Facts Only: Trae Tha Truth Spits Nothin' But 'Tha Truth' On New LP

The H-Tine Gawd chops it up about his album, ties to Pimp C and how he puts on for his city.

Drama builds some of hip-hop's finest characters. See Trae Tha Truth, the Houston legend whose share of ups and downs have only made him stronger. After being banned from several radio stations nationwide, surviving the 2012 shooting at his annual Trae Day event that left him a bloodied mess and three others (Carlos Durell "Dinky D" Dorsey, Erica Rochelle Dotson and Coy "Poppa C" Thompson) dead, Trae continues pushing, iced out grills and all.

The “Swang” rapper has been on a steady mixtape run since his last album, 2011's Street King, and now, he’s making his LP return with Tha Truth (which hits the streets on July 24), featuring the singles “Tricken Every Car I Get” co-starring Future and Boosie Badazz, and the Rick Ross-assisted “I Don’t Give A F**k."

With rap's signature confidence, Trae calls this album one of his best to date and expects listeners to play catch-up with Tha Truth. "It’s the truth of everybody wondering what I been doing or what really goes through my head because I been through a lot of f**ked up sh*t and a lot of people probably trying to figure out how the f**k do [I] still manage to get back up every time," he says of his forthcoming project. "I felt like I was just gonna let them into my life a little more."

Not to say he's been taking days off. While dropping a barrage of mixtapes like 2013's I Am King and 2014's Flight School, he's also hosting the aforementioned Trae Day bonanza on July 24, known for its wide array of hip-hop guests like Lil Bibby, Nipsey Hussle, Dej Loaf, Rich Homie Quan, Snootie Wild, and his personal friend, J. Cole.

In a recent sit-down with Trae, the H-Tine Gawd chops it up about his album, ties to Pimp C and how he puts on for his city.—Mark Braboy (@DRD_Poetry17)

VIBE: What was your state of mind while creating this project?
Trae Tha Truth: I got over 1,300 songs done. I was getting ready to put out another mixtape and it ended up getting decided that the album would be more important to the people. People love and appreciate mixtapes just as far as the vibe and to hear certain stuff, but for the last five or six years, I’ve only done mixtapes. I didn’t really care to put an album out. I felt like I was cool with doing mixtapes, but I get it. People appreciate a body of work wholeheartedly more when it’s a project because they feel like they’re a part of it, like they’re supporting it, and like it’s just something more serious and it’s not going to tear away as fast as a mixtape. I felt them songs [I picked] fit right now.

With all the setbacks you've been through, how do you manage to get back up?
First off it’s God. Look, I’m not trying to hear no artist complain because in the back of my mind, I be thinking like, you ain’t been through what I been through in real life. And you gotta think, people only been seeing what I been going through the last years publicly. At the end of the day, I always kept faith in staying strong and sh*t—I’m here. I mean, what other artist do you know can be banned from every city and state, and still be relevant, doing whatever he want to do?

So you were banned everywhere?
Everybody thought—they just shed light on Houston because that’s where it started. If it’s one of [Emmis Communications] events, I’m not allowed there. It don’t matter who it is performing. You can’t advertise me in cities that do [their] concerts. [I’ve been banned everywhere] for the past five or six years. Even when I went on tour with T.I. and Lil Wayne. Whoever he would do functions and events with the company of that radio [station], it was like, “We got to keep Trae on the tour bus and keep him out of the arena until it’s time."

For those who don’t know, how did the ban start?
I’mma keep it real with you, I try to stray away from it because I feel like I’m at a point in my life where I let go and I don’t really just want to keep talking about it, but long story short, I got my own holiday in Houston and some unfortunate things happen. And it’s everyday life, y’know? Sometimes ni**s get into fighting, sometimes ni**as start shooting. Long story short, the event was over and some sh*t occurred. The radio [station] needed somebody to blame. I mean, they didn’t want to take the blame. They actually was out there at the event, but they didn’t want to take that heat so they started to bash on the lower class people: "It’s always them people, your fans." I got to a point where I was fed up. I stood up for the people because it was a perfect event—it wasn’t no fights, no nothing out there. Everybody was gone. I can’t control what people do when we’re long gone.

