Gucci Mane
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The Musical Genius Of Gucci Mane, Trap's Most Prolific Voice

Guwop is back! 

Back in 2005, Gucci Mane envisioned himself as the preeminent elder statesman of East Atlanta. “Lil’ kids wanna be like Gucci when they grow up,” he boastfully rapped on his breakout hit, "So Icy," in his congested, nonchalant flow. At the age of 14, I wasn’t sure if he was referring to the fact that he had acquired so much expensive jewelry and was living the lavish lifestyle of a baller that many aspire to. Or if he was predicting his own career trajectory, strategically laying down the foundation that would foster the industry’s obsession with mining Southern soil for stylistic cues that would later on influence the mainstream. After marinating on the latter eleven years later, the answer is crystal clear.

Growing up in Stone Mountain, Georgia, a suburb on the east side of DeKalb County, my first true taste of trap and its grandiose yet gritty lifestyle was painted through the rapper born Radric Davis' mumble-mouthed flow. Not necessarily the cult artist we know today, but on-the-cusp of greatness and to some a tough sell, the general consensus at the school lunch table and was that “Bricks,” an early Gucci mixtape gem, made more of an impact than The Blueprint, the heavily lauded album from New York's reigning rap king Jay Z. Although Gucci may hail from Birmingham, Alabama, his vivid, cinematic-like presence carried the torch for a term whose origins date back to the 90s, Atlanta-based production collective Dungeon Family, long before it was a genre.

In the years that followed since Trap House, his 2005 studio debut, Gucci has transcended the title of "rapper." Today, his name holds weight as the man, the myth, the legend, with a repertoire that has only elevated with a three-year prison sentence that didn't slow down his never-not-working mentality.

Now, with his hotly-anticipated tenth studio album Everybody Looking hitting shelves, the pressure for his musical return to reclaim his throne as the Trap God is mounting. But for Gucci, an unfailingly prolific, often controversial artist, who is dependably committed to serving his fans music no matter his circumstances, it's nothing.

In a look at his influence, we asked several artists—some that refer to him as a friend and longtime collaborator and some who have just witnessed his rise—to share their opinions on his musical genius.

 

BiA:
"It was Gucci's melodies that had me hooked. I liked how he could be rapping about some street sh** but make it sound fun. When I did "Gucci Comin Home" that was the aim, to be rapping about some sh** that’s really going on but have that fun factor. Gucci does that in a lot of songs, like "Freaky Girl," "Lemonade," "Wasted," all those hit records that he has, they’re all fun.

People talk about Future, like I’m Future Hive all day, with the whole mixtape after mixtape, album after album, but that’s something I admired about Gucci from early on. His work ethic is like no other. Who can do videos, and do songs and mixtapes in jail? Not everybody can do that and have good music, too. He sets an example that no matter what you’re going through, don’t stop the hustle. Keep moving."

 

FKi 1st:
"The first Gucci Mane song I ever heard was "Lawnmower Man," and I truthfully didn’t like it. My boy kept telling me his sh** was fire, but then he dropped "Trap House" and everything was in flames. That's what made me a fan. "Trap House" was one of the hardest songs in Atlanta at the time, they would always play it on the Eastside. Gucci started all the lingo for that and everything. Of course Gucci and T.I., they were always talking about being trap stars at the time, but he was so specific on the things he was doing. He was giving you insight on something that was so close. Everybody might not think it’s deep if they’re not into that. They might not even get his lingo, but he's just so specific on the sh** that he went through and did that everybody gravitated to it.

The first time I worked with Gucci was actually with Waka [Flocka Flame]. I went to the studio to link up with Waka right after I made "Make It Rain" with Travis Porter. Gucci made that song pop. He was at the radio station and they started playing it. He was like, 'Oh what’s that?' He was actually in talks of signing Travis Porter, too, and ended up being the first person to put a verse on the remix. He showed love to the first song I ever produced. After I made "Make It Rain," I linked up with Waka in the studio and we made the song with Ludacris called "Rich & Flexin." Gucci was actually on that song, too, but he went to jail right after. That was the first time he got locked up. After that we made two other songs, one with Trouble and another with Lloyd called "Fly Sh**."

He’s a good dude and he cares about the young people and the new generation. He can find new talent. He knows new sh**. He knows what producers are hot. He doesn’t have to go get a beat by the biggest producer. He’ll just work with the youngins and still make hits on them. I really think his A&R skills and finding beats is what sets him and his music apart."

