Russell Tyrone Jones — better known as Ol’ Dirty Bastard — left this earth in 2004, but his legacy lives on with family, friends and anyone who loves the Wu-Tang Clan. The Hip-Hop Foundation and the family of Ol’ Dirty Bastard came together to celebrate the late rapper’s legacy within Hip-Hop, and through hail, sleet, and snow, New Yorkers packed the The Roulette to be apart of this special celebration.

 

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Painting of Ol’Dirty Bastard at the ODB Birthday event in Brooklyn with children @metaphysics91 @taniquajones404 @youngdirtybastardofficial Photo: @freshpixxphotography

A post shared by OL’ DIRTY BASTARD (@oldirtybastardlegacy) on Nov 17, 2018 at 4:29pm PST

Fort Greene, Brooklyn is the birthplace of ODB, so it only felt right that this special 50th birthday celebration would be held in the rapper’s home borough. The Roulette art space entertained a sold-out crowd of people that loved ODB for his artsy and — most of all — his aura that continues to live on.

 

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A post shared by youngdirtybastardofficial (@youngdirtybastardofficial) on Oct 15, 2018 at 8:47am PDT

The son of ODB, Young Dirty Bastard, quickly became a true standout throughout the night as he was joined by various members of Wu-Tang, DJ Evil Dee, Mathematics, Busta Rhymes, Hakim Green and many other talented artists throughout the night. Some of the most powerful moments during this celebration would have to be seeing YDB as the pure embodiment of his father, carrying on the legacy through his performing. In addition, heartfelt speeches from the family of the late rapper touched everyone in attendance; the Shinnecock native tribal dance performance was amazing.

Father, brother, uncle and friend ODB filled the room, and it was obvious that his legacy is here and alive.

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The post The Family of Ol’ Dirty Bastard & The Hip Hop Foundation Team Up for ODB’s 50th Birthday appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

It’s safe to say we can all spit out Ol’ Dirty Bastard‘s work alongside the Wu-Tang Clan and a bunch of his solo records off the top of our head. The dent he left on the game, and the impact he had on the masses is stamped in hip-hop’s history forever. Before we get into the features, perhaps briefly reflecting on his career is the right thing to do.

Enter The Wu-Tang (36 Chambers) was Dirty’s debut appearance, which is said to be one of the greatest hip-hop albums of all time. With both successful solo and collaborative careers, he has been featured on quite a few records during his  active years, some of which may have been bypassed or laid in the cut a bit. This piece is a brief look at a handful of standout features from ODB–some rare and some mainstream. His sound lives on forever and spirit is eternal. Enjoy:

Big Daddy Kane ft. Sauce Money, Shyheim, Jay-Z & Ol Dirty Bastard – “Show & Prove” (1994)

Off Big Daddy Kane‘s sixth studio release from 1994, “Show & Prove” is a raw posse cut with a young Jay Z helping make it that much doper. This wasn’t long after ‘Ol Dirty Bastard’s explosion of fame, thanks to Wu-Tang Clan’s debut record. Never knew Big Daddy Kane did a joint with Dirty? Now you know. This seemed like a fun track for the five emcees, at a time when when you stepped to the plate with just yourself and your lyrical weaponry.

Mariah Carey ft. Ol Dirty Bastard – “Fantasy (Bad Boy Remix)” (1995)

This was a controversial collaboration, as record execs were worried about Dirty shifting Mariah Carey‘s direction in sound and polluting what she had going. Following her acclaimed, well received 1995 “Fantasy” came this Bad Boy Remix. An early Puff Daddy was on the boards, with his signature soft talk making an appearance. Everyone can remember their mom blasting this joint–a true summertime banger.

Busta Rhymes ft. Ol Dirty Bastard – “Woo Ha! Got You All In Check (Remix)” (1996)

At this time Busta Rhymes and ‘Ol Dirty Bastard were in their prime. They were known as the crazy acts in hip-hop, with murderous delivery and some of the most insane visuals offered to the masses. In 1996, they dropped this banger, which many in the underground consider a classic remix. The video certainly adds to the impact, but do be alarmed and careful.

Tha Alkaholiks ft. Ol Dirty Bastard & Marley Marl – “Hip-Hop Drunkies” (1997)

Marley Marl and Dirty on a record? Now that is history for certain. Tha Alkaholiks and ‘Ol Dirty Bastard in one recording session, or video shoot, is seemingly a fun time. Maybe too much fun? This video is a classic case of the “f*ck-it’s”, mocking Alcoholic’s Anonymous meetings and going buck wild. It’s fun to see Dirty collaborating with a West Coast hip-hop group to this degree in 1997. It was featured on Tha Alhaholiks third LP Likwidation,  and served as one of their biggest hits even reaching the Billboard 100.

Cam’ron ft. Ol Dirty Bastard – “Violence” (2000)

Potentially one of the scariest, most raw records Dirt was ever featured on. This was off Cam’ron’s second full-length album SDE (Sports, Drugs & Entertainment) released in 2000. When Harlem and Brooklyn collide, especially at this time, you couldn’t have expected nothing short of insanity.

Ok, so we’ve cleared up some of ODB’s most rare/acclaimed features, with hopes that you learned something new from the article and have a good conversation piece with your biggest hip-hop head friend tonight. His legacy is with us for eternity. In celebration, go listen to some Dirt and hype yourself up. Peace and one love.