WATCH: Trae Tha Truth Commands Respect In His ‘Been Here Too Long’ Video

Now, during your mixtape run, you had a lot of huge collaborations.
Because those were the ones who seen like, “That’s kind of real messed up how they’re doing him, like that’s a genuine dude that we all f**k with." You can’t tell [artists they] can’t be cool with me or can’t deal with me.

Houston now has two radio stations that play hip-hop. Can you be heard on 93.7?
Yeah, I can be heard on 93.7. Clear Channel’s in support of it. Long story short, they’re very supportive and it evens the playing field. It just went to show how much people really root for me because when they came and first played me, it impacted like no other. It made it bigger than just a Houston thang. The news spread everywhere through social media. They never really seen that type of rapid fire come back fast so that was a good thing.

Making now a perfect time for you to drop an album.
I guess people feel like they have been missing me because now, the recognition, just the last month or two of me going on the road, got people excited. I think the most important of this album is everybody knows I’m capable of doing good music and I can spit but I think the album’s going to take a lot of people by storm. The album is put together to the point [where] you don’t have to skip through nothing. Because the average person with an album gets through like four or five songs and I hear a muthaf**ka say all the time like, "That’s a classic" or "He got a hard album" because they be praying just to get a couple of jams but there be so much extra s**t. With this, it’s not gon' be a matter of what songs you liked. My question is what is it that you may not like. I know that the majority of the album, people are going to love. Not all of it. One thing they can say about this album is that it’s well put together. You’ll never find no flaws as far as the music. People just have their certain preferences of how they would have wanted it to go, but the music, overall, is quality. You wouldn’t even know I was from Texas when you hear this album if you didn’t know me.

For Trae Day and Friends, you bring out spitters across the country. What makes you this hip-hop ambassador of sorts?
I just been the homie, man. A lot of people in the game have always been my partna, my family. We’ve been supportive of each other, but at the same time love to bring them out because I want them to experience that. When they get to experience that, that’s a seed planted. Even it’s a seed planted where they come back next year or even go back home and do their own thing. Then for the kids, it’s a beautiful thing because they never knew they could get close to some of these people. I’m just out for helping everybody.

What makes you so civil-minded?
I think because when I came up, me and my little brother JayTon used to experience different things and you know, you always can’t run to mama to help you. We just dealt with it. Coming up, I really didn’t have that person I can call to talk me out of something, whether if it was me that needed to be talked to or to tell me. “It’s time to go handle that.” Feeling that was f**ked up. Just knowing that we had to figure out a way to make it work. I told myself, if I ever had the opportunity to get on, I’mma try to help people to not experience what I experienced. That's even with my music. I give you the truth. It’s not to tell them not to do something or to do something. It’s like, if you plan on that, let me tell you what happened to me when I did that. Now, what you do, it’s on you but I’mma give you that game just so you’ll know. From that point on, you can’t blame nobody but yourself because you was told.

I notice that you do that both in real life and in your music. There’s a lot of stuff that a lot of people can feel, like “The Rain”.
Oh yeah, and this album is that times 10. Like the song, “Tryna Figure It Out." That’s gon' shock the sh*t out of people. “The Real” featuring Dej Loaf, that’s another one. My favorite one is “Book of Life” on there. It’s gon' be a lot of messages on there. And it’s not the message where you have somebody tryna tell you this, tell you that and you get irritated like, I’m not tryna hear this sh*t right now. It’s just the relatable message where it needs to be heard and I think it’s a void for it. So, that’s what I’m here to fill.