 

Kap G:
"I feel like Gucci started a movement, putting in so much work in the streets. He was literally dropping mixtape after mixtape, after mixtape. You could get them at the local gas station, malls, barbershops. They were everywhere. He had the streets on lock. I feel like that’s how a lot of people work in Atlanta. That’s how I work. That’s how we work. We work fast, we make good quality music, and it comes out fast. I guess we just get in the zone and we get that from Gucci.And on top of that, all the rappers my age, who were young listening to him, he was one of the people who influenced us to start rapping. Then we got bigger and bigger, and he was grabbing them and started putting them on. He didn’t just get big and just leave everybody. He was really putting on a lot of young rappers who you can say are stars today."

Reese:
"The man had naked girls standing in front of the stove on his album cover and was cooking dope in the video. That was fire. That’s why I have La Flare in my name. He gave me the go ahead that I could run with it. Without Gucci Mane and Jeezy, even T.I. because he was like the first rapper to talk about the trap, without those three there wouldn’t be trap. But the sound that everybody’s familiar with, with trap, is definitely Gucci Mane. They just have to pay respect for him. Every artist that pops out of Atlanta, from Waka Flocka to French Montana to Nicki Minaj to Migos to Thug to Quan, Gucci has had his hands in there. So everybody owes him his respect. They all cut from that cloth. He’s like the best A&R in the world.

Gucci Mane don’t give no f**ks. Everything about him you see is a real n***a, a trap n***a. Gucci Mane blew up and did songs with Mariah Carey and everybody and still didn’t give no f**ks. He still the same, everything about him. That’s why people call him the trap god. That man killed somebody and got out. He’s the man.

We keep him relevant, all the artists from Atlanta that everybody likes. Everybody screaming "Free Gucci," like [Young] Thug, and he’s the hottest thing smoking out of the city. Even Future. They both came from Gucci. Honestly, I had an argument with somebody who tried to say who has more of a cultural influence: Jeezy or Gucci. I said Gucci, period. Kids don’t really care too much about Jeezy right now. They keep saying free Gucci, they rap like him, people even started rapping because of him."

 

Lil Bibby: 
"Gucci is really good at making songs. You know, the different flows, catchy hooks. He don’t rap just any one way; he raps a thousand different ways. I think everybody that’s rapping today got their flows off of at least one of his. I don’t even know what it was. He was just rapping about stuff that related to me and related to everybody in the streets. At one point in time when I was young, the only thing that we were playing was Gucci and Wayne. They kept dropping mixtapes after mixtapes. It probably just felt like him and Wayne going back and forth, back and forth. They was part of the streets. At one point in time, that was all we was listening to. I don’t what he was doing all at that time, but Gucci just did the right thing. He made the right moves.

Everybody loves how real Gucci is. I don’t want to say it, but you know how he makes all the diss records and keep going back and forth to jail? The streets like to see somebody that's still one of us. Jeezy, he was talking to us like he was the God back in the day. Jeezy was the God when he dropped that Thug Motivation 101. So I think the fact that Gucci stuck with it and he never crossed over or tried to cross over kept him grounded.

He just show love to everybody, man. I think Gucci is probably one of the best and a lot of people say he put everybody on from Atlanta that’s rapping right now, Migos, Young Thug. You can’t even name a rapper that Gucci hasn’t embraced and put on or was the first one to help out. I think his biggest contribution is putting other guys in the game."

 

Mike Zombie:
"Trap God 2 is my favorite mixtape of Gucci's, and my favorite song off it is "Shooters." I feel like, as far as like street rappers go, he is the biggest influence, especially when it comes to putting people on, finding a new sound. You take Gucci out the equation, Atlanta loses Migos, Young Thug, [iLove]Makonnen, a lot of people. He's just as big as Jermaine Dupri if you ask me out here because he's found the all new talent. Waka [Flocka Flame], Young Scooter. And that tattoo on his face is iconic. It's a trademark. When you see that, you automatically see Gucci."

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Erik Umphery

Meet Ebenezer, The Crooner Poised To Restore Soul Into Modern R&B

Ebenezer is a man of few words but the purveyor of a million feels throughout his music. Before the novel coronavirus left the singer-songwriter isolated in Los Angeles, the London-born artist was at the VIBE office in New York a few moons ago playing his latest project, Bad Romantic 2.