The post ‘Ol Dirty Bastard: The Forgotten Features From ’94 To The Millenium appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Today marks the 10 year anniversary of ODB’s death. In honor of Dirt McGirt, check out a page from our latest issue down below, courtesy of EIC Datwon Thomas.Furthermore, DJ Danny S has put up a great ODB mix which you can get into, as well as Mister Cee’s Hot97 mix from last year.

Finally, you can watch some classic footage, including a cypher between Big Baby Jesus and Busta Rhymes, as well as the Dirty Thoughts documentary.

#RIPODB This shot is from a page in the new issue of @RESPECTMAG shot by @themikeschreiber. He states how Dirty’s mood was low that day in 2003. Yet he perked up when they got on the ferry to the Statue of Liberty. That’s when he caught this easy smile of the wild out legend. He passed on this day in 2004, two days before his 36th birthday. Gave hip-hop that fun-loving rebel spirit which was needed and no one could match. No father to his style was true. Greatest moment was the Wu getting back together at Manhattan Center on 34th St. There was a man hunt for Dirty and the authorities couldn’t catch him. The stage is flooded with mad SI and Brooklyn cats. And there was one in an oversized snorkel coat with the hoodie on. You couldn’t tell who it was. I can’t remember exactly which song played but when it was Dirty’s verse, the calm dude in the snorkel grabbed the mic and snatched off his hood and it was ODB!! Wildin!!! When I say he made the place erupt, that’s an understatement. The whole balcony shook like crazy. The people on the floor was mosh pittin’…insane scene. He ripped shit and left. Didn’t get caught that night. With tons of cops around. ODB. One of the greatest. #BigBabyJesus #DirtMcGirt #Asun #HeKeepsPlanetsInOrbit #WhoRapsLikeThat? #AndCanSing? #Haha! #BKallDay #WuTangClan #TheWu #TBT

A photo posted by Datwon Thomas (@datwon) on Nov 11, 2014 at 8:00am PST

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Photo by Chelsea Memmolo

It’s easy to view Rhode Island rapper B. Dolan as a man of contradictions: he rejects the term “political rapper,” yet he pens songs like “Film the Police” and “Lucifer;” he performs at metal bars, yet he smiles during his set; he’s an independent rapper (i.e. not rich), yet he gives discounts at the merch table. How can one person sustain these discontinuities? By rejecting them, of course.

Joining us for an engaging, 50 minute conversation before his riveting performance at Saint Vitus in Brooklyn, B. Dolan gave us one of our best interviews of the year. Read it below. He’s passionate about hip-hop and its artistic and political potentials in wholly original and refreshing ways.

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RESPECT. So my first question is what have you been listening to lately?

B. Dolan: I’ve been listening to a lot of Circle Takes the Square and United Nations because for the past ten days I’ve been on tour with them [laughs].  Which has been really cool. Because I don’t always make an effort to seek out hardcore music, but I’ve been around that scene and that scene is big in Providence. We came up around those shows as well as rap battles and hip-hop events and spoken word events. But it’s been cool to be on this tour and listen to these guys a lot. And see them in a live environment with their friends and how their music is translated and all that.

I’ve been listening to James Blake this summer. I really like that album a lot. The song “Retrograde” is still the song of the year for me. So I’ve been really inspired by him. Also a lot of my friends have put out music this year. Prolyphic & Buddy Peace from Strange Famous put out an album and produced a bunch of new material, Dan Le Sac vs. Scroobius Pip have a new record. Strange Famous has put out a lot of stuff and obviously I’m very involved in that and hear everything that’s going out. I think there’s been a lot of inspiring music out this year. And I’m also always listening to old stuff for digging and inspirational purposes. I have weird little obsessions with labels and imprints.

Do you follow their entire history or something?

Yeah, like there’s an imprint called Cadet Records and I obsessively collect all the records that they put out. They were an offshoot of Chess Records and they worked with a lot of famous blues musicians like Howlin’ Wolf and Muddy Waters. But the engineer at the time was a psych rock engineer and so there’s this group of albums that has like blues songs with psych rock production and engineering, which is really interesting. There’s a lot of separation: drums in the left channel and guitars in the right channel, that kind of stuff. There’s a lot of breakbeats on it too. I’m always seeking a lot of music and listening to a lot of music at the same time.

What do you think the significance of “Film the Police” is after learning about the NSA’s mass surveillance?

I think in general filming the police is…we made that song in the wake of what happened with Oscar Grant. And that was a great demonstration of how important it can be for citizens to document what’s happening in the streets, especially when it comes to the people who have a monopoly on force, which is the police. And certainly I do think that since 9/11 there’s been a large trend towards more surveillance, less civil liberty and expanded police privileges and protections, as well as just money that’s been dumped into police departments for homeland security budgets that has resulted in militarized cops with these like futuristic weapons and riot gear. And so it’s more important than ever that we be able to document them.

The NSA stuff is almost a separate issue to me because that deals with our privacy and our ability to communicate with each other without being monitored by the government. I guess in some ways you could draw a comparison and say that filming the police is our way of counteracting the government’s surveillance of us. It’s just symptoms of an information age where power is in images and information. To the degree to which we can capture those things and disseminate those things ourselves, that’s how we’re going to have to resist huge overreaching government and all that comes with it.

I ask because one of messages of “Film the Police” is that you see your rights being violated in your face and you respond to it by documenting it. And with mass surveillance, even though you’re right in the sense that it’s a different kind of violation, I feel like just thinking about The Wire, they use that surveillance to be more brutal as police officers. You don’t even have to be charged with anything, but what they do to you is “justified.”

