Royce da 5'9" Royce da 5'9"
Tremaine Edwards / @kardiakfilms

Royce Da 5’9” Talks Consciousness And Self-Sufficiency On ‘The Allegory’

Royce Da 5'9" gets conscious on his new album, 'The Allegory.'

How do you move forward when you’re already one of the greatest of all time? In rappers’ circles, a 20-year career has seen Royce Da 5’9” considered one of the best MCs on earth. His witty punchlines, versatile flows and irreverent sense of humor have seen him compete with the likes of Black Thought, Kendrick Lamar, his former Slaughterhouse groupmates, and his longtime friend Marshall Mathers. “Eminem himself will tell you I'm the only ni**a livin' that done ever spanked him on the same record with him,” he pointedly rapped once. In recent years, he’s added a personal tone to his music, using songs like “Cocaine” and “Boblo Boat” to grapple with his family history of substance abuse and incarceration while conquering his own alcoholism and infidelity.

Now, after introducing listeners to his lineage, Royce is using his new album The Allegory to continue his artistic progression. His first two singles are more sociopolitical, lines that he isn’t known for drawing in his music: “Field Negro” chastises uppity blacks for forgetting their roots, while “Black Savage” calls on T.I., CyHi Da Prynce, and Sy Ari Da Kid to unite for an anthem against white oppression. The latter was chosen for the Jay-Z-led Inspire Change initiative with the NFL. And the third single, “Overcome” with Westside Gunn, features a music video that tells a “fictional” version of the story of 6ix9ine’s gang affiliation and his infamous testifying on the stand. “I hate when rappers get a mic in front of them and somebody asks them about something that affects us socially, and they write it off,” Royce said while visiting VIBE’s office in Times Square. “... I think with as much emphasis as we put, there’s certain rules that you’re supposed to be tapped into the hood. Just as much as you go out of your way to be tapped into the hood, you need to be tapped into us.”

There’s also one other detail: after a career working with legends like DJ Premier, Bink! and The Alchemist, Royce has decided to make his own beats this time around. He even landed a production credits on Eminem’s new surprise album Music To Be Murdered By, to go along with his trio of guest verses. “I call it rabbit hole behavior – I just start practicing a whole lot, just like I do anything else if I’m interested,” Royce shared. “...I didn’t set out to produce the whole album, it just happened that way.”

In a conversation with VIBE, Royce Da 5’9” talks about the importance of keeping up with your community, a musical lesson from T.I., and why he doesn’t care if he makes a wack beat.

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VIBE: On your last two solos, Layers and Book of Ryan, you shared more of your personal life than ever before. After sharing that much, where do you go next creatively?

Royce Da 5’9”: I’m definitely taking my time. I don’t always know what I want to do, but it’s pretty easy for me to look at what I don’t want to do, and rule that out. I just create and try not to think too much. The important thing for me was, when I did do the super personal thing, when it was about myself, to make sure that I really did it thoroughly. Did it in a way where people get it. And also, I’m presenting the people in my life in a respectful, positive way, but truthful, honest way. From there, it’s just taking in as much information as I can and just talking about the way that I see the world. Whatever inspires overrules.

You said that you ruled out what you didn’t want to do. What did you not want to do?

I don’t want to look like I’m an artist that’s doing this as some type of job. There’s nothing wrong with that; I just don’t want to do it. I’m not an employee of the people; I don’t make music for people. That’s not my job, that’s not what I’m here to do. I think some people can do that, but in my mind, that’s crazy. I express myself through the art as a coping mechanism most of the time. I look at it as putting paint on a canvas and hanging it up. You’re more than welcome to come by look at it, but if you don’t, that’s fine. And then when I’m leaving, I’m taking it home with me so I can look at it for memories. Whatever that feeling is, money won’t give me that feeling.

Between “Field Negro” and “Black Savage,” both songs have a more conscious, sociopolitical slant. People don’t associate that with you. 

I like “conscious” better than political. I think we separate those a little bit. I’m very conscious. I’m not very politically-inclined, but a lot of things that people associate as political are important to me. I don’t care who the president is. I don’t care about that type of sh*t. But I do care about the way that some of the things that happen on a higher level of government affect us in our community. So I’m very conscious of our people, and I’m very conscious of artists having a platform and understanding how important that is and understanding how important it is to be connected to us and how we need to take care of each other first. Then we’ll be able to take care of everybody. I’m conscious of that. But I’m not trying to run for senator in ten years. I don’t have any aspirations of being president or a political activist. But as I get older, the things that I say begin to get more important.