A few laughs fill the room but what really takes over is the boptastic tune "3 am in London." With a sample from Kandi Burruss's 2000 release "Don't Think I'm Not," we get a look into his creative process. After revealing his origin story in 2018 with 53 Sundays, Ebenezer returned with the Bad Romantic series. It's a title bestowed to him by the many women he's dated. As a songwriter, engineer, producer, and composer for himself a slew of other artists like Jeremih, Ty Dolla $ign, A Boogie wit da Hoodie, Stefflon Don, K-Pop faves SuperM and Craig David, love seemed to slip through the cracks. 

"I always try to make time," the crooner insists. He might not get love right all the time, but his determination to enrich modern R&B is a sword he's willing to fall on. While sharing stories behind cuts from Bad Romantic 2, a grin comes across his face as every tale is connected to love lost.

"It wasn't like there wasn't any lack of effort. It's just the way my schedule worked," he said about the making of "Flexible," a track bound to lead a quiet storm playlist. "I remember working so hard at the time that I was sleeping in the studio. I didn't have any money to go home [to London] so I had to work until something gave. I would mention how difficult it was but maybe she didn't understand the hustle or the grind at the time."

His hard work led to his latest single, "Flaws And All." The track speaks of his efforts to make love work no matter what, a notion anyone can relate to. As we continue to talk about love, one thing is for certain–Ebenezer is in love with creating. His eyes light up while breaking down each track and his shoulders ease up when he speaks about his versatility. In addition to the world hearing Bad Romantic 2, he's used social distancing to produce songs via his "Quarantine Studio Sessions."

 

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A post shared by Ebenezer (@ebenezersworld) on Mar 27, 2020 at 10:56am PDT

Below, get to know a little more about the elusive artist, the making of Bad Romantic 2 and some of his biggest inspirations.

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VIBE: With you producing at a young age, did you have support from your family?

Ebenezer: I'm a London boy but my parents are originally from Nigeria. They were on the run from immigration at one point but after things calmed down there was a big focus on education. They were like, "No you, can't. Education first." There would be big arguments and fights but eventually, I chose music. Or maybe it chose me? I started working and producing while on the phone with artists and things came together.

But I owe everything to my mum because she is the biggest cheerleader I've ever had. This woman had three kids and did everything to get by. She held it down. I had cousins who called immigration on us and they're supposed to be family–immigration comes kicking open the door and raiding the house. So I believe that the blessings I'm getting now are from God and our prayers.

What do you enjoy the most: producing/engineering or writing? 

I don't know if I can choose. I just use different parts of my brain for producing and writing. It is fun to split them up and bring them together at times.

What's your voice in R&B today? 

From childhood to the present, I've been in piece of s**t relationships and my songs reflect that. It's not be being vindictive to my exes. I take full responsibility for the things I've done and I try to be honest as I can in my music. The worst thing I could do is be one-sided.

There's that aspect of accountability missing in R&B these days so I get it. How is creating R&B-pop music for K-Pop artists? You worked with SuperM recently and it seems like they really enjoy the era of 2000s R&B. 

It's easier because they let you do whatever you want. You want a variety of harmonies because there's a lot of people in one group. But I like creating for K-Pop artists because you're able to let every individual stand out and have their own moment. It's dope they're adopting that sound.

Who are some of your inspirations? 

Kanye West for sure. My brother was a big hip hop head so I grew up on Rakim, Big L, Big Pun, Tupac, Biggie, Jay Z, Wu-Tang, but my decade has the Drakes and the Kanyes, so they were my biggest inspirations. College Dropout was the album that had me say, "I'm doing this music thing, I don't care."

My sister is a big R&B fan. She played a lot of Jagged Edge, Jodeci, stuff like that. So I was lucky to have the hip hop side and the R&B side presented to me all at once.

In addition to love and relationships, what else drives your creative process? 

It comes in stages for me. I like to make projects with a theme. For example, 53 Sundays was a project about growing up in London as an immigrant and the adversity we experienced racism and gang violence. It's how I overcame it and how my family dealt with it.

There's a lot of self-love in those songs because nothing is free, especially coming from having nothing. You have the Bad Romantic projects that are pretty self-explanatory in the title [Laughs]. I'm going to make it all tell a story so when you look back at the projects, it's a timeline and you'll see who I am.

