby Womack, Curtis Mayfield, UGK, Three 6 Mafia and Eightball & MJG. That was the beginning of me listening to music in a way where not only was I entertained by it and influenced as a person, but I wanted to know how it was created in that manner.

That’s kind of how I was. When I was 15 or so, I started listening to the oldies station on AM radio and hearing songs that had been sampled for the rap I was listening to on the FM stations. I’ve been hooked ever since.

It’s so many jewels and things you just pick up on a random radio station. A lot of obscure samples came from only having one vinyl record pressed up, maybe one single. The songs that never really, really blew up…sometimes have some of the most amazing melodies and backgrounds and riffs.

I have family in West Alabama, right on the border and anytime I’m there, we go the Bonita Lakes Mall in Meridian. I’m familiar with the area and years ago when someone told me that a cat from Meridian was spitting rhymes, I had to check it out.

Most people have to ride through Meridian to get to Jackson or Biloxi, so they probably have rode through Meridian and didn’t even know it.

What was life like in Meridian coming up?

It was very humbling. I had the opportunity to be raised by a lot of elders. It was the “It takes a village to raise a child” mentality. Both of my parents were very active in my life, even though they weren’t together. They always wanted me to follow my dreams. My grandmother was very passionate about me following my dreams and doing what I wanted to do. Ultimately, she was scared about me venturing into the music industry just because of stories she had heard growing up, but she played a big part in how I am as an individual and a man. She was born in 1923 and she instilled a lot of morals in me that carried over into how I am now. Not only as a musician, but as a human being. I think people can hear that in my music and in the music I actually like to sample. Meridian is one of those places that reminds you how the small and simple things in life can be enough. To me, the days go by slower than in some major cities and I had the opportunity to kinda enjoy my childhood in a certain way. There was a lot of time to sit back and reflect on what you wanted and how you planned on getting it and I’m blessed to have been in a situation to actually have that kind of upbringing.

The video for “I Got This” was shot entirely in Meridian?

That was definitely Meridian. For me it was important to show people that my city was a city and that it wasn’t horseback and dirt roads. I know people hear that I’m from Mississippi and they have some sort of idea of what kind of city it is and that’s not even really the case. I just wanted to show that I’m from a city and we’re thriving.

I know one of your biggest musical influences was Bobby Womack. Did you ever have the chance to meet him before he passed?

Man I didn’t, brother. And I was so sad about it. It was mind blowing. With me wanting to work with him so bad and being so influenced and sampling his music and actually doing my research on what he had been through and what he had been able to accomplish musically, to not be able to work with him was disappointing.

And he was still very active.

Yeah! So it’s one of those things where all I can do is if I do sample him, I have to do his music justice and pay homage. When people ask me about the music I sampled and what did I listen to growing up, it’s important that they know he had a large part in what kind of music I make and the amount of passion I put in my music. He was a true soul man at the end of the day.

Looking back at “REM,” you had a line in that song that says you feel as if you failed your fans with Live From The Underground. As more time has passed, do you feel the same way and what do you think you could’ve done better?

To me, it was one of things where I dealt with so much. I went from doing mixtapes and having that freedom of just throwing music out…but when you’re signed and working on a major label album, it’s a little bit more organized. It’s a lot that goes into it when you’re sampling. It’s a lot that goes into it when you’re creating a song. You have to deal with the business aspects as well. I wasn’t 100% prepared to do what I normally do with a project and deal with the business end. I think it bled over into my music. It bled over into how I felt about having to work under those circumstances. Dealing with sample clearances was one of those things that I never had to deal with before and it was mind blowing. I would hear a song that I would want to sample and then second-guess myself. I’d shoot down an idea or possible record before I’ve even created it. I had to get over that. Also, most of the time I’m competing with myself. People would say “Alright, your last project was 4evaNaDay” and a lot of people loved that and felt that it was better than Live From The Underground.

