. “I get a lot of ideas listening to them,” he says of the latter. “From the heaviness of their guitars and their melodies.“
He learned how to rap from Drake’s vulnerability and Kendrick Lamar’s empathy, but also from the technical skill of more local acts. “Atlanta wasn’t known for lyricism outside for certain artists,” says Mason. “It was more club, trap, and street shit. But Bankroll Fresh was club, trap, and street, Peewee Longway too, but the physicality of their rap is intricate.
Kenny Mason’s Atlanta experience was a transient one, making him an introverted observer of the beauty and danger in everything. He spent his childhood in a close knit Black community in Southwest Atlanta that rallied around youth sports. When he was ten, his grandmother — his primary caregiver — died, and he bounced around the homes of different family members in the metro area until high school. “Girls tell me I have a certain level of detachment,” he says, attributing it to the instability.
“I had patnas skipping school to do hot shit. I was skipping school to record,” says Mason. At 14, he had decided to make a career out of rapping, inspired by an interview in whichsaid he committed to music at the same age. Though he raps vividly of the misdeeds and misfortunes that peppered his environment, Kenny talks about the darker sides of the city where he was raised with coded restraint. “I’m not looking at anyone different; the circumstances were different.
“Hoodrats” is how society looks at Black people — it’s always dangerous, it’s negative, it’s violent. I want to put these things next to each other, not to show that they’re separate, but to show to that they’re one thing. These people are beautiful and they are angels, depending on your perspective; the perspective you choose to have.with a continuation of that concept, rather than a brand new one?sessions are on. I try to make songs at a high volume and just pick the best.
Source: Entertainment Trends (entertainmenttrends.net)
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