A lot of artists have their feelings on issues like that, but they completely separate them from their music. What made you decide to integrate it into your music?

Everything I’ve made has always been a reflection to what I’m doing at the time, who I am at the time. As black men especially, our perspective changes so much. I don’t know exactly what did it, but I know I hate when rappers get a mic in front of them and somebody asks them about something that affects us socially, they condemn it, and they write it off. That’s a pet peeve of mine. They condemn the concept all the way together. They don’t want to answer it, and they condemn it. Most of the time I feel like it’s because they don’t know, they’re unaware of it. They don’t know enough about it to be able to speak on it. Or they just look down on being smart or being socially aware. I think with as much emphasis as we put, there’s certain rules that you’re supposed to be tapped into the hood. Just as much as you go out of your way to be tapped into the hood, you need to be tapped into us. That’s important. But it’s not going to become important to you until you start taking in information the proper way.

So how do you keep in touch with what’s going on?

I mostly read. I don’t watch a whole bunch of TV. I just read. I do research online like a crazy person. I just stay aware, I look at what everyone is talking about, constantly on my phone. When I used to get drunk, I’d see everybody talking about something, and I’d just go look at something else. I don’t do that no more; I need to know now.

It’s always interesting to me when I hear about your life pre-sobriety and post-sobriety. Because I realize how many things stem from that - getting your personal life in order, being more lucid with your family, being more aware of the world around you.

Well, that’s the problem. Drinking makes it to where you don’t care. Perfect: I’ll go cheat on my girl, I’ll become a ridiculous person. Nothing is connected into nothing until I started going to therapy, then I realized everything was for a reason. And then, I started learning about myself in a way that made me elevate, first my mind and then better as an artist. I’m like damn, I can keep learning about myself – how can I stop being better at everything? Most of us we come in, and if we want to get better at rapping, then we just figure we’ve got to keep up with the times, let me keep up with rap and I end up being a better rapper. That’s all you’re dialed into, all of that misinformation that’s being spread around. You’re doomed. There’s no way you’re gonna get better. No way. It’s impossible. If I’m keeping up with what’s current, but everything that’s current, there’s no future in none of it. I focus on me, getting myself better. I make a lot of music I don’t use. Every time I do something that I feel is cool, I let it go.

How old are your kids?

Twelve, 10, 5 and 3. And 21.

Do you have conscious conversations with them?

Only Roycee, my oldest son. We can go pretty deep. My daughters, they’re just having fun right now. I’m not going to lay too much on ‘em. [laughs] Just let them be kids. I’ll eat with Kino, his kids know how to order at a steakhouse. … Nah, none of that. They don’t watch rap videos. They aren’t tapped in yet. Just chillin’. That’s one of the only reasons I celebrate Christmas: I just want to see them open gifts and having fun. But there’s lots to tell, lots coming on the horizon.

On this new album, you made all of the beats. Did you make beats at all before then?

Nope. But I have made a beat here and there before in different situations. Sometimes in the studio 4 in the morning, and we’re all drinking, I just decide to start hitting piano keys. Make some terrible beat that we rap on at the moment. [laughs] But I never had equipment, this is my first time doing that. But I’m glad I did it that way. I learned Pro Tools first. I learned how to cut my own vocals first, just engineering. Denaun showed me how to make beats in Logic, and it was easy for me to catch onto because it was very similar to Pro Tools. I call it rabbit hole behavior – I just start practicing a whole lot, just like I do anything else if I’m interested. I just kept on practicing and came up with this song, came up with that song. If you do it enough, stuff comes out of it. I didn’t set out to produce the whole album, it just happened that way. That’s the fun part. Normally, we would tell ourselves, you can’t do nothing like that. I’m glad I didn’t even have expectations. I wasn’t even thinking. I just love practicing. If I make something and it’s terrible, it does not bother me, as long as I don’t have to play it for nobody else. [laughs]

Did anything spark that initial creativity to start making beats more?