WATCH: Trae Tha Truth And Rick Ross Have Little Regard For The Law In ‘I Don’t Give A F*ck’ Video

You just made me think of that intro with Lil Duval on it. How did that come about?
That’s my brother, man. It’s crazy. I just be wanting to do something different because he always do skits on different stuff and my stuff. But it was interesting because, [I’m like], N***a, I need you to do this intro for the album. And the you realize the s**t that’s out [is] serious as fuck. And he’s looking like, N***a, I make people laugh. It turned out organically and it went the way it was supposed to go. And the sh*t he’s saying is really the truth as far as what he felt at the time. Nobody told him what to say. He did his thing and still kept it funny here and there. He said what a lot of people don’t say. The reality is everybody’s struggling, at least the majority.

You’ve been active in the community. Describe race relations in Texas as far as the McKinney situation. And also, what’s your take on the confederate flag in South Carolina being taken down.
That whole situation in South Carolina was heartbreaking. With people reppin' that flag the way that they do and fight for it, I feel like, f**k that flag. It just is what it is if you reppin' that flag for the wrong reason. And it took a lot of us time. That flag goes way back to Dukes of Hazard but you never would have known, intellectually, what people was getting at. But now that we understand and see it, I feel like I’m not down with that sh*t being up. It need to be took down because imagine if we had something that was a way of bashing everyone else in a certain type of way. I guarantee it would be took down. I hope they fry that muthaf***a’s a** [Dylann Roof] in jail. I really do. I’m not tryna be hateful, but it is what it is.

READ: Opinion: Should The N-Word Be Compared To The Confederate Flag?
He had all the time in the world when people tryna talk him out of that and the place where he was at. The fact of him even saying he was hesitant at a time because they was just so nice—that really made me sick to my stomach because he still went through and did that s**t. As far as Texas, it’s not really super, super racial everywhere. You have some cops that’s f**ked up. You got some cities in the state of Texas where it’s like that, but to the most part, I mean a lot of people support them. Of course, the blacks and Hispanics really stick together. Me, I’m not a racial person. I deal with all races. I’ve always been the neutral type.

Julia Beverly recently released her book on Pimp C. What was your connection to him and how did Pimp rep Texas in your opinion?
Pimp definitely is Texas. He’s definitely one of the couple of pioneers of the state of Texas. And one of the first couple and only couple that took it worldwide; that brought that Texas sound worldwide. It definitely was a hard loss for everybody because people learn to love Pimp. Period. You gon' love him what he’s gon' tell you and what he ain’t gon' bite his tongue about. One thing I could say is in the state of Texas, when we lose one of our own, regardless of the situation is, we gon' tend to be supportive because [whether] we deal with each other or not, Texas is Texas, we rep us.

As far as the book, I haven’t read it yet, but I’m pretty sure she’ll be giving me one. It should be a very interesting book. A very interesting book. I mean he had his trials and tribulations. He had his views on a lot of people, too, so I’m sure it’s a funny and interesting book. UGK is one of the top groups ever because their dynamic was so well put together. How could you not embrace it? A lot of people haven’t went back to really view the history like when they was with Big Tyme Records and all that. I’m talking about way back. When people heard “Pocket Full of Stones,” they heard a certain version because it was a whole ‘nother version then.

What’s sad is Pimp C's voice missing in the midst of everything that’s going on right now.
I think [there's] voices out there, it’s just a matter of who people really want to hear. It’s a lot of people out there with the same game and wisdom we got that makes sense with what they say, but just a matter of people willing to accept it and embrace it. But most definitely, [Pimp] was gonna be the one most vocal about it and wasn’t gonna be political at all it was gonna be straight to it.