There was a freedom with 4evaNaDay that I didn’t have with Live From The Underground — which was the sampling, which was the unexpectedness. No one expected 4evaNaDay. I dealt with a lot of that. Looking back on it now, I’m proud of Live From The Underground because I stuck to my roots as much as possible. It’s one of those things when people go back now and listen to it, they’ll be like “Damn, that shit was super jammin’.” I think it was on top of me dropping a mixtape like 4evaNaDay — all original, themed out and a crazy cover, a month before I dropped my album. Also, I had been promoting my album Live From The Underground since 2011. We had the “Country Shit” video with Luda and Bun B in March. Then “Money On The Floor” came out in September of 2011 and my album didn’t come out until June of 2012. So there was a large gap and anticipation and I’m just blessed that the fans still believe in me enough to go out, purchase, represent and ultimately pay attention. I think I learned a valuable lesson in timing and getting things done early business wise. That way, I can solely focus on the music and I can get all the ideas that I want ironed out and let that be that and then roll it out properly. I think that’s what we’re doing right now with Cadillactica. I think it’ll work. We’ve got the amazing single with Rico Love, “Pay Attention” and I’m just excited for people to hear this full body of music — and I only used three samples.

Oh wow.

The thing is, you’re not going to know what is a sample and what’s not. That was even more exciting, because I was able to create the kind of music where you would still think it was a sample.

The last time I saw you perform live was in 2011 during the Return of 4Eva tour. Is there anything you’ve learned about touring between now and then?

Oh yeah. Resting, but not going to sleep an hour before your show. Not eating a heavy meal before your show. Not indulging in too much alcohol before your show. Crowd participation and engaging with the people more. Just having fun. I used to be really critical of my stage presence at these shows. I was giving my all, but it was still supposed to be fun at the end of the day. I think the Return of 4Eva tour was the first time where I started to understand that people could have fun. I could have a message and rap my ass off at the same time. From there, the Live From The Underground tour was the beginning of me really having fun, enjoying myself and enjoying hip-hop. At this point, now it’s just about performing the new content, bringing the people out that have always supported me and then bringing new people out while enjoying this thing called hip-hop. I’m spreading the message of following your dreams, putting God first and getting money.

Even back then it seemed like you had good stage presence.

Oh yeah. I’ve learned from some of the best. David Banner was a great, great performer for me to watch and just be like “Oh shit.” So when it comes to me being on stage, it don’t even matter. We’re jumping off the stage. We’re crowd surfing. We’re throwing water. We’re having fun. I gotta look at it like it’s my last performance, because if this is it, I wanna be remembered for having the kind of performance that’s hard to forget.

You mentioned being on various tours. I know you’ve been on tour with Macklemore and others as the supporting act and also on your own tours where you’re the headliner. I would think being the headliner is the bigger thrill but do prefer performing in the more intimate smaller venues or larger arenas?

It doesn’t matter. It could be five people there, it could be five thousand people there. Again, I’m going to put on my show like it’s the last show and it’s fully packed in that thang because I remember back when there was NOBODY that cared to see me perform or there were no shows at all. I try to keep that in mind. I always love to go on tour as the headliner and see the people that are always going to jam your music, but there’s an excitement of going to perform in front of people who don’t because you gain new fans. I’ve toured with J. Cole, Wiz Khalifa, like you said, Macklemore and Currensy and you always gain new fans. You’ll be out and about and people come up to you after the fact and are like “I wasn’t much of a fan of your music and this was my first time seeing you perform, but I’m glad I did and I know now.” That helps and keeps me motivated too.

Tell me about “Pay Attention”. How did that come about?

I had the opportunity to go down to Miami and work with Jim Jonsin and his team of producers, Zac and Finatik. Also, at the same time I wanted to be able to get in with Rico Wade and work because Jim Jonsin and Rico have this musical relationship where it’s cohesive and they work in a way that’s organic and it was a blessing to be able to go down there and get in the studio with both of them and create a song of that nature. For me, it was about getting out of my comfort zone. This album is a lot about that too. I was used to producing my own records and singing my own hooks and it was out of necessity at first in my career because I couldn’t afford to pay for beats and I didn’t have anybody to sing on the hooks. At this point of my career, I want to create and write in a manner where I can always take it to the next level. It was dope to get in with Rico because he has a gift for writing hooks that are relatable for everybody. It doesn’t matter where you’re from and it doesn’t matter who you are, you can relate to these hooks. When he sent that to me, I was like “I got it” as far as the verses and it was just dope to be able to add a little bit of my edge and my southern twang to it. I can still be myself, but make a record as big as “Pay Attention” and showcase my growth as I’m getting older. I want to put that in my music. I’m not K.R.I.T. from 2010.

