Big K.R.I.T. Speaks On ‘4eva Is A Mighty Long Time’ & Racial Tension On Beats 1 w/ Ebro

Big K.R.I.T. visits Beats 1 to sit down with Ebro Darden to discuss his latest album “4eva Is A Mighty Long Time” and the racial tensions that are going on in the world.


GaryVee.com: What Is Hip Hop All About w/ Big K.R.I.T.

Gary Vee released the full interview with Big K.R.I.T. about the hustle and entreprenueral motivation!

This is easily one of the more interesting meetings that I’ve had in a while and it was with the amazing Big K.R.I.T. I think there are some really interesting pointers in here if you pay close attention.

 

XXLMag.com: Big K.R.I.T.’s Journey To ‘4eva Is A Mighty Long Time’ Album Begins With A Groundbreaking Moment

Money phones and iced-out chains may seem like a hip-hop prerequisite these days but there are certain rappers who have built a career off taking the understated route, namely Big K.R.I.T. While there’s a glint of gold grills here and some gold rings there as he sits inside XXL’s New York City office, K.R.I.T.’s artistic merit shines brighter than the few pieces of jewelry he does wear. The Mississippi native doesn’t need to flash a bust down or cash to prove his worth. In fact, K.R.I.T. admits he went broke making his third album, 4eva Is a Mighty Long Time.

Coming clean about his personal finances is part of K.R.I.T.’s journey as an independent artist. Last year, the 31-year-old MC revealed he parted ways with Def Jam, the label on which he released his last two albums—Live From the Underground (2012) and Cadillactica (2014). Without a major label machine behind him now, the rapper is more hands on than ever when it comes to his career, putting all his efforts—and own money—into his music.
4eva Is a Mighty Long Time is the first album to come to fruition under the 2011 XXL Freshman’s Multi Alumni imprint. With 13 mixtapes and two LPs already under his belt, he’s been down this road before, but this time, Krizzle is riding solo, traveling on two distinctly different paths. He presents a double album representing duality: one side showcases the artist Big K.R.I.T. while the other highlights the man Justin Scott.

On the K.R.I.T. side of the album, trunk-rattling bangers like the Mannie Fresh-produced “Subenstein” and the lyrical fire power of “Confetti,” produced by Hey DJ, prove the rhymer hasn’t stepped far from his roots, whereas the project’s Justin Scott section finds him taking an introspective approach on frustrations in his personal and professional life with the self-produced “Drinking Sessions” and dealing with depression on the WLPWR-crafted “Price of Fame.”

Armed with one of 2017’s best albums, Big K.R.I.T. is heading into 2018 with a sense of accomplishment. XXL sat down with the rapper to discuss 4eva Is a Mighty Long Time, the groundbreaking moment he experienced going into the album, working with Mannie Fresh, overcoming depression, fighting against racism and his secret chalk drawings. Get involved in the conversation below.

XXL: In September, one of the first visuals we saw as a teaser for this project was you basically burying yourself, which is a pretty deep message. Why did you want to showcase that?

Big K.R.I.T.: The burying myself in the trailer that we put on for the album was basically to show the rebirth, right? The getting rid of the old, and showing a new side of myself, and all that I dealt with not only the label but just creatively and mentally. The depression and the frustration and the bitterness, and putting that aside and burying it, and now moving forward in life. I think we all do that.
You know, as we start to change and evolve in life and I just wanted to show that. It obviously was a dark format, you know what I’m saying, but sometimes we come out of the darkness into the light, and that’s how it is, and I think it needed to be portrayed in that way. It was very gritty, beautiful shot. Motion Family [shot that]. I definitely think it got the point across.

Your album is 22 songs, showcasing the two sides of you as an artist and as a man. Why is this the right time in your career to showcase this duality?

It was important to do a double album for me ’cause I think I really needed to show the duality that I’m dealing with, right. I’ve been trying to tell people from the 4EvaNaDay, you know, and even the songs, it was always difficult figuring out a way to sequence the trunk-rattling records with the introspective records. I’ve always had a hard time. This was the opportunity where I can do all the trunk-rattling and go confident, lyrical prowess, go hard on one album.