Yeah, I can see that. I’m not quite sure what else to say about it. What do you think?

On the relationship between “Film the Police” and the NSA?

Yeah.

It’s kind of embedded in another question I was going to ask, so I’ll ask that. So John Pike, the UC Davis guy that maced those students, was recently awarded a worker’s compensation amount that was greater than the settlement received by the people who he assaulted. And I was kind of wondering, what do we do when filming the police isn’t enough?

It certainly seems to have been that kind of summer. George Zimmerman got his gun back from the state of Florida. They really gave that guy his gun back. You don’t need a better symbol than that [laughs]. And certainly, filming the police was never meant and has never meant to be a fix-all. I try not to even make statements…I try to be clear that this isn’t a fix-all. It’s just an immediate practical thing that you can do. To me, when I think about making political music, I personally am turned off by emcees who rap in sort of feel-good bumper stickers and generalities about social issues. I think it’s really easy to get applause saying something like, “Every politician is the devil!” You know, just the generalities that we all know are true. Yeah, politicians are fake and fucking government is corrupt and shit’s fucked up, etc. You can say that shit and people will go along with you because it feels good to agree with that, but in the end, you’ve just produced a song that to me isn’t going to do anything.

So when I make an [overtly] political song, I try to be very clear and very explicit and even narrow in what I’m talking about. So “Film the Police” is literally about filming the police. It’s a reminder that if cops are doing some shady shit in front of you and you have a camera in your pocket and should use it. It’s just a reminder like, “Hey, that phone you’re carrying around can take pictures!” So if you find yourself in a situation where you see someone is being abused or you yourself are being intimidated or harassed, you’ve got a weapon there and you should use it. That’s literally the beginning and the end of that. Yes, it’s attached to other issues. Yes, it’s become a thing that’s gone beyond that song. And it will mean other things to other people and I’m happy about that.

If you search the hashtag “#filmthepolice” there are plenty of people talking about it that have never heard my song and I’m excited by that. I think that’s really great that I can contribute just a useful phrase. But at the same I time I know that it’s not a – when I perform it live, during one of the choruses I say, “And fuck the police. Still fuck the police.” “Film the Police” is not meant to supersede “Fuck the Police.” It’s more like we have a new way to fuck the police: this camera in our pockets. But I know…what does filming the police do to fight globalization? Nothing. The fucking device you’re taking out of your pocket is itself probably a violation of worker’s rights in another country and has not been produced under ethical standards, and represents people being taken advantage of. And that’s apart of things we’ll have to fix before we can get to being a more just society and world. There’s a lot of shit to tackle [laughs]. And I try not to get lost in that. If you think about everything, you get overwhelmed. If you narrow your view and think about something immediate and tangible, I think we can make small, incremental steps. Children of Men is my model for revolution [laughs].

I haven’t seen it yet.

It came out around the same time as V for Vendetta and I began thinking that the contrast between those movies was like fantasy vs reality. The fantasy is V for Vendetta, where a guy with a mask is gonna get on tv and say the right combination of words that will trigger a mass consciousness shift in the world population and the revolution is going to start today. With Children of Men, everyone does what they can for five minutes and will pass this precious cargo along to the next person, who does what they can for five minutes. Most people probably don’t even get to see the end result, but we’re still working and just handling what we can in the present and offering ourselves where we have the power to act, which is often in our immediate environments with family and friends.

You mentioned being narrow, or rather being very specific. I think that’s apparent in songs like “Lucifer” and “Come to Jamaica” where you mention Warren Anderson and Bugsy Siegel. I feel like by focusing on them you’re able to make your criticism and also note how that criticism is very specific. I think that that actually helps the songs travel further than ones full of generalities.

I’ve always been conscious of characters and of the power of a character, like the name and a person with a certain personality. That’s interesting. Whereas a generality is powerful in other ways, I feel like people connect more immediately when they can picture a person. And that for whatever reason seems to find it’s way into my writing a lot. I do a lot of character studies in my writing. Whether it’s people like Warren Anderson or Justin Timberlake, or Joan of Arcadia or Vin Diesel. I like describing people and personalities. Because the personal is political. The generalities are kind of boring. They’re kind of abstract and kind of stale and sterile. But all of these political ideas do touch down in peoples’ lives. And that’s where the stories and the humanness are. So yeah, in any instance, I’m more interested in where the political ideas come home and manifest in people’s actual lives. Which is why I object to the term “political rapper.” What’s political? What’s personal? Where is that line? Politics is in my day to day life if I can’t feed my family. Or even if I never have to worry about feeding my family. Politics is deeply entrenched in peoples’ realities.

That really relates to my next question. In “Which Side Are You On,” you say hip-hop is “folk music grown from the struggle” and I agree with that statement, especially as far as the origins of hip-hop. But considering its origins as well as what it has become, what do you think the politics of rap are at the most fundamental level? Not just in terms of a song being overtly political, but even a song like “The Hunter,” how is that  a political utterance?

“The Hunter” is actually a really political song but nobody knows it.

I know it’s about becoming that which you hate.

Yeah, I’m glad that you dealt with it on that level. A lot of people think that it’s just a cool ghost story about a vampire hunter. But I was thinking about soldiers in Iraq doing horrible things for what they thought were good reasons. And they have that moment of realization where you look in the mirror and realize that you are the monster. You think you’ve been out there hunting monsters all your life, but then you realize that you are the thing to fear.