It was boredom. But there wasn’t a starting point. One time we were working on a mixtape or something, and I decided I was going to do the beat. I’ll just have my engineer play something. I never applied myself and bought equipment like, “I’m going to make beats.” Little stuff in passing. But just drunk shit. This is my first time deciding to do it that way. I went to Guitar Center. I bought Ableton, bought the Maschine, it starts out like that – get a bunch of stuff, and see what sticks. Everything went back except the MPC. [laughs] I kept that, but I gave it to my friend. I just use Logic now.

What’s interesting about what you’re saying is that your raps are very meticulously crafted. I think if you were to write a rap that was wack, you’d be upset. But you’re saying that if you make a beat you don’t like, you don’t have an issue with it?

It goes both ways for me. But I do understand being that way about a rap. I was that way for a long time. I think we start out like that. I don’t know if it’s “upset” – it’s more of a fear. Most people won’t admit that, but it’s like a creative fear. You don’t want to come up with something that’s not good, or you don’t want to admit that it’s not good. If you don’t know no better, that’s synonymous with falling off. You never want to admit that. But the more honest you are with yourself, the better off everything is. So going out and working with Puff, and him making me rewrite the same verse 8,000 times, is what made me introduce the art of rewriting into my lexicon. I just started rewriting stuff to rewrite it. And then i developed this relationship with the verses in a song where it’s just, I don’t have no respect for it. I call it clay. I just lay a bunch of stuff, poke holes in it, fill a line in, take the bottom half out, fill that in, remove the top of it, put some back on top of it. [laughs] It’s like playing LEGOs or something. Take the best pieces, take it from there, and then just A&R it. There’s no such thing as a bad verse – I’m sorry, yes there is. But it can be great for different reasons. Just because it’s lyrical, that doesn’t make it great. “Ain’t Nuttin But A G Thang'' is a perfect verse. Add too many syllables, you f**k it up. I’m sure that if Dre knew Marshall back then, and Eminem hit him with a super technical verse, he’d probably be like, “that’s lyrical, but that ain’t it.” It’s almost like you’re A&Ring yourself. It’s so much going on, you don’t have to be so tight if it’s not the right one.

“Black Savage” is you, T.I., CyHi Da Prynce, Sy Ari Da Kid, and White Gold. How’d that song come together?

The producer me picked the people. I always knew I wanted to work with CyHi on something. Anytime I ever do anything that’s a little bit socially conscious, I always think of T.I. He’s very aggressive, I can tell he hit that point in life. I think we have spiritual awakenings, man. Us as black men, we just wake up one day like, “this is what I am,” and we have no idea where it came from. T.I. seems like he’s there with it. You get to a certain point and start seeing things for what they are. You don’t always like what you see. I think T.I. is at that place, so I always told myself if I was ever doing anything along the truthful line, to speak up for us, I would call Tip. We did some stuff before, but it ended up slipping through the cracks. Tip actually suggested Sy Ari to sing the hook. He said, “the hook we have is a little bit too direct,” and he asked me what I thought about somebody else taking a shot at it. I said, I’m more than open if you think you can make it happen. He reached out to Sy Ari, and he sent it right back. That’s one dope thing about collaborating. I learned that in Slaughterhouse: learn that with an open mind. A lot of guys would’ve taken it personal. I was cool with what we had, but when he sent Sy Ari’s hook, Sy Ari’s was better. But I still liked what we had, because the part that we had as the hook was White Gold’s part. So I was able to use both, and I moved them and made it more like a bridge. I had to change the music around a little bit, but it worked way better. But he was right – it was super direct. I’m a very blunt, direct person, and I heard what he meant. So it actually taught me something, so I’m glad we had that conversation.

That really sounds like Producer Royce, man. Not just beatmaker Royce, but producer Royce.

I could never be a beatmaker, because I’m around too many guys who make beats who have been doing it their whole life. You can’t catch up, it’s impossible to catch up to Bink!, Denaun, DJ Premier. I’m way behind. There’s never been a beatmaker Royce, but I’ve been producer Royce even before I was making tracks. I had to play that role in Slaughterhouse, I had to have that relationship with the music in Slaughterhouse. I was the guy that was more on the technical side, doing the drops and stuff like that. I just always had a knack for the sonic stuff. After us getting our own place, I think it was the logical next step. It just kind of happened spur of the moment, and I like for things to happen like that. Every time I ever planned to do beats, I didn’t end up seeing it through. But the one time I just thought of it real quick, I was at Guitar Center 30 minutes later. I came back and it didn’t just end up being a conversation – I saw it all the way through, because I wasn’t thinking about it.

