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Interview: Yo Gotti Talks Upcoming Album 'The Art of Hustle,' Staying True And Laws Of War

A VIBE.com exclusive with the king of Memphis. 

Despite what’s seen in the majority of videos and songs, life isn’t a set with props of guns, money and masked men shooting up the city.

But, there is a war going on that’s often silenced and can be costly if one isn’t strapped --mentally. After a suffering some deep war wounds during his 15-year career, street soldier Yo Gotti decided to arm himself with some antiquated heat in the form of Sun Tzu’s classic book The Art of War, which is the inspiration behind his upcoming album The Art of Hustle.

After climbing out of the mud of Memphis streets to record deal, the 33-year-old rapper’s achievement was short lived. The deal was so sour that Gotti coughed up $400,000 to buy his way out his original contract with TVT Records -- only to find himself in a unprofitable deal with Polo Grounds/RCA. So he dished out more Benji’s to exit the next record label. Fast-forward to nearly a decade later, and Gotti finally has a lucrative deal with Epic Records and backing for his CMG label.

VIBE caught up with the short yet brolic Gotti at Manhattan’s London Penthouse hotel after recuperating from the 2015 All Star Weekend. Surrounded by a couple of his stoned faced comrades, the exhausted hustler mustered up enough energy and a few grins to discuss his upcoming The Art of Hustle album, hip-hop contemporaries that he looks up to, rules from Robert Greene’s 48 Laws of Power and why he studies Sun Tzu’s Art of War.

darryl @darry_robertson

VIBE: You shocked your label and fans with the Concealed mixtape. What’s up with The Art of Hustle?
Gotti: I don’t have a specific date but if everything be everything, I’ll still try to catch the first quarter. It’s over completed. That’s part of the problem. I’m picking through the joints right now. I got so many records that I’m just trying to decide which joints go on there.

On your track “Fuck Em,” you rapped: ‘Label told me not drop a tape, Fuck ‘Em.’ You’ve had label issues in the past, everything good over there at Epic?
I am the label. I’m CMG. But it’s just speaking for me and likewise artists. Labels don’t want artists to put out mixtapes because they don’t monetize it. But the streets want it and I speak for the streets. This is the way I’m always going to be.

No doubt. So this album was inspired by Sun Tzu's The Art of War, drop jewels on us, let us in on what you learned.
I think it’s just important to read the book just to be up on the game, whether you want to use it or not. To me, the most important part is being able to block it. So I read it from the perspective of being able to be in front of an individual and know if that’s what he trying to do to me. You can relate different ones to different scenarios, according to what the scenario is you can shift it around.

I’m a heavy reader and I’ve read Sun Tzu and Robert Greene jawns. I don’t agree with everything they penned. I feel like there are some Niccolò Machiavelli ideals tied into a lot of those works.
Some of the laws I agree with, some of them I may not. It all comes down to what type of individual you is.

Ok, let’s do this. I’ll throw a few laws at you and give me your opinion?
Let's do it.

Well, the first law says, Never Outshine The Master:
I understand where they coming from with it because shit like that can cause jealously. The boss or master whoever, looks at you as a potential threat and may not want to keep you keep you in position closer to him.

You got niggas out here who think like that. So to me, if your boss is like that he ain’t a real boss anyway, he a jealous hearted nigga, you know what I’m saying? But that’s what you dealing with out here in life. But me personally, if I’m on a team with you and you on the head of the team, all the work I’m doing is for us to shine. None of my artists will never have to worry about that because you know, you get big, you making us look good [as a team]. Fuck that, outshine me if you on my team.

I definitely feel you. As a boss you should want someone to surpass you or equal you. Look at Kanye West and Jay Z. Law six says, Court Attention At All Cost.
I feel like it’s good attention and it’s bad attention. If you a rapper, attention can turn into money. The wrong attention will get your ass beat up when a nigga run into you -- if you playing with the wrong person. Some niggas forget that.

In the streets, you don’t want attention from the feds. So it’s always different ways that you can look at the laws, and if niggas not smart enough to apply the laws to their life you can get fucked up. 'Cause if you out here trying to get attention at all times when you in the streets -- you inviting the feds.