Okay, well maybe that wasn’t a good example.

[laughs] But no one knows that because it doesn’t necessarily come across in the song. But to talk about hip-hop is almost dangerous at this point because it’s such a huge genre with a lot of different artists making a lot of different kinds of music for totally different reasons. So for me I try to just judge people on the merits of what they were trying to make. So I’m not judging Kanye against Chuck D against Pharoahe Monch against nerd rap against Lil Jon. Those emcees might as well be in different genres. It’s like who’s a better jazz musician, Miles Davis or Louis Armstrong? They’re years and years apart and playing in different eras and niches of jazz. So I try to be careful about blanket statements for all of hip-hop. But for me, what inspired me about rap was when I heard Chuck D say that hip-hop is black people’s CNN. And Scarface, in a song with Ice Cube, said, “We were always considered evil. Now they’re trying to bust our only mode of communicating with our people.” And I was like, “This is what rap is.”

As time has gone on and the influence of rap has spread, I consider rap at this point to be poor people’s CNN too. It’s kind of transcended the black experience and become something that millions and millions of people worldwide are apart of. And I think that the power poltiically in it is that yeah, at it root, it’s a decentralized art form that can happen spontaneously anywhere. All you need is a dude that can bang on a lunch table and enough rhythm to rap your thoughts. In that, it has a power for people to speak with each other and be with each other in a way that doesn’t have to pass through a filter.

So commercial rap is what commercial rap is and if you’re making music for the club, then you’re making music for the club and if it bangs in the club, then I guess it’s a good song. For me, I choose to utilize it in the sense that I can say whatever I want. and I’m lucky to be on Strange Famous with Sage, which is an independent label. We don’t owe anybody anything, so we totally control our content and say what the fuck we want. I think that’s the power. I think there’s something political about people being in a room and not at home looking at a tv or the internet. Even if nothing “political” gets said on stage, the experience of coming out into the public and being physically present with a group of people and experiencing the same thing fights against the alienation that people experience and the push to just isolate yourself from other people and just look at a box and experience reality through that. Again, the personal is political, and a lot of what we do is at its root political even if you don’t think about it.

So I guess, to sum all that up, rap in some sense, gives people a voice. And whether they use that voice to make people dance, or whatever, giving nearly anyone a voice is kind of unique.

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Give it up for Danny Brown for turning a video of him spitting in front of a camera into an acid trip. In his new video for “ODB,” Brown is subject to an army of colorful visual effects reshaping his face. The track is based on a psychedelic and haunting beat produced by Paul White and the title of the track refers to Ol’ Dirty Bastard. Director/animator Ruff Mercy successfully capture Brown‘s energy and the vibe of the track. Check it out:

The song itself is reminiscent of the song “Zap,” from Danny‘s collaboration with Black Milk.

The post New Video: Danny Brown – “ODB” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

I first heard about Levii Ru$$ell through ABGOHARD, who posted Levii‘s alarmingly futive video for “MasterMind” on his Facebook page. A member of the cult $upreme $**t™, based out of his hometown of Houston, Levii Ru$$ell is an emerging artist, bent on clamoring sounds full of audacity, surprise, and raw instinct. At that time, he only had three other tracks out. “Anarchy”, “Homicide”, and “Lies”, which all followed the same nervous skips and phobic evasions of “MasterMind”. In only 12 minutes and 59 seconds of airtime, Ru$$ell was able to pinch a nerve that is often dulled by other artists : dense paranoia. His creative control follows suit : Ru$$ell stutter-steps into relationships, meticulously careful of those he associates himself with.

Ru$$ell bears all, exploring his work as an individual and as an artist. For any [self-described] paranoid individual, this personal exposure is bound to be deeply moving. But with no hesitation, no caustic distractions, or florid apparel (well, some at the end), Ru$$ell melts down his trophied experiences of backstabbers, pains, and nervous defense into furtive reliance. Constantly redefining his position on a given song, you have to be quick to catch his character. Don’t blink, you might miss where he goes. But once he’s there, you’ll only be able to sit back and admire as he pulls out another trick from a Hermes silk sleeve. .

– Franklin Weatherfield.

Meet Levii.

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Franklin Weatherfield : So, how’d you pick your name?

Levii Ru$$ell : Well…Levii Ru$$ell, man, is my alter ego. It’s the life and times of Levii Ru$$ell. Like, Levii Ru$$ell is a damnation, a damnation of me. Like all the shit I ever did in my life, and a personality that I have. You know what I’m saying?

All right, like what sorts of things?

When I used to do dirt, man, when I was doing shit I wasn’t supposed to be doing. You know what I’m saying, like, out in the streets with my homies doing stuff with money, everything that embodied me when I’m not with my mother or my immediate family.

All right, so Levii Ru$$ell is like the evil side?

Yeah, basically. It’s the embodiment of me whenever my personality, the touch exterior of it.

Ok, so what’s your real name? [Redacted] what?

[Redacted]

[Redacted], ok. So what made you not want to use your government and want to use this alter ego name?

There’s two reasons : the reason I don’t want to use my government name is because I don’t like people knowing my government name a lot or calling me by the name [redacted], you know what I’m saying? And also, [redacted]: I’ve been called [redacted] since I was young like, in sports and everything like that. I had this cool last name. And then when I was young, when I was thinking about rapping, the rapper [redacted] came out. (LAUGHS) So then I said, well I can’t do that no more. I had intended to call myself [redacted] but it was already done. So that kind of shut the door on everything. (CHUCKLES)

Specifically, why’d you choose the name?