It has that “grown and sexy” vibe to it.

Ain’t nothing wrong with that.

Is that going to be the vibe for Cadillactica as a whole?

I wouldn’t say that. Cadillactica is a free-floating album in a way where I felt like I was able to talk about whatever I wanted because I created a planet to do so. Cadillactica is a planet that I created, which in reality is my conscious mind. It’s where all my creative thoughts come from. It’s where all my ideas come from. All of my pain. All my passions. All of my struggles. All of my pain. It all comes from Cadillactica. Everything is a little obscure and a little different because in your mind, it IS like that. Your mind is abstract, your ideas are abstract and I wanted to make my music seem a little abstract. I wanted the skits to be a little abstract. I wanted some of the instrumentation and singing to be abstract. I wanted the content and the topics to be abstract. I think I was able to accomplish that on this planet called Cadillactica.

A theme I’ve always noticed with your projects is the sequencing. It always starts with the crunk trunk-rattlers and as things move forward, you get into the deeper content. So with this new project, are things going to be all over the place in an abstract way?

I think every song still has purpose on this project. I think it still flows in a way and I like to think of it as flowing in a way that’s like growing up. When you’re a young adolescent, things intrigue you. You’re energetic. You’re ready. You’re like “I wanna see this, I wanna do that, I wanna be a part of this.” Then when you start slowing down, other things start to become more important. Time becomes more relevant and you’re like “Man, am I doing what I’m supposed to be doing? Am I a part of what I’m supposed to be a part of? Is this all going to be enough? There’s not enough time in the day.” Then when you get older and reflect on it all, that’s when you’re like “I think I did enough. I hope God’s proud of me. I want to leave something behind.” Normally, I think of my sequencing that way. It’s like the buildup, then the climax and then you just kinda let go and then you fade out. I think of life in that manner and I like to think of music in the same way.

The album’s coming 11.11, you’re about to hit the road and your name is being mentioned more frequently as one of the top artists in the industry today. I remember hearing a song of yours in a Crown Royal commercial a little while back, do you feel like things are finally coming together for you or is there still that chip on your shoulder?

I think that this is my journey. Some people’s success comes faster, some people’s success takes time. It takes years. It takes development. I think of it like this: I’m still building my foundation. There’s still bricks being laid but once it’s right, this building won’t ever come down. My timing is different and it all makes sense, just being from where I’m from. It’s a different place. It’s a different environment. The population is different. I have to make people want to go to where I’m from. It’s almost like sometimes I’m fighting more than just comment boxes and stuff like that, but history itself because I want to shine some positive light on my state. I don’t want to tell somebody “I’m from Mississippi” and they always have negative thoughts about it. I want to showcase it differently. That follows the suit amongst a [person like] David Banner, who was able to not only be a positive role model in hip-hop…but in life. It’s important that people understand that just because I’m country, that does not mean that I’m not intelligent. I’m intelligent. I still believe in saying something that matters. There’s a lot of people where I’m from that feel the same, but you’d have to go there to know it. I think I’m gonna pull my weight and do whatever I can to make people open their minds and visit and come check it out and look at all this history and learn about where I’m from as well as these other places.

It might be a bit too early to ask, but what’s the agenda after the tour and the rollout of Cadillactica? Or Are you just focused squarely on the album at this point?

The album is the focus point right now, but obviously [there’s the] branding of the artist. Branding Big Sant. I’m excited about what he’s going to do. His voice is crazy. The music he writes is amazing. For him, it’s the same thing with building his foundation. I think that’s going to be the next thing for me as well. Helping him with his platform. Branding Multi Alumni as much as possible. Getting into scoring movies. Producing for other artists — not just rap artists, but also soul singers and jazz musicians. Ultimately, writing and composing music in different formats.

Are you and Big Sant ever going to do an entire album together?

I’m sure that’ ll happen. I can’t tell you when or how, but it’s going to happen.

Last question, is there going to be a “My Sub 3?”

Wooo! You gotta find out for yourself. That’s all I’m going to say. I can’t speak on it too much. You just have to find out for yourself.

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The post Interview: Big K.R.I.T. Talks Bobby Womack, Artistic Growth & The Planet Cadillactica appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.