Lets do one more. Law 11 says, Keep People Dependent On You.
I don’t believe in that one. I believe that if you got good people around you and they put in the work to help get you where you at, everybody should eat. No man should be depended on another man.

In the South, the Yo Gotti name is beginning to sound legendary. In New York, not so much. But, you've been around for more than a decade. At this point, in your career what are you trying to accomplish?
First off, I don’t give a fuck about not having attention in certain spaces because they know dollar for dollar -- a lot of these rap niggas can’t fuck with me. They know club for club, packing it out, these niggas can’t fuck with me. They know who consistently putting out music, whether it’s mixtapes or albums. I’m going to deliver. So whether they want to accept that or not, they have to respect it because we ain’t going nowhere. That’s how it is. So I don’t be giving a fuck about this shit. We ain’t start this to be worried about what other niggas believe or what other people thought about us.

I’m one of the few artists who started from the ground up for real. Not taking no records to the radio station begging no DJ to play it. When DJs started playing my records they called me for them. I ain’t pull up and ask nobody for nothing, I ain’t pay nobody nothing. I was just making music, living my life and the shit was real.

What have you learned about yourself during this moment in your career?
It’s crazy because it seems like I learn something new everyday -- in the studio or out the studio -- because I’m a student of the game. I study the best, Jay Z, Diddy, 50 [Cent] -- business wise. The business chess moves they make are so strategic. That’s what interests me. I don’t got to study nobody musically because making music is a talent. That’s a gift from God. So whenever I go in the studio, I’m do what I do regardless. I think it’s just different stories between different artists or stories told different ways. But, I’m looking at the chess pieces you move, you know what I’m saying? And I respect that from an executive point or boss point of view.

Speaking of boss moves, how is your restaurant PRIVE doing?
PRIVE is doing great, and we actually giving jobs to the community. Building the community up. It’s an upscale joint. Black owned. It’s great. Man, Ross eat there on the regular, shout out to Ross. My boy Meek Mill came through there. YG came through there. Stevie J and his girl, they was just in there couple days ago. Rico Love was in there the other day. All the NBA players from the town. Zach Randolph, Tony Allen, Penny Hardaway. Everybody come to town stop through.

What other ventures are you into?
One thing about me is that I believe in ownership. You see, we own land. We ain’t doing no renting. Most of it, 95 percent of it, is in Memphis. But we trying to build out into the Miami and Atlanta area.

What's next for CMG?
In 2015, we trying to put out four to five projects under the label between my project. Snootie Wild and Wave Chappell. We may do like Chapter 2, but we want to make it like a physical album this time. You never know, I may come twice this time. Everybody in the studio working. They understand that if this is their hustle, this is what you got to do. And working with somebody like me who never stop working, I’m pretty sure that they’re sure of that.

At the end of the day, this shit is business. Whether it's with a record label or one of these rap niggas, this shit business. The nigga can be cool with you and it turn into some kind of business at some point. Or it play cool to a certain extent. It’s very few niggas who 100 percent stand up niggas, where you can say, ‘this nigga my partner.’ It’s very few niggas that you can say that about in this game.

Don’t get confused with the, ‘What up my nigga,’ the handshakes, the ‘It’s all love,' 'the 100s,' the ‘we real niggas.’ No nigga, we ain’t shit. Because you’ll be trying to be a real nigga in a fake world. But you still have to remain yourself because if you a real nigga you’ll just have to stand on that and die on that if that’s who you are. But you can be that and know what you dealing with though. That’s what it took me a while to realize. The way I treat niggas or the way I would do certain things, this shit ain’t reverse in this game.

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Let Jacquees Tell It, He’s The Jodeci Of This R&B Game

Rodriquez Jacquees Broadnax doesn’t want to be the bad guy of R&B. He says this with a sinister, yet warm smile. With year-end debates taking over social circles, Jacquees wants all the flowers for his glowing debut, 4275. “I ain't never had a year like this, I got one of those careers and lives that keep going like this,” he says, as he raises his iced out wrist to draw his progression. “It keeps going up, my sh*t just keeps going up.”