Do you feel it’s a rapper’s responsibility to tackle hot button issues?
I feel that I’m not to judge if they should or they shouldn’t because it’s up to you to figure if you do or don’t. It’s up to me to get my a** up in the morning, put my pants on, put my shoes on and go out here and hustle if that’s what I decide to do. Or I could sit my a** in the house and watch TV and eat all day. At the end of the day, it doesn’t make me better and it doesn’t make me worse. I’m not gonna put that jacket on and say "every rapper." I think as a whole, those who genuinely care should step up and do what needs to be done, if they give a f**k. If they don’t, they don’t have to. I never place blame on nobody. I can only speak for myself. I’m gon' do it because I feel like, Sh*t, hopefully the next lil' homies that’s under me gon' follow in my footsteps.

From the Web

More on Vibe

Getty Images

Tyler Perry, Popeye’s Chicken, And Who We Call ‘Coon’

Black shame has been something of an online talking point in recent weeks. From a chicken sandwich’s bemusing popularity, to a movie mogul opening a major studio on the back of a controversial cinematic legacy, big headlines have led to heated conversations about who or what embarasses us as Black folks. This is an ongoing discussion – about “coonery” and how it affects Black America and Black Americans’ perception of themselves. Filmmaker Tyler Perry’s successes, a stabbing at a Popeye’s chicken, and the resurrection of a blaxploitation cult classic have all offered interesting peeks into how we see the more polarizing aspects of Black popular culture.

But there’s still no clear answer to the question: who, or what, exactly, is a “coon?”

The opening of Tyler Perry’s studio in Atlanta has been hailed as a major event for Black Hollywood; a moment where Black ambition and individuality broke new ground for Black storytelling and ownership of that storytelling. But no Tyler Perry success is an easy thumbs-up; from the moment the writer/director/actor broke through with Diary Of A Mad Black Woman back in 2005, Perry has been a polarizing figure for Black critics and audiences. While beloved by his fanbase, Perry, with his broad folksy comedy characters and church fan messaging, has been blasted as a purveyor of “coonery” for years. Notables like Oprah Winfrey have remained staunchly pro-Perry, while fellow filmmaker Spike Lee was once one of his harshest detractors.

"Each artist should be allowed to pursue their artistic endeavors,” Lee said in an interview with Black Enterprise in 2009. “But I still think there is a lot of stuff out today that is 'coonery buffoonery'."

Perry responded to Lee in a 2009 60 Minutes interview. "I would love to read that [criticism] to my fanbase. ... That pisses me off. It is so insulting. It's attitudes like that that make Hollywood think that these people do not exist, and that is why there is no material speaking to them, speaking to us."

The idea that what Perry does is “coonery” is complicated and has always raised questions. Perry’s brand of screwball humor (particular in his Madea films and former sitcoms) isn’t all that different from slapstick and over-the-top characters that we’ve seen from the likes of Martin Lawrence and Marlon Wayans. Lawrence’s beloved 90s sitcom Martin had its detractors during its heyday (and now), but there doesn’t appear to be the same level of contempt as compared to Perry; judging from how popular his old show has remained, its fair to suggest that Lawrence is beloved by many of the same people who have seen Perry’s Madea movies as embarrassing. As Perry himself mentioned in his rebuttal to Spike Lee, he speaks to his fanbase—a base that largely goes ignored by many of the more critically-acclaimed Black storytellers in cinema. While auteurs like Lee or Barry Jenkins may speak to a specific type of urban experience, Perry has always been most connected to a sensibility that’s more southern, rural and Black Christian-leaning. The fact that his brand of more countrified broad humor is so unsettling for some Black folks indicates an ever-present sense of shame for country Black-isms--particularly when they’re presented in slapstick comedy. Perry has built his empire on Black audiences, yet certain Black critics have always acted as though that audience doesn’t matter. Who gets the final say on Blackness in entertainment?

There are other reasons people criticize aTyler Perry: a penchant for heavy-handed moralizing in his movies, a tendency towards colorism, questionable labor policies – that’s all valid. It’s just as valid as calling out Spike for the choices he’s made regarding female characters in his films, or addressing the colorism of Martin’s Pam jokes. But those specific criticisms aren’t inherently connected to “coonery” and what that uniquely damning insult signifies.