How did you connect with the NFL for their campaign?

Kino was talking to Jason from Tidal, and he said they were looking for a song to launch the initiative. Everybody knows about the initiative. They were saying they were looking for something, and Kino was like, “I think I may have the perfect song for you.” It was just a shot in the dark. He sent it over to them, and they loved the song. Once he explained to me what the initiative was and all of that, I was 100 percent with it. After that, I found out that we needed to partner up with them and go do stuff, which was cool too. Anything Jay-Z related, man, I’m in. I’m not a real big football guy, but I’m willing to be for that cause.

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J Stone Talks Touring, Nipsey Hussle, New Music And More

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I enter the doors of the popular music venue a little after 6 pm and see J Stone on stage for soundcheck. Twenty minutes later, he greets me with a hug and we head downstairs to the green room. He asks me if I want anything to drink and I reply, “Vodka with a splash of cranberry, please.” He kindly comes back with drinks in hand and our interview begins.

I curiously ask him if the Coronavirus has affected his #LoyaltyOverRoyalty Tour and he immediately responds, “Not until today. It’s starting to affect me today. They’re telling me only a certain amount of people can come into buildings.

"They already canceled one of my L.A. meet-and-greets," he adds. "Yeah, it’s serious.” We continued our conversation talking about The Marathon Continues (TMC) and Puma collaboration, Nipsey Hussle, new music and much more.

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Afro Nation

Women Of Afro Nation On Evolving Dancehall and Afro-Pop Connections

Last summer, thousands of music lovers of African descent gathered on the sands of Portimao, Portugal, waved their beloved countries’ flags and witnessed performances from the best in afro-pop, reggae, and hip-hop at Afro Nation, the premier traveling beach festival unifying music of the African diaspora. This was a euphoric scene for acts who had never performed for a large Black festival crowd, Afro Nation co-founder and U.K. music industry veteran Obi Asika tells VIBE. Nigerian promoter Adesegun Adeosun Jr., aka SMADE, and business partner Asika saw a need for a space to celebrate African music in Europe and created a globetrotting festival as the answer. Most of the featured acts have been from Nigeria, where the music industry is rapidly growing, the U.K., and Jamaica. As the festival evolves, Afro Nation will feature more artists of African descent from Europe, Central Africa, Latin America, and more.

“I want this event to be reflective of all African people,” Afro Nation co-founder and U.K. music industry veteran Obi Asika tells VIBE. “I also want it to pay homage to the countries that the events are in,” he adds. Afro Nation is expanding to reach fans of the diaspora in more regions. In December 2019, the festival was held in Accra, Ghana. In March, Afro Nation was scheduled for San Juan, Puerto Rico, but was canceled due to the COVID-19 pandemic. The four-day line-up would have featured 30 artists representing afro-pop, dancehall, soca, and hip-hop. Afro Nation still has festivals scheduled in Portimao, Portugal, in July, and Baja California, Mexico, in September. There are plans for at least one more location in the future, Osika says.

Afro Nation’s platform thus far reflects a global moment in which musicians across the African diaspora are blending sounds in new ways that are changing popular music. Connections between Afro-pop and Jamaican dancehall are especially evolving according to artists on Afro Nation’s line-ups, such as Jamaican dancehall artist Shenseesa, South African rapper Sho Madjozi, and Nigerian pop artist Teni the Entertainer. “Afro Nation is major for the continent, the culture, and the commonality that we share no matter how far we have all drifted into different parts of the world,” Teni, who performed at previous Afro Nation events, wrote in an email.

For Women’s History Month, VIBE spoke to the three sensations about their latest music, why Afro Nation is a game-changing platform, the evolving musical connections between Jamaican and African artists, and their women inspirations in music.

SHENSEEA

Shenseea, a versatile singjay, deejay, rapper, and singer, grew up in Jamaica’s capital city Kingston. The 23-year-old broke out as dancehall’s most promising star in 2016 with the flirty “Loodi” featuring Vybez Kartel. Since then, she has released a steady stream of energetic records, showering each riddim with conviction and lyrics of self-reliance that speak to women and girls like “Shen Yeng Anthem,” “Trending Gyal” and “Blessed.” Shenseea is inspired by fellow Jamaican dancehall artist Spice, Nicki Minaj, and Rihanna, who she calls “a complete boss.”