Then I can tell you how it is when at home sometimes, when I’m insecure, when I’m depressed, when I deal with society, how I medicate. The things that go on in my life, but I’m still trying to stay positive and have faith and life up to a perfect thing that I had in my mind. And I feel like I needed to do that now, and I had spent so much time away that technically, to me, 22 tracks wasn’t a lot of music when I used to drop mixtapes that were 22 songs and people were cool with it.

Read Full Article: HERE

Forbes.com: How Big K.R.I.T. Evolved From Hip-Hop’s Southern Gentleman To A Self-Made Businessman

It’s safe to assume that Big K.R.I.T.’s southern hospitality is the signature ingredient that makes conversation with him, even over the phone, enjoyable.

“I’m one of those people who, when I walk down the street, even if I don’t know you and we somehow make eye-contact, I may greet you with a tip of the hat. I can’t help it,” he explains.

Not only is the Mississippi native navigating the ever changing path of independence, he is also the head of his newfound label, Multi Alumni.

As executive, the rapper oversaw the creative direction, production, and the budget for his third studio album, 4Eva Is a Mighty Long Time. Though the exact amount spent wasn’t disclosed, K.R.I.T. explained how easily a $1 million budget can disappear as quickly as it was allotted: cavalier spending on luxuries such as jewelry or release parties, in addition to the money needed for colorless necessities such as taxes, attorneys fees, marketing and radio promotion.

Read Full Article: HERE

Vibe.com: Mississippi Blues: Big K.R.I.T. Isn’t Stressing Over Radio Hits Anymore

When you’re from the Deep South, trying to maneuver through an industry full of so-called city slickers can be exhausting. It’s not draining in the sense that city folks are far more advanced than rural natives. The taxing energy comes from ignorant questions rooted in stereotypes that city folks ask Southerners. The idea that being “country” equates to backwardness and dim minds can cloud the judgment of hip-hop fans, critics, and even graduate students at some of the world’s top universities.

As a native of Laurel, Mississippi, a town of 20,000 residents, perched just 56 miles south of Meridian, Miss.—the city that birthed 31-year-old rapper, Big K.R.I.T.—a feeling of comforting familiarity fills the space as he and I discuss some of the ridiculous questions about the ‘Sip that come our way. We chuckle over questions like, “What was it like the first time you saw a building?” or “Is it all dirt roads down there?” or “Is it still segregated down there?” Yes, a graduate student at Columbia University really asked me if segregation was still legal in Mississippi. Sadly, Andrew Fulgini argued in his book, Contesting Stereotypes and Creating Identities: Social Categories, Social Identities and Educational Participation, that cultural stereotypes do hinder forward mobility of people of color. Battling preconceived notions of being from Mississippi is a demanding feat for K.R.I.T., and myself, but we can handle it.

K.R.I.T., whose moniker is short for King Remembered In Time, is in the Rotten Apple to promote his new album, 4eva Is A Mighty Long Time. Yes, there are buildings in Meridian, but even so, the “King of the South” rapper has spent ample time in NYC. In fact, his best friend and fellow MC, Smoke DZA, is from Harlem’s infamous 116th Street, so he’s not at all awed by the city’s fast pace and tall buildings. Furthermore, K.R.I.T. has a solid fanbase in this city. He is the topic of discussion on Brooklyn blocks, in Queens barber shops, and in Uptown project hallways, where street critics argue over who’s the best MC and producer: Big K.R.I.T. or J. Cole?

New York’s sweltering summer has faded away like enigmatic stars that disappear into the universe, and the gold-tinged crisp of fall has descended upon the city. On this chilly and breezy Wednesday morning, I’m standing on the bustling intersection of Harlem’s 116th Street and Lenox Ave—the exact corner that once housed the well-known Temple No. 7, where Malcolm X taught during his days as the face of the Nation of Islam—waiting for K.R.I.T. to arrive.

A Secret Service-esque black-on-black suburban pulls up in front of Amy Ruth’s, a local soul food spot, right on time. The equally soulful MC, sporting his neatly trimmed beard, hops out of the SUV donning an all black ensemble of a pair of jeans, t-shirt and denim jacket. Despite the fatigued look on his face hiding behind his tinted frames, K.R.I.T. greets me with a smile and neglects to verbally or physically expose his fatigue. But one gets the idea that if asked, he’d gladly admit that he’s drained, but blessed.