What makes a "Bad Romantic and a "Good Romantic?" 

My exes are bad romantics. [Laughs]

So it's their fault? 

Nah, my exes would say there are some things that I'm good at and some things I'm terrible at. There are different love languages and what someone may require, I might not speak it. I like to provide gifts because growing up with nothing, you never want to see anyone without.

But I struggle with time because I'm always working and they had it. I have this thing called "The Okay Attitude." You can write me a novel in a text and I'll say, okay. Life expectancy for us is low as it is and we spend most of our time arguing about trivial things so if that's how you feel, that's how you feel.

And a "Good Romantic?"

Being attentive, caring, not being so selfish. I don't know, everyone is different. Some people require a lot. They say, "Shower me with gifts." But others say, "I just want your time, whenever you can afford it."

Unfortunately, I can't afford it.

What do you want listeners to get from your music?

That I'm just a bad romantic that's trying to better himself.

Stream Bad Romantic 2 here.

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Pony Boy

Slim Thug On His Coronavirus Diagnosis, Holistic Remedies And New Album, 'Thug Life'

Slim Thug, born Stayve Thomas, is a relatively healthy being. His daily regimen includes three-mile runs and keeping his diet in tip-top shape. Since he was 27, the rapper has battled high blood pressure and switched up his lifestyle for the better. Thirteen years later, the Houston native is hip to holistic methods like oregano oil to lower cholesterol levels, spirulina to reduce blood pressure and absorbing good vibes only.

The Texas Department of State Health Services has reported 1,303 people in the state have tested positive for novel coronavirus, one being Thug. The rapper and businessman was slighted after learning of his positive diagnosis on Tuesday (March 24).

Thug fell ill with a headache and a slight fever after running errands last week. While his symptoms were mild, his doctor provided him with a 24-hour test that confirmed it all. "Some people think I'm making it up," he tells VIBE over the phone Thursday (March 26). "Some people think I'm working for somebody, it's crazy."

As conspiracy theories permeate through social media, the 39-year-old is focused on keeping fans informed about the virus. His social distancing wasn't the best as he got a haircut a week before he was diagnosed, which is why he's firm on it today. "It's real and people should take it seriously," he said. "Especially for young people. You could pass it on, it could be deadly to somebody you love. You have to be a human and say, 'I have to protect others by not being reckless.'"

This hasn't changed Thug's plans to release his forthcoming album, Thug Life, Friday (March 27).  The veteran rapper who dropped classics like, "I Ain't Heard of That" and guest verses on Mike Jones' "Still Tippin," and Beyonce's "Check on It" wants his new music to be a safe haven for the times.

Released last week, his single, "This World" highlights today's ups and downs, with a telling sample from the late Charles Bradley.

The silver lining continues to glisten for the rapper. After sharing his diagnosis with fans, many began sharing black-owned businesses that specialize in holistic medicine. They include Soul Food Vegan and natural herbs from Jinka Premium.

In our conversation below, Slim Thug highlights the importance of social distancing, why rappers should stay connected to their fans and how the late Tupac Shakur inspired his new album, Thug Life.

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Just found out I got Corona virus

A post shared by Slim Thug (@slimthug) on Mar 24, 2020 at 10:14am PDT

VIBE: How have you been coping with this? Take me back to your initial thoughts when you found out all of this was happening.

Slim Thug: I was definitely surprised because I was trying to be precautious way earlier than a lot of people. I started to feel a headache and a fever and I've never had those symptoms so I thought, 'Man this Corona time, it's got to be something.' But at the end of the day, I haven't felt severe sickness or nothing.

I have high blood pressure, I already do this. I run three miles at the park and go to the gym every day, so I'm pretty healthy. You know, I never felt like I wouldn't be able to fight this off, I never really felt really sick or crazy sick, just kind of felt like a sinus infection.

With you being a healthy person, what has this told you about the virus?

It's serious and it can be deadly, but at the end of the day, if you're young and healthy and don't have any other underlying conditions, then you should be able to fight it off. My doctor shared how the only thing you can do is stay home and let it run its course. He said to drink a high volume of fluids like vitamin c to keep your immune system up.

Have you ever been interested in holistic practices?