The reason why I chose my name is cuz one of my favorite players of all time is Bill Russell. One of the best of all time. At the time that I chose that, everything that I was doing, I felt like I was doing it the best. I wanted to be the best. And have the most, in life. Levii came to me when I was basically just freestyling, and it just happened to come up. I just ran with it once it emerged, randomly.

I figured the Ru$$ell was for Bill.
Cuz of Basketball…

So tell us a little bit (and you can either tell us the story of [yourself] or Levii), but tell us a little bit about where you’re from, how old you are, who raised you, like, those young hopes and dreams. Whatever you think is important about who you are as a person that feeds the artist you are.

I was born in Houston. Coming up, we didn’t have that much. The typical story of a black kid, no father around, you know, struggling, doin everything like that. We were particularly homeless at one point in time, you know. And I have vivid memories of me eating out of trash cans, stuff like that. Sometimes I’d even be sleeping at my mother’s job, at a diner overnight. And eventually…you know, I was young, I ain’t know what was going on, I thought “Cool I’m at Jack In The Box, I can eat all the food I want”, that type of shit. But at the end of the day, when I got older, I understood what position my mother was in. My mother, pregnant with me, on a bus going to work every day and her explaining that to me. When we got kind of boxed in and I started going to school and shit like that, I really started to get into sports, like basketball, mainly basketball and football.

Yeah, you played for Northshore, right?

Oh yeah, I played for Northshore High School, yeah. And, when I was coming up, I was like top shit, I was cold. At Northshore, it’s very hard to be a sophomore on varsity football because they were a powerhouse. It was hard on me, but I worked on my game, I got really passionate about sports. I always thought that was my ticket for getting my mama out. You know, everything is handed to you when somebody sees you as important. And still, that’s when your childish mind will kick in and you think that you can do everything you want and get away with it, you know?

My mother was out there working hard, and I’m into sports and everyone’s giving a helping hand because I’m cold. Then, in the 6th game, I was out on a play and a fullback hit me in my spinal cord, really bad. It was a blindside, he hit me in the back after the play, when the whistle blew and everything. The next game, I hit somebody hard. I was ranked like #4 in the nation, it’s crazy. But when I got hit, it triggered something. The next day I started catching stingers. Stingers are like a pinched nerve. I kept getting those so I went to the trainer and shit, he was top-notch. We went to the doctor, shit started getting real deep and I was like why haven’t they called me a different doctor?.And the last doctor I went to was an x-ray doctor who saw that my spine had a slipped a disk. If I had kept playing, if I had hit somebody or somebody had hit me, I could’ve been paralyzed from the neck down for the rest of my life.

That made me a very angry person, you know what I’m saying? I was very angry. I was very angry at the world… I was getting handed shit but I wasn’t given the respect like other kids were. I was popular and everything like that, but I was the nigga by myself I was quiet and shit, but then people would be like, hey come to my crib blah blah blah, people wouldn’t like the nigga that was quiet, like myself. I punched a hole at the doctor’s office. Like I was that damn mad. I was really going like…I was like, “What the fuck’s going on?” But I really loved sports, I really wanted to go to college for sports. But luckily, I could still play basketball, you know what I’m saying, they couldn’t stop me from playing basketball. So I continued playing basketball, everything like that, which I was really good at. I had a couple offers, D-1, were really looking at me and stuff. Until my junior year. My junior year in high school was one of the most pivotal [pauses] like one of the worst, most fucked up shit I ever been through, like, I wish upon no man the shit I went through my junior year of high school, man.

What happened your junior year?

My junior year, we were playing, it was right before district, I was having a good-ass season, like good-ass season, like good season. And people were like, “y’all gonna be in the play-offs”, you know what I’m saying? Like, y’all goin’ far.

This was playing basketball, right?

Yeah, this was playing basketball. I was good, and like I said, when people hand shit to you, you feel a childish mentality. I was feeling like a hot-head. After playing one of our rival teams we went to this club; it was New Year’s Eve. New Year’s Eve of 2009. No, was it 2009? Ok, 2008. One of those years, I forgot. It’s all intertwined. There was a big party downtown, everybody was out there. Something happened with one of my homies, that nigga was starting to brawl in the club. Me, seeing the niggas I came with, jumped in, really beating people the fuck up. I was trying to leave the club, cuz my homie was outside, and I knew they called the police. So I told my homeboy, “Yo, this dude is blocking the door because he knows my homie is outside”. He blocked the door off and shit. So I was trying to get at my homie and tell this guy “I ain’t even trying to worry about you” and this guy was like “Fuck you, nigga, you gonna catch a fade” blah blah blah so I just knocked the nigga out. Like really, he started sleeping, sitting Indian-style. Like I knocked him out cold, so I’m not worried, if he arrives I’ll whoop his ass, I’m gonna go out there for my homie and get the fuck out of here.