Eddie Murphy’s Dolemite Is My Name premiered on Netflix in October to widespread acclaim, with the Rudy Ray Moore biopic earning Murphy his best reviews in a decade. The film focuses on Moore’s determination to make his Dolemite comedy character a movie star, independently using family, friends and associates to get his movie off the ground. Hustling his way up from standup through hit comedy records to actually seeing his movie on the big screen, Moore is portrayed as a symbol of Black individuality and self-actualization. As I was watching his story unfold, I was reminded of the parallels to Perry. Like Perry, Moore and his team wouldn’t really be considered great filmmakers, but also like Perry, Dolemite’s appeal doesn’t really lie in craft or execution—Moore simply told stories that resonated with his particular audience. In one scene in ...My Name, when Moore watches an Indianapolis crowd guffawing at his low-budget blaxploitation spectacle, the sense of pride he feels isn’t just in what he’s accomplished, its in who he’s doing it for: an audience that wanted Dolemite humor and camp—an audience that existed even within the broader blaxploitation fanbase.

With so many raving about Dolemite Is My Name and Murphy, there’s a question of hindsight being 20/20 and how Black art is often policed through a sense of shame. How many of those applauding this 2019 biopic would have cringed seeing Dolemite in 1975, a jive-talking, pudgy quasi-pimp at the center of a shoddily made flick? Now, that story is being told with reverence and heart, and it speaks to how, once you can put some distance between time and place, it’s easy to see a bigger picture and celebrate the spirit--even when the end result may not be to your taste.

When Popeye’s now-mythic Spicy Chicken sandwich made its return last week, the online jokes and customer enthusiasm was met with criticism and handwringing from those who obviously felt Black folks were falling into a stereotype over fried chicken. When a news report revealed that someone had died violently at a Popeye’s over an argument while in line, many bemoaned how embarrassing Black folks had supposedly gotten over this sandwich. Of course, there wasn’t a widespread epidemic of chicken sandwich-related violence, it was just an incident that happened at a restaurant. But because the shame was already boiling over in some Black folks, this became a chance to finger-wag the culture for everything from poor eating habits to not supporting Black business to voter apathy. In a society that teaches us racism from the moment we are aware of race, it’s imperative that Black folks un-learn Black shame. And it’s time to stop running to “coon” any time you believe someone fits a stereotype racism taught you to be embarrassed by.

Black folks could stand to be a lot less embarrassed by Black folks.

Who “fits the stereotype” isn’t really what’s most damaging to Black people in America – it’s the fact that these stereotypes exist in the first place. Tyler Perry’s characters weren’t created by some outsider and foisted upon Black audiences from a place of derision; they’re affectionate parodies of his own family, written by and for someone who knows that churchy, southern voice and isn’t so ashamed by it that they can’t have a little fun with it. In the same spirit that we now applaud figures like Moore and southern rap impresarios like Master P (who built an empire with a No Limit Records label that catered to its audience while often being criticized for mediocrity by rap “purists” of the mid-90s). The shame in Popeye’s popularity, the shame in a Madea character, the shame in so much of what we see in Black people—is only there because racism put it there. Before deciding to speak against a Black creator as a “coon,” shouldn’t we be sure to not marginalize an audience? Black art is still Black art even when it doesn’t necessarily speak to your specific Black experience.

And beyond even art, maybe it’s past time that we just stop being so ashamed of Black people.

“Coon” has merit, no doubt. But when it’s tethered to a sense of embarrassment, it can become a weapon of respectability. Being who you are, telling your story, maintaining your voice—those things shouldn’t make you a “coon.” Even if your voice is loud and country, even if your voice is problematic in certain areas, even if your voice doesn’t match my own—you aren’t a “coon” until you begin shucking and jiving for the status quo; not just because you’re being you, regardless of whether they’re watching or not. That’s an important distinction that often gets lost in the haze of embarrassment. Using descriptors like “country” and “ghetto” as pejoratives is an indication that something taught us that these types of Black folks “make us look bad.” Believing that would mean that we’re buying into the lens of other folks. Do we really think Black experiences, Black voices should be shaped by how racism sees us? Because if so, that’s the real shame. 