At 24 years old, the singer knows a thing or two about the ever-changing genre. Nearly half of his life has been dedicated to music, specifically to quiet storm-like sounds that now take on new meaning in our adult love lives. He’s hibernated under the radar for some time with his 2014 debut EP 19 and released gentle falsettos and big name features with Chris Brown, Ty Dolla $ign and Trey Songz along the way.

But between his accolades, he’s been condemned for his favorable “Quemix” of Ella Mai’s “Trip” and now, his self-proclaimed status of “The King of R&B” for his generation.

"I just wanna let everybody know that I'm the king of R&B right now," Jacquees said in an Instagram post on Sunday (Dec. 9). "For this generation, I understand who done came and who done did that and that and that, but now it's my time. Jacquees, the king of R&B.”

R&B artists like J. Holiday and Pleasure P shared their two cents on the matter while the game’s most elite like Tank, Tyrese and Eric Bellinger dropping stacks of knowledge on the gift of consistency, respect, and talent. But Jacquees has these things and then some with legends like Jon B., Donell Jones and Jermaine Dupri in his corner. Despite quick reactions from his peers, Jacquees is confident in nature and proud of his space in the game.

“I think I'm the leader though, as far as males go, I think I'm the number one,” he tells VIBE, just days before his “King of R&B” comments went viral. “You're talking about R&B young dudes who understand who goin’ [at] it, [but] who are they going to put in the front? I believe everyone will say Jacquees.”

Jacquees’ music is just a branch of what R&B has evolved into. Over the years, artists like SZA, H.E.R., Daniel Caesar, The Internet, Miguel and many more have flipped the genre on its head by churning out music that not only speaks to the soul, but to their vocal abilities. Successful R&B records aren’t confined to rap guest verses and traditional instruments now take center stage. But Jacquees sits in an interesting space seeing as his style caters to a grey area of folks who just heard their first Monica album yesterday and now appreciate a good nayhoo like the rest of us.

With hopes to release his sophomore album in February 2019, Jacquees chats with VIBE about his confidence, making 7275 and why he’s the perfect leader for R&B today.

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What have you learned about yourself as a human and an artist in 2018?

Jac

quees: This was my biggest year. I made the most money I’ve ever made. I dropped my album and was able to take care of my family. I ain’t never had a year like this and I thank God for that. I got one of those careers and lives that keep going like this, (slowly raises a hand to the ceiling) It keeps going up, my sh*t just keeps going up.

I think I learned about my whole self in 2018. Being that it was my biggest year, I went through a lot of stuff personally, but I think the biggest thing for me was listening to other people but also trusting myself. I have a strong mind so more of listening to myself helped.

Do you think you're the good guy or the bad guy in R&B?

Who do you think I am?

I think you’re a sweetie.

I don’t wanna be the bad guy, I’m a good guy. I’m easy to deal with. I’m a sweetie, but ain’t sh*t sweet though. (Laughs)

You have a lot of ‘90s and 2000s influence in your music. Do you ever feel you might sound dated, or do you think you’re bringing new sounds into the genre?

I just think I'm bringing a whole new sound. When I was younger, someone told me if you switch up what you’re doing, someone else is going to do it and you’re going to be pissed off. Just stick with it. When I was 14, everyone was telling me I needed to make club records but I didn’t want to do it. I remember CEOs saying, “Just let Jacquees do that [what he wants,]” because it’s a clock.

I figured out how to get my records at the club without changing who I was. I remember making “B.E.D.” and finding my flow on my project 19, you know? That’s when I got my swag.

What does love look like to you right now?

I think about a family. I think about me, a girl, a kid or something, like a whole family. One day I’m going to have it. I’ll still be in the game but I’ll say, “Yeah, that’s my wife over there with our son and daughter.” I'm getting older, too. I’ve been in the game for 10 years for real, but I’ll be 25 next year and soon they’ll be a little Jacquees.

There are a lot of layers in today’s R&B, especially in the mainstream resurgence it’s had. In that, there aren’t as many young male black vocalists being pushed to the forefront. I want to know your thoughts on where you exist in the genre today.