So I went outside, me and my homie heard the cops, the cops were coming off the freeway. What was crazy is I was so worried about them, that the dude who I beat up came outside and was in his car, going, like, going like 45 MPH, he sped up to hit me, like, no remorse, and it was him and three other people in the car. And he hit me. I tried to jump over over the car, and luckily, because if I didn’t jump, I would be dead right now. I still got hit bad. I rolled over the windshield. They said I flew like six feet in the air and I hit the concrete face first. And when I woke up, I was tweaked. I ain’t know what was going on. I woke up and I had blood all up in my mouth and, everybody’s there, all my best friends and my home girls crying and I’m like, what the fuck’s going on? Then I look at my mouth and there’s blood everywhere and shit. The bottom of my lip busted open, my chin busted open. You can see in my video that I have a scar. That’s the line that they used to stitch that shit back up. My foot is cut open, it busted open. I have scars from getting concrete gravel in my arms and my legs, you know? And I passed out again. When I woke back up, I was in the ambulance. All my homies were there telling me “You gotta stay up, man, stay up!” to keep me from going back to sleep. I laid there (the hospital) for like twelve hours with the same blood in my mouth. They told me after I got to the trauma center that I died in the ambulance and they got me revived.

Wait, so you died in the ambulance?

Yeah, I flatlined and they brought me back

Damn. Goddamn. My next question was going to be about like those pivotal moments in your life, those moments that change you forever but that feels like the one. I feel like that really explains the music that I’ve heard from you. Like, I feel like something like that’s going to give you the sound that you’ve got. That’s crazy. That’s a crazy experience.

Yeah.

Do you remember anything? Like did you have one of those out of body experiences or not at all?

All I remember, man, all I remember was darkness. And sweat. I felt like I was sleeping. You know what I’m saying? I wasn’t dreaming shit, I ain’t see no light, I ain’t see nothing. All I saw was dark. Pitch black.

Just pitch black?

Just pitch black, man, like I’m taking a nap. And I woke up, I jumped up and they were like “Clear!”, that type of shit. And I shot open my eyes and had a cast on my leg and I couldn’t move. I was trying to move around and shit and they were like “Calm down!” They had to do a cat scan on me to make sure nothing was wrong, everything like that. So when that happened I was in the hospital for like two days then I got out, but I couldn’t go to school for like eight weeks. Those eight weeks I couldn’t eat real food, I had to drink out of a straw. I had to have somebody give me a bath, bathe me. The worst feeling in the world is feeling defenseless. When you can’t do shit about it, it’s fucked up.

So it was like, nurses that were coming to give you a bath and stuff?

Nah, it was my own people, man. My mother. I had to sit down and fuckin’ cry with my mama about what the fuck I’m doing, what the fuck happened, man. I fucked my life up, point blank. When I came back out, I came back on crutches because I had a cast on my foot, I still had stitches in my foot. I couldn’t talk that well, either. I was slurring a lot, I was on my crutches a lot and people were fuckin’ with me, like talking about ‘poor little tink-tink’ type shit. You know that Kat Williams character? People close to me said it and I would like laugh and it was like a joke between us because those were the people that were there for me, they came out to the hospital and everything, you know what I’m saying? But when other people got a hold of it, it was constant, that shit was crazy. Because I know if I ain’t have my crutches, I would whoop that ass. What was pissing me off was like, when y’all was boxing me when I was [real name], none of y’all niggas were out there fighting me in my own fight, what the fuck? You know what I’m saying? Half of those people weren’t even coming to see me when I was in the house for eight weeks. Like there was a rumor that when I got hit, I was dead.

So do you think that not only the experience of going through that one night but then the months that followed, do you think that that influenced your music at all or your desire to make music?

Yeah, man. It was. After that, like nobody gave two fucks about me. The only people I knew closely, I knew they were my real niggas, you know what I’m saying? And to go down that road, like… I ain’t have shit. My mama was struggling to get it, you know what I’m saying? So I started getting back into shape, getting back into basketball, trying to get some looks back. My coach…when I came back that first week with my crutches, my coach said, “It looks like you were in a fight with a bear and the bear won”. In front of everybody. Everybody. And everyone got quiet and looked at him and he was laughing. And I’m like, “How the fuck is that shit funny?” I said “I almost lost my fucking life, man. And you go crackin’ a joke like that, nigga?” I was mad and he was looking at me and I was going off, man. I didn’t even care. But the month going on after that, you know, I started doin dumb shit. There was a point in time when I got into it with my mother. I felt like I was nobody, and my mother was like “Just calm down”, I was crying. And that led to me leaving the house, going to the West side of town, going with my nigga. And we used to just like, steal. We would rob. And this is some shit I really want to express during this interview, all this shit. Because you can really hear it through my music, you know what I’m saying? I mean, we used to rob niggas for drugs.

Oh, so you were like, you were taking packs?

Yeah, we were stickup boys. And we was in there, we was robbin’ niggas, taking niggas bricks, taking niggas weed. All type of shit. We was doing a lot of shit to get bread. Then that money that I got, because I would go see my mother at some point, I’d come around the house and say, ‘”Look at this, mama”. Then I’d go around my papa’s house, where he lived at, and go to school. But going down that road, going down that path, wasn’t very good, because there’s a lot of..that shit is crazy. It’ll get you paranoid, there’s paranoia. For real.

Yeah, your music definitely sounds paranoid, like the way you switch everything up all the time. It sounds like you’re trying to get away from something.

Mm-hmm.

I feel like that definitely comes through. So what is your musical history? Like how long have you been making music or like been around making music?