These days, the rapper born Justin Scott is slimmer than he was two years ago. That’s because he’s exercising. He eats healthy sh*t like kale and asparagus, which further blows holes through weak theories about country boys and girls only chopping down on fried chicken, collard greens, pinto beans and cornbread. I mean, we do. But we’re also human, and aspire to be healthy like other humans from up North.

“I don’t want no eggs,” K.R.I.T. says after making our way through the tidy empty restaurant, which had just opened. Ornate hand-drawn portraits of Michael Jackson, Diana Ross, George Washington Carver and other African-Americans icons cover on the walls. “I don’t eat eggs,” K.R.I.T. continues. “[It’s] the smell. I must’ve had a bad experience when I was younger. But you know what? Greens, turnips, I hated them sh*ts growing up.”

I’ve only been with Big K.R.I.T. a few minutes and already, I’m convinced that one of the reasons for his existence is to disrupt the perceived notions people have of Mississippians. The former Meridian High School baseball player lost his virginity in the music game with the release of his mixtapes dubbed, See Me on Top VolI and II, respectively. That was back in 2005. Soon thereafter, the passionate rapper/producer moved to Atlanta to further pursue his dreams of rap stardom. While in the ATL, he made ends meet by selling beats to local and aspiring rappers, and (unsuccessfully) tried to peddle his mixtapes (Jeezy had the city on lock back then.) But K.R.I.T. continued recording music and making beats while sleeping on couches and eating whatever meal he could get his hands on.

Read Full Article: HERE

TuneIn.com: Big K.R.I.T. Talks Spirituality, Chasing Success & More

Big K.R.I.T. sits with TuneIn’s Fireside Chat to discuss his depression, the process of creating this album and his spirituality.

Check it out below!

www.TuneIn.com

XXLMag: 20 Best Lyrics From Big K.R.I.T.’s ‘4eva Is A Mighty Long Time’ Album

Being a hot prospect in rap can be a gift and a curse. Just ask Big K.R.I.T. The Mississippi native, who burst onto the scene in 2010, with his critically acclaimed project, K.R.I.T. Wuz Here, earned early comparisons to southern stalwarts like Scarface and Pimp C, among others. That same year, K.R.I.T. would ink a record deal with Def Jam Records, a signing that would put the MC in the seemingly envious position of being an artist on one of rap’s most storied record labels. However, despite proving himself to be one of the genre’s most gifted songwriters with additional mixtapes like Return of 4eva and 4eva N A Day, when it was time for his major label debut, Live From the Underground, the returns were marginal at best. This left K.R.I.T. in a state of purgatory while many of his contemporaries flourished.

After going back to the drawing board and unleashing his sophomore album, Cadillactica, which also under-performed commercially, Big K.R.I.T. eventually decided to part ways with Def Jam in 2016, and make the transition to being an independent artist. The move would be one that was championed by the rap community, who felt that the major label system may have been more of a disservice to K.R.I.T. His new move also put the anticipation for his next body of work at an all-time high. More than a year later, Big K.R.I.T. has answered the bell, delivering his third studio album, 4eva Is a Mighty Long Time. The LP finds him basking in artistic comfort and heading back to his roots.

With guest appearances from T.I., Lloyd, UGK, CeeLo Green, Sleepy Brown, Joi, Jill Scott, Keyon Harrold, Bilal, Robert Glasper and others, as well as producers like Mannie Fresh, Organized Noize, Terrace Martin, DJ Khalil and K.R.I.T. himself manning the boards, 4eva Is a Mighty Long Time is an explosive return for the southern rhymer and is sure to get fans reacquainted with the artist they originally fell in love with.

XXL sifts through Big K.R.I.T.’s latest album, 4eva Is a Mighty Long Time, and picks out 20 lyrics that are sure to stick with you and serve as food for the soul.

See Full List: HERE

Revolt.tv: Big K.R.I.T. Talks Defeating Depression, Spirituality And Keeping The devil Off


With the double-disc 4eva Is A Mighty Long Time, Big K.R.I.T. has delivered what has been the consensus for the best album of his career, and one of the year’s top creative achievements. It didn’t come easy though: it took leaving his major label deal with Def Jam, time out of the spotlight, and surviving a bout with depression. In a conversation with REVOLT, Big K.R.I.T. talked about the sacredness of creativity, his favorite sub, and how he keeps the devil off.