I think there's a big wave coming back right now because even if R&B didn't die down they weren’t promoting it that heavy. Artists were making songs, they just weren’t being acknowledged on a mainstream level. I think the game is really putting R&B back on top. You know, you’ve got artists like me, Tory [Lanez], Ella Mai, H.E.R., so many people, you know what I’m saying? Of course, you had Chris [Brown], Trey [Songz], all of them but that’s when we were in school. It’s a new time, ain’t no big male R&B singers.

I think I'm the leader though, as far as males go, I think I'm the number one. You're talking about R&B young dudes who understand who goin’ [at] it, [but] who are they going to put in the front? I believe everyone will say Jacquees. They’re not rugged like me. You’ve got Jodeci and Boyz II Men. I’m Jodeci, they’re all Boyz II Men. I’m street, they’re not street like me. You can hear it in their voice. There’s a difference.

It’s no disrespect to nobody because they’re all my friends, but I still wanna be number one. If we’re playing the game and I lose, I’ll be mad as hell but I’m still a good person. I just want to win.

As you should. Everyone wants to make the best music they can–

But I ain’t no hater either. The game is like a sport. The game is like high school. I remember being at this year’s BET Awards and seeing certain singers and thinking, ‘Oh, they’re seniors.’ I knew I was a freshman, but I saw Meek and all of them thought, “He’s a senior.’ You know how it is when you walk through school in the first year. Then the second you’re like, “I’m the ni**a now.”

When I did the Soul Train Awards in November, I felt like a sophomore that everybody knew. They knew me from my freshman year, but this time I’m playing varsity.

You’ve said before you want to do this for a long time–

Yeah, I want to make music forever and it’s my choice. I want to make enough money for me to turn down shows because now, I have to take everything I get. I always tell artists, you got this much time to make this much money. Because after that, sh*t’s closed. I've seen it happen.

For me, I know I got longevity in this game because I'm an R&B singer and a lot of R&B singers have longevity if you take care of yourself, you know what I'm saying? Even rappers, you know what I'm saying? You keep that flow going, don't do no lame sh*t, you know you’re stick around.

How do you take care of yourself?

You gotta take care of your health. That's number one. Your mind and your health is your biggest thing. Keeping good people around you...stay in good spirits with me. I like to keep good people around me. I like people around me [who] make me laugh. Smile, I don't really like people around me that I got to be like, “What's going on?” I just like people who are themselves.

Stream 4275 below.

READ MORE: Tyrese, Usher And Others Reacts To Jacquees' Claim That He's The King Of R&B

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Music Sermon: The Groundbreaking Sprite and St. Ides Hip-Hop Campaigns

Today, rap music is used to sell everything from electronics to tax filing services to nut butter grinding machines at Whole Foods. We understand that hip-hop culture is essentially the root of everything cool and hip in culture, period, and it’s been commodified and appropriated within an inch of its life. But in the early ‘90s, the genre was far from Madison Avenue-friendly. Aside from the groundbreaking deal between Adidas and RUN DMC, brands didn’t yet see full value and impact of hip-hop…except in the food and beverage industry.

Beverage companies centering campaigns for the urban demo around black music was nothing new; Coca-Cola had ads featuring artists such as New Edition and Anita Baker singing their hearts out for the cola in the ‘80s, and Schlitz Malt Liquor had a legendary – and hilarious - run of spots featuring The Commodores, The Four Tops, Teddy Pendergrass and more through the ‘70s and early ‘80s. However, in the early ‘90s two brands put their entire business on hip-hop’s back, by not only building their brands but spring-boarding the recognition of the music and artists as a marketing and advertising tool: Sprite soda and St. Ides malt liquor.

In the ‘80s, Sprite was languishing behind competitor 7Up when parent company Coca-Cola decided to focus on the youth market, and the quickly growing hip-hop culture was part of the strategy. African-American ad agency Burrell Communications tagged hip-hop acts for a series of spots that began a long-standing marriage between the brand and the culture, starting with Kurtis Blow in 1986. It was one of the first national TV ads to feature a rapper.