I believe in medicine, I'm not gonna lie if I need a Z-Pack, I'm gonna get it (Laughs). But there's a lot of people around me who shared some things. I'm on a lot of herbs right now. They done gave me all types of kits and stuff that I posted on Instagram. I've been on oregano oil, black seed oil, and it's working. I'm trying everything from boiling orange peels to elderberry. I'm trying to stay on it, I feel good. I go outside and post up in the sun and try to drink hot tea during the day.

Hip-hop artists haven't said too much about the virus, but some are engaging more with fans on social media. What else do you think your peers can do with their influence during these times?  

If you're a rapper, you should be taking advantage of this time and giving content out to the world as much as possible. I've seen so many different artists be creative. Look at DJ D-Nice. About a year ago, I started spinning. I'm not really a DJ, I'm just having fun. But for D-Nice to have 150,000 people on his Live? You would never go to a club and DJ for that many people or never "see" Oprah and all of them. It's a whole new wave, a whole new world we're stepping into. You're reaching over 150,000 people and this is elite people at the same time.

It's inspired all the real DJs to get on. I'm seeing DJs from Houston like Mr. Rodgers spin for 12 hours straight and he had the whole city in his Live. We were all just in the comments, it's crazy, but it's amazing though because you have thousands there and you won't see that many people in a real club.

 

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After Hours Vibes are DIFFERENT in #ClubCorona. That 7am hour had me hella delirious and in rare form. Went in the bag and dropped that OutKast Spottie and brought the LIVE band out during my LIVE set. From 9p-2PM (17hrs nonstop) we went crazy. Long story short, don’t miss 2nite!! - s/o @honeyboneshawty for capturing this moment!

A post shared by DJ Mr Rogers (@djmrrogers) on Mar 25, 2020 at 1:11pm PDT

It's a new experience, so you have to be creative with it. My album Thug Life is out today [March 27th], but I've hosted a live listening on my Instagram. It was inspired by [2]Pac. Back in the day, he had a project called Thug Life and with Slim Thug being my name, I just had to use it.

I even saw Swae Lee [of rap duo Rae Sremmurd] do a whole concert. You just got to be engaged with your people and they will appreciate that because everyone is sitting at home bored with nothing to do. If they're busy now, they will have time to tune in later. All artists should be taking advantage of this moment, stay at home and give the people as much content as they can watch because they all want to see something right now.

What do you think it is about music that has people wanting it more than ever?

Music is just therapy to your body and soul. Whenever I'm stressed out, I got a playlist for that. I got a playlist for anything and any mood I need to be in. Music is very important because of a lot of Black people/minorities, don't go to therapy, they don't have a lot of access to resources that can help ease stress.

A lot of the times, a good song can do that for you, it can make you feel good. All of that. So it's very important. I feel like my content is good for these times. I have a song called "This World" that's about real-life stuff.  I got a record with [veteran Houston rapper] Z-Ro I'm finna drop that's like a gospel song to me. When I hear it, it just takes me there and I think people are going to feel the same.

Lastly, you mentioned you're getting into DJing. If you were to throw a Quarantine Party, what are the Top 5 records you have to play no matter what?

At my Quarantine Party, it's going to be the real playing. I've done a few mixes for the last ten days. I would say the go-to records are 90s R&B. It's just therapeutic feel-good music.

Hearing people singing really calms you down. Jodeci, Babyface, all of it. Guy, Keith Sweat. If you want to turn up and take it what's good now, Travis Scott is perfect to get lit to.

For those who want the real throwback rap, you might want to hear some Tupac. There's something for everybody, whatever you like, there's a playlist that will put you in a great mood and I think everyone should tap into that for real, it's real therapy.

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The History Of The Scottsboro Boys

Decades before the Exonerated Five became one of the biggest-known examples of Black and brown youth being targeted and falsely convicted, there were the Scottsboro Boys. The group of nine black teenagers, ranging from ages 13 to 19, were wrongly convicted of raping two white women on a freight train in 1931.

Haywood Patterson, Clarence Norris, Charlie Weems, brothers Andrew and Leroy "Roy" Wright, Olin Montgomery (who was nearly blind), Eugene Williams, Ozie Powell, and Willie Roberson (who suffered from severe syphilis and could barely walk) were arrested on rape charges, which began a years-long battle for freedom. Four of the nine teens knew each other prior to being falsely accused and convicted.