Thus far, Shenseea has collaborated with dancehall veterans like Sean Paul, and internationally with Trinidadian soca star Nailah Blackman and American rappers Swae Lee and Tyga. American hip-hop and Jamaican dancehall artists are common cross-cultural link-ups. But now Shenseea says there are more musical connections between popular Jamaican dancehall artists and African-based artists too. “I feel like it has been going on, but more so between the reggae artists,” she says. “Now it's evolving more between dancehall artists and African artists.”

Here is a quick history. Popular music in the Americas, including Jamaica’s biggest musical export reggae, is rooted in West African music. Reggae has several influences including Jamaican folk music mento and American R&B, and its predecessors ska and rocksteady. During the Trans-Atlantic slave trade, enslaved West Africans brought their rhythms to Jamaica and subsequent generations reimagined the sounds that circled back to Africa. Late reggae legend Bob Marley, a Pan-Africanist, and The Wailers toured the continent in the late 1970s and early 1980s. During this era, artists like Ivorian musician Alpha Blondy created a marriage of their traditional sounds and stories of home with the socially-conscious riddims birthing African reggae.

As technology digitized music production, dancehall music evolved out of reggae and dub music and  defined a younger generation in Jamaica. It would also inspire African artists, too. In the 2000s and 2010s, dancehall influenced “Afro-dancehall” artists Shatta Wale and AK Songstress of Ghana, and Patoranking and Wizkid of Nigeria. Ghanaian hiplife’s soft synths and dancehall’s percussion are said to have influenced the popular Nigerian sound “pon pon,” in 2017, according to OkayAfrica. DaVido’s inescapable “If,” is the most commercially successful “pon pon” track. Mr Eazi’s “Banku” style also borrows from Nigerian and Ghanaian pop and dancehall. With this has come more collaborations across the genres. Like Jamaican dancehall hitmaker Popcaan enlisting DaVido for “Dun Rich” in 2018, and Burna Boy collaborating with Serani and Jeremih on “Secret” in 2019.

The marriage between these sounds is impacting how Black fans experience music worldwide, which is especially pushed by second and third generations of people who migrated from Africa and the Caribbean to the Americas and Europe. In major cities, you’ll find Afro-Caribbean parties, where DJs play music across the diaspora. Afro Nation takes it to the next level by bringing these artists together on a bill.

The innovation of this sound is a diaspora-wide project. In the mid-to-late 2010s, UK, British artists J Hus and Afro B popularized the fusion of Afro-pop, dancehall, American and British hip-hop, and R&B music, in new genres known as “afro bashment” or “afroswing.” In 2019, Jamaican-American DJ Walshy Fire’s 2019 Abeng brought together afro-pop, with soca, and dancehall artists. Shenseea has some diaspora link-ups on the horizon. She already worked with Shatta Wale, the African dancehall king, on “The Way I Move” in 2018. Recently, she recorded an unreleased track with Mr Eazi and is in talks to work with Patoranking and Davido, she tells Vibe.

TENI THE ENTERTAINER

Teni is also tuned into these evolving connections between the Caribbean and Africa. “You can hear it in the drums and melodies,” the 27-year-old singer and songwriter says. “We love to have fun and dance and that extends into our music.” In 2019, the New York Times dubbed Teni a member of the new guard of Nigerian musicians. In October, she released her Billionaire EP which showcases her afrobeat fusion. The title was inspired by her time in Los Angeles. "I saw all these great cars and I just imagined a world where we can all afford things we like no matter the price," she says. On the Pheelz-produced afrobeat, she croons her wealthy ambitions. On the earnest “Complain” she singraps over JaySynths' afroswing beat.

Teni’s entertainment career began with her comedic viral videos. Her breakout hit was the 2017 “Fargin,” which spoke out about the harms of rape culture. Teni admires African music legends Brenda Fassi, Angelique Kidjo, and Mariam Makeba. Them "using the power of their music to influence governments and shape economies is beyond incredible,” she says.