KURTIS BLOW - 1986

In 1990, the brand kicked off the “I Like the Sprite in You” campaign, using rap acts that matched the soft drink’s bubbly energy, starting with Heavy D & the Boyz before partnering with Kid ’n Play the following year. The ads featured the artists clad in lemon-lime fare, rhymin’ about lymon.

HEAVY D - 1990 KID’N PLAY – 1991

With Kris Kross, they turned it up a notch and had us crunk inside the Sprite can. Edgy. Also, this was catchy as hell.

KRIS KROSS - 1993

Then in 1994, a young brand manager from Clark Atlanta University named Darryl Cobbin had an idea for a new direction: Gen X was about authenticity and independence of thought, not following the hype. Sprite ditched the pop-friendly crossover acts and identified more “authentic” rap artists – lyricists with street and cultural cred – to rep the brand. “Lymon” was also out of the window, as they moved away from marketing taste and towards marketing attitude. (Cobbin later spearheaded the iconic, yet grammatically questionable, Boost Mobile “Where You At?” campaign.)

Gone were the bright yellow and green sets, because while the new slogan said, “Image is nothing,” it was all about image. Bright and shiny was traded for dark and gritty. Now we were in the studio; a fly on the wall for freestyle sessions. In the first spot of the series with Grand Puba and Large Professor, Puba closes with “First thing’s first, obey your thirst.” It’s legend even within Coca-Cola that Puba ad-libbed the phrase that then became the brand’s tagline that remains to this day.

GRAND PUBA & LARGE PROFESSOR - 1994 PETE ROCK & CL SMOOTH – 1994 A TRIBE CALLED QUEST – 1994

The “Obey Your Thirst” spots also took us the street corner, the club, and inside the ring when Sprite resurrected the legendary KRS One vs. MC Shan battle.

KRS ONE & MC SHAN - 1996 NAS & AZ – 1997 THE LOST BOYS – 1997

By the late ‘90s Sprite had spent roughly $70M on the “Obey Your Thirst” campaign, tripled sales, and commanded a majority market share of the citrus category (which also included 7Up, Sierra Mist, and Mountain Dew).

Sprite had also succeeded in becoming an official and established part of the culture. They were family. The brand further expanded into urban youth culture through a partnership with the NBA, while continuing to evolve the creative of the rap campaigns.

KOBE BRYANT, TIM DUNCAN & MISSY ELLIOTT – 1998

Near the end of the decade, Sprite explored the overlap between hip-hop culture, comics and martial arts with a series of posse spots based on Voltron (representing all hip-hop regions) and the 5 Deadly Venoms (with all female emcees).

VOLTRON SERIES - 1998 5 DEADLY VENOMS SERIES – 1999

Over the years, Sprite has continued to be one of the most consistent brands in hip-hop. We’ve grown accustomed to spotting the logo everywhere from music festivals and shows to the background of BET’s hip-hop cyphers. They revitalized the “Obey Your Thirst” campaign with Drake in 2010 and paid homage to the greatest lyricists in rap with the “Obey Your Verse” campaign featuring iconic rappers and cans with classic lyrics in 2015.

SPRITE "Obey Your Verse - Cooler" (starring Rakim) from SHOUT IT OUT LOUD MUSIC on Vimeo.

St. Ides’ run with hip-hop doesn’t have the same happy ending as Sprite’s. The brand’s usage of rap petered out in the mid-90s after wide backlash and a series of lawsuits.

For St. Ides, hip-hop was the brand campaign. It’s how they built their business. The brand was introduced in 1987 and their rap campaigns launched in 1988. The malt liquor 40 oz., with significantly higher alcohol content than beer at around a $2 price point, was already a staple in lower-income neighborhoods and hip-hop culture. The “Crooked I” capitalized on that.

Parent company McKenzie River secured Ice Cube as their anchor spokesperson and tapped West Coast producer DJ Pooh to spearhead advertising creative. Pooh lined up a veritable who’s who of additional West Coast rappers over the years, including Geto Boys, Cypress Hill, Warren G, Snoop and Tupac; plus the thorough-est from the East, including Eric B and Rakim, Wu-Tang Clan, Biggie and EPMD.

