Royce da 5'9" Royce da 5'9"
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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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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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