In the future, Teni wants to experiment with more Caribbean artists. “I have gotten into the studio with Kranium and I'd like to still do a lot [more] with him,” she said of the Jamaican singjay who fuses dancehall and R&B. “I'd love to do something with Koffee. Her music is amazing,” she added.

SHO MADJOZI

Koffee, a Jamaican reggae artist who won over the world with “Toast” last year, and is the first woman to win a Grammy for best reggae album, is on South African rapper Sho Madjozi’s wishlist too. For generations, South African artists like Lucky Dube and NC Dread have embraced reggae and dancehall. The 27-year-old wants to contribute to this tradition by recording with Koffee and rising reggae singer Lila Ike. "The song would be about the fact that our joy does not come from having no problems,” she wrote via email. “It comes despite going through tough things.” Bringing her pain to the studio has proven to be viable for Madjozi.

On her biggest hit, the viral “John Cena,” named after her favorite WWE wrestler, she raps over a hard-hitting gqom beat, the popular South African electronic dance music, about heartbreak. On her 2018 debut album Limpopo Champions League, which is dedicated to the northern province she hails from in South Africa, you can hear more of her sonic influences which include the high-energy gqom on "Wakanda Forever," trap on “Wa Penga Na?” and R&B samples on “Going Down.”

Although Sho Madjozi and fellow artists are fusing the diaspora sounds in their music, she sees the Afro Nation platform as a necessary space for people of African descent to share these cultures in person. In these moments, “we notice how strong we really are" and "how powerful this gift of culture is,” she says. Hip-hop queen Lauryn Hill is her icon and inspired her to stand firm in her truth. Madjozi’s realness shapes her assertive lyrics and her vibrant style. She performs in “xibelani” skirts to pay homage to her Tsonga heritage, a group of people native to Mozambique and South Africa. She adorns her hair with her signature colorful Fulani braids. “My whole statement is to be free,” she says. “I hope it shows Black girls everywhere to not be shy or small. This world is ours as much as anyone else’s.”

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Courtesy of Universal Music Latin Entertainment

Karol G On The Magic Of "Tusa," Working With Nicki Minaj And New Album

Karol G's devoted intentions have kept her ahead of the history books.

As Women's History Month comes to a close, the reggaeton titan solidified her position just weeks prior on Internation Women's Day as Spotify included her in their list of the Top 10 Most-Streamed Female Artists. Others included were Billie Eilish, Taylor Swift, Ariana Grande in addition to iconic women of color like Nicki Minaj. But Karol's presence on the list proves just how she's been able to bridge the gap between Latin and pop music as the only woman on the list who primarily performs in Spanish.

It's something Karol, born Carolina Giraldo Navarro, has done since coming up in the male-dominated reggaeton scene. While plenty of her hits over the years have earned a coveted spot in the hearts of millions, it was her recent recording with Nicki Minaj that reminded everyone of her power.

"I grew up listening to her and we were sitting at the table across from each other," Karol says of "Tusa" and its insanely popular video that has 669 million views and counting on YouTube. "That was an iconic moment for me."

The song's title is Colombian slang for heartache after a breakup. On the regal reggaeton bop, Karol has Minaj rapping in Spanish as they promise to one another to eliminate those feels on the dance floor. The Tusa-terminators made history in late 2019 with the release as the song is the first collaboration by women to debut at No. 1 on the Billboard Hot Latin Songs chart.

On the all-genre Hot 100 chart, "Tusa" impressively peaked at No. 42. Amid the coronavirus outbreak, self-quarantines in Panama were recently singing the song together from their balconies.

¿Cómo lleva el #ToqueDeQueda Panamá? Pues que más que con @karolg y #Tusa #COVIDー19 #PTY #QuedateEnCasa pic.twitter.com/jSNsEeaoUW

— errol (@erscr) March 23, 2020

For Karol, success like this has been over a decade in the making since signing her first contract in 2006 under her G stage name. At that time, reggaeton music was reigning over the globe thanks to Puerto Rican rapper Daddy Yankee's "Gasolina" setting the movement ablaze in 2004.

The música urbana genre was very much a man's world with a few women who were able to rise to the level of Yankee like Ivy Queen, someone Karol cites as an influence. "With the urbano music I wanted to do, there were not a lot of women," she says. "I love urbano rhythms. They've always fascinated me."