Todd “Stereo” Williams is a writer/editor/media producer based in New York City. An outspoken veteran entertainment journalist, his work has been featured in The Daily Beast, XXL, Ebony and The Undefeated. He's also an accomplished screenwriter and documentarian who's co-produced films such as Exubia and Beautiful Skin.

Continue Reading
Ryan Miller/WireImage

Solange Uses Her Divine Spirit To Calm The Mind And Body For "Bridge-s" Performance Piece

There's a serene feeling over the bodies standing in the iconic architecture at the Getty Center Museum. Jazzy horns, peaceful keys, and crisp guitar riffs gently interrupt the soothing silence as dancers dripped in marigold threads swayed to "Counting," a composition created by Solange. A series of odd numbers like "5", "7" and "9" are recited on a loop by half of her dancers while the others chant "6", "4" and "2." It's just a preview of her latest creation Bridge-s but felt like a dynamic meditation.

Bridge-s brings yet another magnetic piece into her series of interdisciplinary works that spawned after the release of her magnum opus, A Seat At The Table. The world was introduced to Solange's artistic side thanks to performance art pieces at the Guggenheim in New York and the Hammer Museum in Los Angeles.

Composed by Solange and choreographed by Gerard & Kelly, Bridge-s was created with the pillars, beams, and columns around the museum in mind. Dancers and the orchestra used the space to their advantage, with tuba players catching the peripheral of attendees from afar.

Four rollouts will take place November 16-17, curated with a selection of films that include Black to Techno by Jenn Nkiru, AFRONAUTS and Boneshaker by Nuotama Bodomo, The State of Things by singer-songwriter Kish Robinson (Kilo Kish) and more. In its entirety, Bridge-s was designed to explore "transitions through time."

This was felt throughout the performance piece as dancers move with the intent of love, internal struggle, and unity. In a stunning zine designed by Sablā Stays, Gerard & Kelly shared the emphasis behind their modernist and inclusive approach.

"Our work, like hers, is part of an interdisciplinary effort throughout the arts and humanities to redefine modernism by critically engaging its prevailing narratives. By accounting for differences of gender, sexuality, and race. By focusing on intimate and collective histories. By centering our work around the body, dance and movement," they said.

Solange also opened up about the importance the museum and the Elbphilharmonie Hamburg played in the performance piece. "Both Elbphilharmonie Hamburg and the Getty Museum have sure strong distinctive voices spatially, and so the intention is that all of the work, the movement, the language, the songs all align with those principles," she said. "Working with Gerard and Kelly, who share many of the same philosophies on their approach to interpreting time and space through performance has really built the foundation [for] the spirit of this collaboration."

Like the rest of us, the artist watched closely the dancers glide across the floor, while bandmembers release enchanting sonnets with vocalists dropping a few high notes in between. Guests like Thundercat (and his Pikachu backpack), Kilo Kish, Dev Hynes of Blood Orange and Tyler, The Creator were also left speechless after the performance.

“I just want to thank you guys for allowing me the space to evolve, experiment and express new frontiers,” Solange said to the crowd after the assembly provided endless cheers.

Learn more about Bridge-s and get free tickets here.

Continue Reading
Courtesy of Netflix

Meet D Smoke, Inglewood And Hip-Hop's Next Hometown Hero

D Smoke is humble. The Inglewood native exudes an aura of maturation, needed for his quick ascension into popular culture as the first winner of Rhythm + Flow, Netflix’s hip-hop reality competition centered on the discovery of hip-hop’s next star. His signature authenticity shone throughout the 10-episode series and international audiences were drawn to his charisma as he proudly rapped about his lived experiences as a young black man in Inglewood.