With rap, I started young. I was a street star, they were all like ‘”Oh yeah, you go hard’!” all that shit. But I didn’t really get into it until my senior year in high school. That’s when I was like, yeah I can rap, you know what I’m saying? But when I seen Kirko Bangz made it…Kirko went to the same high school as me. Kirko Bangz was a senior when I was a freshman. But when I saw that, you know, damn, Kirko made it, that’s cool, man, anybody can make it. So after that I put all my focus on rap, and just right back into just doing what I wanted to do. I took my shit really really serious like two years ago. So when I took my shit serious, that’s the time that like Tyler, the Creator was coming out. When I saw that I was like, damn…these niggas… I fuck with Tyler, the Creator because I knew what kind of shit he did, you know what I’m saying? (chuckles). Like three years ago, I never would have put shit out, because I never would have punched this shit out and it’d be trash because that’s paper trails, you know what I’m saying?

Did you put out a project before or not yet?

Nah, never.

So Vi$ionz is going to be the first one?

Yeah, it’s going to be the first one.

Well yeah, you said that you wanted to change the face of rap in Houston. Why so specific, and what do you think you can do to do that?

The way won’t be specific. It’s the hope that Houston can develop its great culture. I grew up on that shit. Scarface, Geto Boyz, and (DJ) Screw. But, at the end of the day, since it’s such a big city, we could be a powerhouse like New York or LA. You go to LA, and go to the W, you can see anyone you want, but on a regular day. Houston culture is way different. People aren’t interested in music out here. There’s people from out of state that listen to our music more than us. We get like, A$AP Rocky, or Kendrick, and that shit’s sold out. And our local artists can’t get that. And that’s not true in NY. Like you go to some local artist’s show, and it’s just as packed as a bigger artist’s show. Great support for the local community. It isn’t like that here. I want that same feeling in Houston. I want people to come out to a show, or a barbecue in Houston. Like a meet and greet and have fun. We have a lot of local artists out here. The talent is here. It’s just gonna take the right person to put it together. I think I can do that. I think I can put together the right team and have the right music to bring it all together. That’s my main focus.

Let’s actually talk about the crazed production you’ve chosen. Who has produced for you?

PE$O PIDDY and Ounce. They’re both very dope.

And what’s your process like? What’s the studio atmosphere? Like how do you work with tracks that have so many subtleties?

Well, I have a pitched ear. I like shit that catches my attention, that puts me in a trance. I like making music in the moment. So like, if I want the coin flip in the background, or like, a person screaming, I like that. It gives my records the element of surprise. When I make tracks like that, you don’t what’s up next. Most artists, you have a pretty good idea of what’s up next. Sometimes, they’ll “pre-murder” it, but most of the time, while we’re in the session, I’ll have them add things after the fact.

Let’s say you re-recorded “Mastermind”, would it sound much different than the first time you made it?

Well, not really, cuz, before I do the record, I write to it and premeditate. I get the sounds that I want in my head, and then I run with it. Lyrics could stay the same, but sporadic noises could be different depending on the session. Element of surprise, like I said. What you’ll always hear, though, is the “$upreme $**t™” drop, that’s ALWAYS in the background.

Are you also actively looking for new producers right now?

There’s also Joe, SHMX, he’s another producer. But nah man, I’m reedy to work with anyone who got the heat. I’m tired of shit that’s generic as fuck.

Who is a producer that you really respect or admire, or want to work with?

Well, he still comin up, but SpaceGhostPurrp (AKA ICEE). If I have a record from that man, I’mma fuck it up. Forreal. His shit is just retarded. Pharell, too, and Just Blaze.

I’m surprised about Just Blaze.

He had hits man. He’s in a different mindset. With his sound, and how I think, the studio would be the ill shit. I’m down to stay in the studio forever. I’m not leaving until the track is on point. Also, Lil Ugly Mane.

You know L.U.M. is about to bow out.

Why?

I don’t know man, I think he just wanted to step out of the light, maybe since the character of L.U.M. was known, he didn’t want to keep on putting in work like that.

Goddam it, he’s nice. Maybe if I give him 10,000 then he’ll do the beat!

 So let’s talk about $upreme $**t™, your music collective.

Okay. Well, we call ourselves a “cult”. Not on some evil shit, it’s as in “culture”. We’re a culture of g shit. Like no one in $upreme $**t™ is any type of hoe ass. We all keep it 100. One thing you can really take away is that we’re always down for each other. Like take DT Blanco, she’s from Austin. She’s cold. She’s $upreme $**t™. I feel like she’s gonna be a heavyweight. She spit like a nigga. She spit like a dude. She can compel a man to think that she’s hard. Like we turn up to what she says. Niggas looked at her like “What the fuck?” And another thing, she don’t care. At all. She’s gay. She dresses like a boy. She’s just herself. I fuck with her tough because of that. I also met Sanchez Paris through a mutual friend, when I was first in college. Miko Brisco used to put his shit up, that’s how I found out about her. He and I grew together. I met DT riding the bus together. She felt like I was the only nigga to take her seriously.

What are some of the hard parts of being a part of an up and coming rap collective?

[No hesitation] They don’t take us seriously.

 Okay. Um, let’s try this… Since you’re into basketball, what basketball team would you guys be. What year, too.

OOOOOOOO. Um.. The Houston Rockets, when they won back-to-back. Damn, fuck. Drexler, Olajuwon, when shit was really poppin. Early 90s. If $upreme $**t™ were a team, we’d be the Rockets from the good ol’ days.

You think that you guys have the typical “Houston” sound? Or is it not even about that?