In the early steps of her career, Karol took advantage of the art of collaboration with Nicky Jam on 2013's "Amour de Dos," Ozuna on "Hello" in 2016 and a budding rapper by the name of Bad Bunny on 2017's "Ahora Me Llama." Her method was mindful and direct as she gained new fans in every pocket of reggaeton's wide-ranging cloth.

"They had a big audience and following," she says. "The way I got my opportunity as an artist and was able to be heard more was, in part, thanks to them." Later that year, Karol's debut album Unstoppable landed at No. 2 on the Top Latin Albums chart.

As she became the feature queen in her own right, Karol dropped "Mi Cama" in 2018 which led to her winning the gramophone for Best New Artist at the Latin Grammy Awards that year. "I love to sing in reggaeton, but it's not the only thing I do," she says about her diverse palette. The spirited 2019 release of Ocean showcased the vastness of her artistry with urbano, reggae, and pop influences.

With "Tusa" previewing her third album, VIBE VIVA spoke with Karol about her musical journey so far and what's coming next.

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VIBE: On physical copies of Unstoppable, there's the #GirlPower stamp. What inspired you to include it? 

Karol G: I have that tattooed on one of my arms as well because for me, it was a frustration that people in the media were telling me, "You're a woman. You don't have anything to do here. You can't enter here." There are women that can achieve things around the world. That's where my motivation comes from: to show that we, and myself as a woman, can do it. That was important for me to put on the album to show my support for this movement.

"Mi Cama" became one of your biggest hits without a featured artist. What's the story behind that song?

I loved that song because it has the attitude that I feel right now. It's a song about a woman talking to her ex-boyfriend who left her for someone else. It has the attitude to keep going, to keep dancing, or perrear (a twerk-like dance associated with reggaeton). In Mexico, I was in a press conference and a female reporter said, "I don't respect how you as a woman are singing about your bed making noise. You have to think about the children." I said, "This isn't music for children." It's a song that's exaggerated. I'm not swearing on it. I always tell that story at my shows and people love it.

How did you feel to win the Latin Grammy for Best New Artist?

That's one of the top five moments in my career. I dreamed of that moment since I was a little girl. When I was nominated, that was huge. I didn't think I was going to win. When I won, my mind went blank. I took my dad on stage with me because he's been supporting me since the beginning. After winning the grammy, my mindset has been what else I can do in my career that's even bigger.

You have recorded a lot of music with your fiancé Puerto Rican rapper Anuel AA. How do you like working with him?

We're a super team. We complement each other well. We understand each other well because we've enjoyed many great moments together. We've gotten to travel together. We did a tour together. It's a beautiful thing. We keep each other focused and motivated with our feet on the ground.

What do you think about the reaction and all the memes around "Tusa"?

I felt in my heart the song would be successful, but I never thought that it would be a global hit. It opened doors for me in markets where I've never had songs hit before. It's charting in countries that don't speak Spanish like France, Italy, and Sweden. Seeing all the memes from the people has been muy brutal (Puerto Rican slang for "beyond awesome"). It's been incredible to see so many men connecting with it. To see all the people dancing and singing to it has been a surprise. I hope my next single will be like that, but for now, it's nice to enjoy what's happening with "Tusa."

Speaking of men, many gay men been bumping "Tusa" too. I was wondering if you had a message for your fans in the LGBTQ+ community.

I love having part of my following from that community. I love people who can go out into the world and be fearless. I'm very proud of that because the world really lacks people like that: people with personality, attitude, and a strong will. That's something I admire very much from that community. They have a beautiful energy.

What are your plans for the rest of this year?

I'm happy because I'm working on a lot of music. I've gotten great invitations to work on projects with other artists. Right now I'm collaborating with artists in the Latin and Anglo markets. There are songs that are coming out very soon. It's a year for expanding and globalizing my name. We have a tour in Latin America and one in Europe again. We're going to end the second semester of the tour in the US with the release of my next album.

What do you see for the future of women in reggaeton music?

There's things I hope to evolve a little more, but I feel like we knocked over the door. That we've come through and people are hearing us. People are coming to our concerts. Artists are inviting us to their shows. We're here. I try to stick up for myself more as a human being. We're all talented in our own ways. I feel like women are demonstrating that. It's an era where women are taking chances and going for bigger things.

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