“There’s such a rich history,” he says about his hometown, the inspiration for his forthcoming EP, over the phone. “I feel like it’s a beautiful but brief journey through my mind, my lived experiences, and the place that I’m extremely fond of.”

His musical confidence was displayed on the three-week series as he incorporated Spanish and live instrumentation to uplift the community-centered messaging embedded within his raps. Inspired by his childhood friends in Inglewood’s Latinx community, Smoke found music as unifier and way to remove barriers between Latinx and Black communities in his hometown. Demographics reflected in his students as a bilingual and music teacher at Inglewood High where he invests in the next generation of leaders.

He’s won an American Society of Composers, Authors and Publishers (ASCAP) award with his older brother, Sir Darryl Farris aka SiR, for “Never,” a Billboard-charting song from Jaheim in 2007, and received songwriting credits for Ginuwine and The Pussy Cat Dolls projects.

As the show’s first winner, there’s an added level of pressure for the rapper who has completed three music videos and started work on a 15-track mixtape since the show’s release. In the midst of press runs, D Smoke opened up about his experience on Rhythm + Flow, his Inglewood High EP, and his next steps as an independent artist.


VIBE: Tell me about Inglewood High, your latest EP.

D Smoke: Inglewood High is an EP about my experience coming up on Inglewood, going to Inglewood High, and teaching at the high school after I graduated from UCLA. It’s an important project for me because Inglewood High School holds stories for me as a student and teacher. There are so many youngsters that I had the privilege of teaching that still walk those hallways and are walking the same path I did. I thought it was only right to start with this project first; some of the songs are about my experience, while others are about trends or stories that I often heard growing up in Inglewood. I took a third person approach to tell these stories; some bright, some dark, but they really capture what’s going on in the city.

In a Time interview, you stated Rhythm + Flow’s authenticity around cyphers and battles undid your skepticism. Could you speak about your transition process from being a bilingual teacher into a contestant on the show?

As a teacher, you’re performing every single day, right? Your students are your harshest critics, so performing wasn’t nerve-wracking for me. It was more that I didn’t want to subject myself to the critique of another artist. In the later rounds, I was unsure that their biases would either serve in my favor or to my detriment. So it wasn’t the nerves of performing, but how would they receive and understand my art? Because I believe the audience...before I went on the show, I knew that there’s a large audience for what I do. Submitting to three judges is very different, but by the time we had gotten into the later rounds, I felt like they appreciated what I was doing artistically and creatively. By the end of it, they thought of me as a peer.

Towards the later episodes, you incorporated live instrumentation into your performances which won over Cardi, T.I., and Chance. Is the next direction for your artistry going to implement live band performances?

Going into the show, my goal was to do that before I left. [With] the last round’s challenge of making a live performance, I was like, “Okay, this is the time where we’re going to pull that rabbit out of the hat, so to speak, and show them my musicianship side.” To be honest, I’m a musician first. My first love was playing piano. My mom is a music instructor and minister of music. Since the age of six, I’ve been playing the piano. That’s going to be a huge part of my artistry; to the same extent that playing the drums, singing, and rapping. It speaks to me authenticity as an artist, creative, and musician.

Being on the show has developed your relationship with the audience, in addition to your original support system of Inglewood. How do you feel about having fans around the world who have fallen in love with your music during your time on Rhythm + Flow?

To keep it completely honest, the reception has been amazing. I’m getting messages from all over the world. People love what I did and represented on the show while being entertained by it at the same time. I think when you combine somebody believing in your message, but being thoroughly entertained by your presence, I feel like that’s a true impact on the audience. I’m really overwhelmed by how much love people are pouring out and the messages. I’m trying to read as many as possible, but I’m only one guy. My following grew from 7,000 followers prior to the show to 700,000 and counting, and that’s in less than a month.