A standout lyric on the album is on “Price of Fame,” where you say, “Justin Scott trapped as Big K.R.I.T. screaming, ‘It’s really me.’” What made you decide to make this a double album and split it into a Big K.R.I.T. side and a Justin Scott side?

I wanted to tell the duality of my life. This superhero confident lyricist musician Big K.R.I.T., and sometimes how it is when I’m at home and I deal with the insecurities, anxieties, and pressures of life. Just the overall want to be happy, the pursuit, and finding out a way to put that on my album and make it sonically sound, the contrast. You can feel the frustration and the transparency in the music. I always wanted to do a double album. I think I’ve been hinting at it for a while. Even on 4Eva N A Day, the cover, I’m letting you know how I deal with life. I like strip clubs, I don’t want to see my sister in one. Most of the stuff that we enjoy doing isn’t good for us. Then I would have trouble sequencing my albums. I would have a really crunk song, and then a really introspective one. The flow would change, and I didn’t want that this time.

On Twitter, you wrote, “my heart and soul was put into this.” How much did your time away from the spotlight help you craft this album?

Tremendously. I spent two years of really working on it, and going from being on the radar to not being on the radar, to becoming an independent artist, to going broke because I was investing all my money into this album. Then realizing, materialistic things wasn’t making me happy. The success that I saw and I wanted had happened, and I wasn’t comfortable with it or happy with it because I was chasing accolades and what my peers had gotten. Feeling like I deserved something I had never asked for in the first place. That I never set out for in the beginning of my career. When it’s quiet, and you’re not moving, and everything seems to slow down and people aren’t paying attention to you, that’s when it seems like you get to know yourself. I had to get to the bottom of it – that I wasn’t just creating for the purpose of people hearing music anymore. I had to get back to that. I had to become confident in what I was creating. There’s nothing wrong with creative criticism, but it can affect you so personally that it destroys your process, and I couldn’t let that happen anymore. The two years I spent were really getting to know myself, burying that person that was in that darkness, then coming out of that and being able to talk in that manner now, and being happy with how things flow. If this is my last project, I’m good with this. I’m comfortable with this one.

Read Full Article: HERE

Exclaim.ca: Big K.R.I.T. Seeks Happiness on ‘4eva Is a Mighty Long Time’

The Mississippi rapper/beatsmith and “Mt. Olympus” hitmaker is returning with a purpose: “Being happy and giving that back”

Big K.R.I.T. will likely win over throngs of curious new fans with “Keep the Devil Off,” the gospel-infused single from his latest album 4eva Is a Mighty Long Time, his first in three years. Meanwhile the LP’s other recent single, “Confetti,” has enough car references and braggadocio to satiate the Mississippi wordsmith and beatmaker’s longtime fans. And yet, K.R.I.T.’s finest moments on this behemoth 22-track album may very well be found on the subdued deep cut “Layup.”

“I’m excited about that song on a sleeper level,” K.R.I.T. (born Justin Scott) says of the breezy track, whose everyday hood details and aspirational chorus make it a worthy successor to Ice Cube’s “It Was A Good Day,” and OutKast’s “Git Up, Git Out.”

Of the song’s empowering elements, K.R.I.T. says he merely wanted to create a song that says: “Man, you deserve a layup if you’re out here hustlin.’ Go out and give it your all, and I hope you catch a layup, an easy basket, an easy win.”

For K.R.I.T., such lucky breaks came early on. “My grandmother allowed me to make music in her house, even though I was loud and cursed on my vocals, and did other things she frowned upon. Still, she let me be creative and grow as an artist in the kitchen of her home.”

Read Full Article: HERE

RapRadar.com: Cigar Talk w/ Naji Chill & Big K.R.I.T.

Big K.R.I.T. sat down with Rap Radar’s Naji Chill for Cigar Talk to discuss his new album “4eva Is A Mighty Long Time” and more!

K.R.I.T. sat down with me, Naji Chill, for some #CigarTalk and he broke down the album. We spoke on a multitude of topics. Krit breaks down how he got Cee Lo to rap on his album as well as working with Bun B. He explains the difference between being signed to a major label in Def Jam, to now choosing to be independent. He speaks very candidly about facing depression, and how he overcomes it. This was a really good conversation filled with gems, and hopefully you’re inspired.

www.RapRadar.com