EPMD & ICE CUBE - 1991 GETO BOYS & ICE CUBE – 1992 ERIC B & RAKIM - 1992

Unlike Sprite’s campaigns which were first jingles and still felt like commercials, even when elevated to trading hot bars for Obey Your Thirst. St. Ides spots, however, looked and felt like straight up music videos with album-worthy production and flow.

ICE CUBE – 1993 MC EIHT – 1994 NOTORIOUS B.I.G. – 1995

Complex even named Wu-Tang’s St. Ides spot “Shaolin Brew” as one of the collective’s 100 best songs! (But at least it’s ranked near the bottom; #97.)

WU-TANG CLAN - 1995

In fact, in 1994, the brand did turn the hottest of the joints into an album, with the St. Ides promotional mixtape dropping at your neighborhood liquor store. It featured full-length songs about getting twisted off the malt liquor from Ice Cube, Wu-Tang Clan, Scarface, MC Eiht, Snoop Doggy Dogg, and Nate Dogg.

The Snoop and Nate track is low key a jam, still. Homegirl in the background starting at the 10-second mark is a whole mood.

This blatant marketing of malt liquor directly to black and brown youth wasn’t going to go unchecked indefinitely. It was all irresponsible, even while being genius for the demo. In 1991, the Wall Street Journal listed the St. Ides ad campaign among one of the worst of the year, which probably didn’t matter at the time since WSJ readers weren’t St. Ides’ base.

In 1991, Public Enemy released Apocalypse ’91: The Empire Strikes Back. The album featured “100 Bottle Bags,” a direct criticism against malt liquor companies marketing specifically to urban communities “…but they don’t sell that sh*t in the white neighborhoods.” Shortly after the release, St. Ides found itself in Chuck D’s crosshairs, and he fired the first in a series of big shots against the brand, marking the beginning of the end of their love affair with hip-hop. An 80-second radio spot featuring Cube used a sample of Chuck’s voice without his permission. The ad had already aired over 500 times on rap radio shows when Chuck sued St. Ides parent company McKenzie River for five million dollars (they settled out of court).

Then, St. Ides and McKenzie River fell under legal scrutiny from the New York State Attorney General in 1992 for using verbiage like Cube’s lyric “Get your girl in the mood quicker, make your jimmy thicker…St. Ides.” to suggest the malt liquor increased sexual prowess. Can you imagine the think pieces if that spot ran today?

They were later in hot water with the New York AG’s office again, along with the Bureau of Alcohol, Firearms and Tobacco (the ATF) for advertising perceived to the be targeted towards minors, with complaints that it glamorized gang affiliation and promoted sex. After having production completely shut down for a short while and getting hit with heavy fines, St. Ides tried to clean up its act, adding “drink responsibly” messaging into the spots.

By ’96 the run was over. Hip-hop was growing up, getting money and moving towards more sophisticated alcoholic beverage choices. Alizé and Hennessy, anyone?

The relationship between hip-hop and alcohol never ended, of course, but has continued to evolve to match the evolution of the lifestyle. We don’t go to the corner store no more, homie (save a brief return in the early aughts of Four Loko). We’re toasting to the good life with premium brands, some of which are now owned by the artists.

We can look back now with the wizened, woke eyes of maturity and possibly scrutinize our artists selling out at the expense of the community, but for the young and burgeoning hip-hop culture, both the St. Ides campaigns and the Sprite campaigns opened the door for the power and commodification of hip-hop and consumer brands. For better or for worse.

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J.Cole, Teyana Taylor And Other Snubs Of The 2019 Grammy Nominations

It's that time of year again when inner circles and strangers on the Internet debate who's up for a gramophone.

On Friday (Dec. 7), the nominees for 2019's Grammy Awards (Feb. 10) were announced to a span of hot takes, early but informed predictions, and a wall of confusion as to why certain artists were overlooked. While some entertainers excitedly received the good news (Cardi B discovered her nods while leaving a courthouse), others were left scratching their heads.

Here's a look at why those who were snubbed by the Recording Academy deserved to be nominated.

READ MORE: Drake, Kendrick Lamar, And Cardi B Lead 2019 Grammys Nominations

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