View this post on Instagram


We climbing the Charts!!! Let’s push it to #1 #share #tellafriend #GodisGreat

A post shared by Supa Good (@dsmoke7) on Nov 9, 2019 at 12:31am PST

Some viewers waited until all episodes of Rhythm + Flow were on Netflix to binge-watch. Why do you think people should've watched and witnessed your evolution as an artist to step into confidence?

I think people should watch the entire journey; go back and do their detailed research because we aren’t necessarily doing different things than we were already doing. I speak in “we” because I have a strong team of people that were working with me to prepare for being on the show. When the audience watches my performance, it’s not like this is something that I haven’t already been doing. I look forward to seeing the growth in numbers of my previous works, whether it be Subtitles - the series that I did demonstrating my rapping ability in both languages and having fun over beats that I loved and influenced me. It’s super vital to go back and see the whole story because although I’m new to a lot of people, I’m not new to music by any means.

On Rhythm + Flow, Cardi referenced Kendrick Lamar in relation to your music. You have close affiliations with Top Dawg Entertainment, your brother SiR is Kendrick’s labelmate, and you’ve opened for the Pulitzer Prize winner in 2011 at the Whiskey A Go Go. Do you see yourself continuing your relationship with TDE?


View this post on Instagram


Today is my younger brother’s birthday. Same mom, same dad, same blood, same schools, same hair, same goals, but @InglewoodSiR is and will always be his OWN MAN. My younger bro opened doors for me that he may not even be aware of. He’s fearless and original. His music is DOPE as Fuck and he’s as real as they come. Go wish my lil bro @inglewoodsir of TDE a happy Birthday! LOVE YOU BRO! 7

A post shared by Supa Good (@dsmoke7) on Nov 5, 2019 at 7:42am PST

I like the way you put it..continuing that relationship. We’re neighbors; they’re less than 10 miles from me. I was my brother’s keyboard player and musical director while he went on tour with Miguel. For a couple of years, Top Dawg Entertainment has been somewhat of a home base in the sense that I’m supporting their works indirectly. What TDE is to my brother or was to my brothers in terms of the platform to allow his following to grow exponentially. It’ll be more of a partnership where there’s an open dialogue about best practices to collaborate with artists, how we can plan community events, and coordinating impactful things. It’s opening the door for me to collaborate with my brother, similar to how we started off, and have the full support of TDE. That’s something I’m excited about and look forward to sharing.

Are you hoping to bring the spotlight to Inglewood similar to TDE’s upliftment of Compton? On Rhythm + Flow, you rapped about the familiarity of victims of fatal police shootings, because everyone in Inglewood knows each other.

I’m certainly looking to put Inglewood on the map. A lot of things are happening on the business development side with the stadium being built and the rise in property values. I’m looking to make investments in property and building connections within the city to continue education and community development work. My background is in mentorship, so being a visible face in the public, championing youth-driven programs is something I look forward to doing.

Do you plan on using your cash prize to start educational programs at Inglewood High and give back to your students who inspired your performances in the competition?

I’m looking forward to doing the scholarship. I’ve initiated the conversations with the city of Inglewood and Inglewood High School. We’re going to have an event to celebrate. I want to see the marching band come out and play the same cadences they played when I was there. I want to drive the energy back towards competitive academics because that’s what Inglewood was for me. It may not have that reputation but I can go back and name all of the teachers who had that impact and pushed me into being an academically competitive student.

Since winning Rhythm + Flow, you’ve gained a greater following and secured a series of upcoming collaborations. Are you aiming to remain independent, reflective of your underground spirit?

I haven’t altered how I move through the world since winning Rhythm + Flow. I’m always seeing my family, eating healthy, getting my workouts in, and connecting with people that I love, admire or respect. Engaging in different texts and conversations that really keep me sharp. Those things aren’t going to change. We also got business endeavors that keep me sharp and very grounded in conversation. I’m not concerned with the about of new publicity, altering how I operate. It’s cool and flattering, but prior to this, I knew exactly what I’m here to do and those things are still in motion.

Continue Reading

Top Stories