No. No. No. My sound, man, it’s just different. Different. I never wanna pigeonhole my style. There’s people that say that my flow isn’t fluid. If it’s not fluid, then it’s new to your ear. Unless people hear something new, they don’t care. Like when A$AP came out… most people from Houston didn’t give a damn. So I keep my style, like, just that you don’t know what I’m up to next.

Your style, down to the beats, switches up a lot. Why do you think that is?

I like giving people a roller coast ride. My music will take them through highs and lows. You can even see those in my videos. I’m a very visual person. Every record I write, it’s a video in my mind.

Yeah it seems like you get bored a lot in your music, with the whole “Now you see me now you don’t” switches. Do you get bored easily in real life, and if so, does that motivate you to work?

Not really. Like when I make my music, I just think about captivating a crowd. Getting them talking. You know? I like that when people hear my work live, they’re not sure what to do. Most people, when they make an album, listeners know what they’re about to do. And I think that the element of surprise works in my favor. It’s like a TV show. At the end, when they have the cliff hanger “To Be Continued”, I just wanna see what’s next. That’s my music. I just wanna keep people guessin about what I’mma do next. That’ll give me longevity. If people know what’s next, then I don;t know what you’re rapping for. If you’re content, then what’s the point?

Do you think that that had some of your experiences we just talked about?

Of course. The highs and lows of my life. The good and the bad. No so-so parts. Nothing was used lightly. I’m completely honest in my music. You gotta have an open mind.

***We took a moment to look into some more personal aspects of Levii’s character that moved away from his upbringing. This was some heavy shit, after all. This second portion revolves around the more lighthearted aspects of Levii Ru$$ell. Meet the rap lover, basketball player, and master of thrifting***

 So I was actually reading other people’s opinions of your work. I saw you compared to ODB and Bushwick Bill. How do you feel about being compared in general, and then how do you feel about those specific comparisons?

Well, it’s a privilege. It’s an honor that somebody’s doin that. That someone takes time out of their day to compare me, I really appreciate that. I would like to not be compared to anybody, but I appreciate that forreal. It’s an honor to be compared to Bushwick. He’s a Houston native, and when it comes to ODB… he was a fuckin legend. the most retard lyricist, character, everything in this world, he was the craziest version. I appreciate those, but I feel like I’m my own person. I wanna be able, at one point, to have people look up to me.

I’ve seen you tweet (a few times) about Loyalty. Why is that so important to you?

Loyalty is what makes this world work. Loyalty and values and morals. If you have no morals, you’re a snake. If you have no values, you don’t know what you’re looking for. If you have no loyalty, then why should I let you into my mind? Why would I let you sit there with my child like that? If you’re loyal, you can get all the respect from me. There’s a lot of snakes in the grass out here. Loyalty is money to me. It makes me feel better than money.

Let’s lighten it up. I noticed something in the “Mastermind” video. You kept looking off to the side. Was something going on off on the side?

I’m paranoid.

Really? to that point? (I thought we were lightening up!)

Yeah man. I’m always lookin around. I been shot at before, so I never know what’s up. AND we were up in the woods with fuckin coyotes and and deer runnin around! It’s a good thing for me, to be paranoid. I’m never careless.

You used to play ball for North Shore high. Did you have hoop dreams?

Yeah, but the accident killed all that. Made me less explosive.

Of the rapper//basketball player contingency, who’s you’re favorite?

Master P can hoop. I think Cam’ron can too. Master P though because he played with finesses, like I played. When I used to get to the rack, it takes all finesse.

Why’re you a Heat fan though, especially with these finals against the (San Antonio) Spurs?

I’m a Dwayne Wade fan, honestly. Since high school, too. And I was a fan even when they were down. I like how they handle their franchise. It’s not being a Lebron rider. And with San Antonio, I can’t get into it. Like when I go watch a game, I want to see something exciting. I want my money’s worth. I’m not tryna see anything but a performance.

The real question on people’s minds is your shirt game. That’s critical. Tell us about it.

[Laughs] Impeccable shirt game. It’s just, I like wearing different shit. Like shit no one is wearing. I go to the thrift store, I’m like “AH! this shit cool!” I’m not scared to take chances.

 How do you describe the style?

Just, man, I don’t know… Just what I feel at that time. Like I might wear some loopy shit, have niggas like “What is this nigga wearin?” I’mma wear that. Crazy as fuck. Me and my homies be at the thrift store. I want some different shit.

Speaking of colors, why do you fuck with the green juice so much?

I BEEN juicing man, it’s good as fuck! It’s a little detox. You got so much junk food in your body, you just gotta detox your body. It makes me feel better. Like if I do a show, I wanna have people get the full-on experience. I want them to feel me, see me up in the crowd. To be upbeat, I need my nutrition, gotta look good! Be healthy.

Alright last one. Why is Bill Miller the devil?

Ha! Because I worked with him. Sometimes he’s the devil. He asks for shit sometimes man… He’s crazy. Like you’ll get off work and he’ll tell you that he needs you to do shit for him. He frustrates me. I got a few people sayin that out here.

Any last words?

Man, we just tryna rock out all over.

The post In nothing we trust : an Interview with Levii Ru$$ell appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Italian artists GRADONER GRAPHICS put together a compilation of photos in remembrance of some of hip-hop’s fallen kings. The set, published in 2011, is a collection of photographs all edited into a similar graphic style. You can check out a selection below, book-ended by Biggie and 2Pac and visit here to see more.

The post Photos: “Tribute to the Kings” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.