On March 25, 1931, the teens boarded the Southern Railway freight train in hopes of finding jobs, along with other Black and white passengers. As the train made its way through Alabama, a fight broke out after a group of white passengers attempted to attack a group of Black passengers. Patterson was one of the passengers targeted which triggered a melee, that led to the white passengers getting kicked off the train in Skottsboro, Ala.

The angry posse headed to a nearby sheriff where they claimed that they had been attacked by Black passengers. Police intern arrested every Black passenger on the train for assault. Meanwhile, two white women on the train, Victoria Price and Ruby Bates, told police that they had been raped by the Black teens. It’s suspected that the women lied out of fear of being arrested for prostitution. A doctor later examined the women and determined that they were not raped.

Nonetheless, police arrested the teen, who were dubbed the Scottsboro Boys. Price and Bates went to the Scottsboro Jail and identified the teens as their attackers. In the age of Jim Crow and overt racism permeating through the South, the Scottsoboro Boys never stood a chance. White lynch mobs marched to the jail where they were being held and demanded that the boys be released into their custody so that they could kill them. As a result, the National Guard was called in to escort the Scottsboro Boys from jail to court. The boys were not allowed to consult with an attorney and were instead appointed two lawyers, one of whom was 69-year-old Milo Moody, who hadn’t tried a murder case in years. A second lawyer assigned to the case was a real estate attorney.

The first round of trials took place over the course of one day in a standing-room only court room with all-white, all-male jurors. Black jurors had been systematically blocked from the jury pools through disenfranchisement that also stripped many Blacks of the right to vote.

Patterson was tried separately, followed by Norris and Weems. The defense offered no closing arguments, but prosecutors closed by urging jurors to sentence the boys to death. Within two hours of deliberation, the jury returned a guilty verdict against Norris and Weems, amid cheers and applause in the court room. Patterson’s trial began as jurors were deliberating the case against Norris and Weems. Despite having no evidence and conflicting stories from Price and Bates, Patterson was convicted and sentenced to the electric chair. Powell, Roberson, Williams, Montgomery and Andy Wright’s trial began minutes after Patterson’s trial ended. The jury quickly convicted them and sentenced them to death.

Prosecutors decided that 13-year-old Roy Wright was too young for the death penalty. Within hours, the case was declared a mistrial as jurors were deadlocked on sentencing for Roy Wright, although they all agreed that he was guilty, despite him being innocent.

The other eight Scottsboro Boys were sentenced to death, but the Alabama Supreme Court issued a last-minute indefinite stay of execution. The case caught the attention of the International Labor Defense, and the NAACP.

On March 24, 1932, the Alabama Supreme Court upheld the convictions against seven of the Scottsboro Boys, and granted Williams a new trial. The case made it to the U.S. Supreme Court later that year. In a landmark decision, the high court ruled that the boys had been denied the right to a fair trial under the 14th Amendment, and sent the cases back to the lower court.

The Scottsboro Boys were tried again, this time in Decatur, Ala., which was roughly 50 miles from Scottsboro, but still in Ku Klux Klan territory. The ILD appealed the case and hired defense attorney Samuel Leibowitz. Bates recanted her rape story and agreed to testify on behalf of the defense. Despite Bates’ cooperation, and no evidence proving their guilt, the Scottsboro Boys were convicted again, though Patterson’s death sentence was suspended.

In a unanimous decision, the Alabama Supreme Court denied the defense’s motions for a new trial, and in January 1935, the case returned to the U.S. Supreme Court for a second time. The guilty verdict against Norris was overturned and new trials were ordered for him and Patterson. Norris’ third trial ended in another conviction and death sentence along with Weems and Andy Wright. Roy Wright spent six years in prison while the case was tried several times.

Prosecutors eventually agreed to drop the rape charges against Powell, who was later convicted of assaulting a deputy sheriff and sentenced to 20 years. The remaining rape charges were also dropped against Montgomery, Roberson, Williams and Roy Wright, and they were released from custody.

Enduring back-to-back trials took a tole on the group that likely had a ripple effect on their lives. One of the accused was left disabled after being shot while being escorted to prison. Others returned to custody on various convictions over the years. Norris, the eldest and the last surviving among the bunch, evaded parole in 1946 and went into hiding for 30 years. He was found in 1976, and pardoned by Alabama Gov. George Wallace. Norris died in 1989.

After more than 80 years, the Scottsboro Boys were posthumously pardoned in 2013. See more on the story in the video below.

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