Video After The Jump
In this episode of People's Party, Talib Kweli and Jasmin Leigh sit down with rapper, songwriter, producer, and one of your favorite emcee's favorite emcees -- ROYCE DA 5'9".
The deep level of mutual respect is clear as Talib opens up by telling Royce how much his work has impacted him and his own evolution as a lyricist. Then show kicks off with talk about the history of Detroit hip hop and the infamous Hip Hop Shop. They go on to discuss and dissect Royce's song 'Tabernacle', Royce's path to sobriety, where he speaks to if he feels he's become a better artist because of it. Royce also talks about his longtime friendship with his manager Kino, he answers the question of if he regrets not signing on with Dr. Dre's Aftermath Records. They discuss Royce's long-time friendship with Eminem, and he's asked if there's anything he hasn't shared about Em, and if he thinks it's true that their styles mirror each other, he shares how he feels about the old tapes of Em disrespecting black women, they discuss Em owning up to white privilege and Royce answers to why he felt the need to speak out against Lord Jamar and his public downplaying of Em's relevance to the culture.
Later Royce speaks to his beef with fellow Detroit native Proof. He tells how a stand-off in downtown Detroit led to them being locked up together, and squashing the long-standing conflict. Royce also digs into his relationship with DJ Premier, linking up very early in Royce's solo career, and how they continue to be regarded as one of hip hop's most dynamic duos. Royce also tells the fascinating story of how the supergroup Slaughterhouse really came to fruition. Royce is asked to expand on bars from several of his songs like 'Overcomer', the significance of naming his album 'The Allegory', he talks about his friendship with the hip-hop collective Griselda, as well as responds to questions about bars from his song 'Upside Down' in regards to leaving a lasting legacy in the game. He also touches on his work with the 'Marshall Mathers Foundation', creating opportunities for Detroit's inner-city youth.
TIME STAMPS:
2:07 -- Talib admits to his struggle with finding the words to explain how much Royce has inspired him throughout his career, and asks Royce how it feels to have the profound respect of so many top tier emcees and legends in the game. They go on to discuss Detroit's infamous Hip Hop Shop, noting all the greats that came up through that historic venue, and Royce also speaks on sharpening his skills at the Ebony Showcase Lounge.
5:06 -- Royce is asked what the vibe was like during his first appearance on the Stretch and Bobbito show, along with Eminem. He mentions how he didn't realize the gravity of what it meant to have a spot on the show, Talib notes his favorite song by Royce in 'Tabernacle' and asks him what inspired it, Royce is asked to illustrate the significance of his song 'Boblo Boat' to the Detroit scene, and Talib asks him what he has against Mork & Mindy.
11:40 -- Royce is asked about his path to sobriety, and if overcoming his substance abuse has made him a better artist. He details the exhausting process of having to retrain himself to be funcional under the influence, speaks on how much he respects his dad for avoiding the pitfalls that come with being an addict, and finding his own way to sobriety which influenced Royce to be able to follow suit. Royce also recalls the first time taking a real drink being with Dr. Dre, reflecting on the biggest mistake he made in 'doing as the Romans did'.
16:00 -- Royce speaks on his relationship with his manager Kino, and how they have remained such close friends over the years. Royce is also asked about the stories that have circulated about him having regrets with regards to taking a record deal with Tommy Boy over a deal with Dr. Dre and Aftermath, following his work writing for Dre on Chronic 2001. Royce also responds to the talk about issues Dre had with Kino.
21:57 -- Royce is asked if there's anything about Eminem that he hasn't said before in an interview, and if he agrees with the statement that they mirror each other lyrically and stylistically. He's also asked who he feels had the better verse on Eminem's collab with Jay-Z on 'Renegade'. He compares and contrasts that with the version he did with Em and Jasmin goes on to ask Royce about his feelings on Eminem's old recordings calling black women b*tches. He touches on how he felt when the tapes first surfaced how he feels now in retrospect.
27:55 -- Talib notes his respect of how Eminem has used his platform to highlight his own white privilege, and goes on to ask if Royce thinks Em had guys like him and D12 in mind when he penned "Let's do the math if I was black I woulda sold half". Royce tells why he thinks Em became the highest selling rapper beyond just his skin color, answers why he felt the need to defend Em against Lord Jamar's criticism of his relevance and contributions to the culture, and voices his frustration with people's cynicism of his defense of Em.
37:49 -- Royce is asked to detail his infamous beef with fellow Detroit rapper Proof. He tells about the moment they bumped into each other with a stand-off in downtown Detroit, leading to them being locked up together and reconciling. Royce also gets into the significance of his 'Bar Exam' mixtape and it's relevance to him moving past all the negativity in his life.
44:22 -- Royce speaks on his long-time relationship with DJ Premier. Royce reflects on writing letters to D&D studios in attempts to get his attention, and his perseverance in seeking out a way to work with Prem. He outlines the first time they met, and the time he had to convince Premo to let him use the beat for what would become Royce's first underground classic in 'Boom'. He also talks about bringing in producer and musician Adrian Younge to work with them on 'PRhyme'.
50:31 -- Royce illustrates the formation of the hip hop supergroup Slaughterhouse. He lays out how it started from a hip hop showcase to be judged at New York's SOB's lounge. He details how several emcees were a no-show, it then turning out to be a one on one freestyle battle between Royce and Mistah F.A.B., which then progressed into a public calling out of Royce's loss by Joe Budden, Joe releasing a freestyle dissing Royce, Royce then responding back to Joe on wax, which finally resulted in them forming the legendary collective.
56:14 -- Royce is asked where he got the phrase "See, you want it to be one way... But it's the other way.", he used taking shots at rapper Yelawolf on his song 'Overcomer'. He dives a bit deeper into the track when he gets asked to break down the bar "Men lie, women lie, numbers don't". Royce goes on to use Nipsey Hussle's legacy as a way to explain, and also touches on the naming of his album 'The Allegory', as well as the process of learning to make beats and producing the whole album himself. They also draw some comparisons of the album to Quentin Tarantino movies.
1:07:43 -- Royce is asked to outline his relationship with the hip hop collective Griselda, appearing on his album 'The Allegory'. Royce talks about inviting them out to a release party at SOB's, leading to them becoming friends and them ultimately getting signed on to Shady Records. Royce is then asked to expand on bars from his song 'Upside Down', where he states: "Remember, the effort has to go into the art, not the wave Everybody talking 'bout they own their masters But if the music don't age well, it don't matter It's like you own a hundred percent of nothing Know your value."
1:12:51 -- Jasmin asks Royce about the work he's done with the 'Marshall Mathers Foundation' with a goal of being dedicated to providing assistance to disadvantaged and at-risk youth primarily in Detroit, Michigan and it's surrounding communities. Royce outlines his own feeling of responsibility in giving back and helping create paths of opportunity for others that came up as he did.
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