Duke Deuce Talks “CRUNKSTAR,” Memphis Legends & Origins Of Crunk & Trap Music

Duke Deuce is quintessential to the current state of Memphis’ rap scene. Artists and CEOs like the late Young Dolph, Yo Gotti, and even Moneybagg Yo have helped propel the modern scene on an international level. And while the sounds of Memphis seep through the production and their distinct Southern enunciation, Duke Deuce takes it a step further and practically offers a history lesson with each and every release.

The intro to Duke Nukem plays into old Memphis funk sound while the self-proclaimed King of Crunk’s viral Gangsta Walk has helped revive the local dance scene on an international level. “I’m big on history. Like, I always want to know some sh*t,” he told HNHH on the latest episode of On The Come Up.

Image provided by the artist. Credit: Aaron Ricketts

In many ways, his understanding of the history of his city’s music scene is due to the fact that his father played a significant role in Memphis in the 90s. Duke Nitty produced for acts like Gangsta Blac and Mobb Lyfe while Duke Deuce would frequent the recording sessions with his father.

Three 6 Mafia and 8Ball & MJG were pivotal in shaping Duke Deuce’s love for music but he remains an encyclopedia for everything Memphis-related. Crunk Music, for example, was largely associated with Atlanta over the years, even though Duke Deuce insists its inception began in Memphis.

“Memphis definitely, definitely brought crunk to the industry in the 80s. All of the Buckin and Jookin and sh*t y’all see me doin’, like, none of this sh*t new,” he explained. “Atlanta was more on the booty-shakin’ music and Memphis was on gangsta music. So, most all the ATL legends looked up to the Memphis music culture, especially the ones that were from the streets and in the streets.”

Duke Deuce is on a one-man mission to correct the history books. The same sentiment surrounding crunk actually speaks to a common misconception around trap music, he said.

“We didn’t call it trap music. But all of the Memphis artists, back in the day, was already talking about slanging dope in their music, you know what I’m sayin’?” he added. “That sh*t can easily be skipped because that sh*t’s so old and ain’t nobody really speaking up like for the city, for Memphis. So it’s like, sh*t, everybody just thinks this is it because this is the time we’re in now.”

On the latest episode of On The Come Up, Duke Deuce dives into the history of Crunk Music and Memphis, working with Isaiah Rashad and Rico Nasty, and his forthcoming album, CRUNKSTAR.

WATCH: Duke Deuce’s episode of “On the Come Up”

HNHH: Who is Duke Deuce?

Duke Deuce: Duke Deuce is the Crunk Star, you know what I’m sayin’? Duke Deuce is longevity. Duke Deuce is the King of Crunk. Duke Deuce is the heart of Memphis, for real. The GOAT, the greatest. I don’t even wanna use GOAT no more. I’m tired of GOAT. Everybody saying GOAT. I’m gonna come up with something else. But yes, Duke Deuce is him, fasho.

You come from a historically rich musical background in Memphis. And coming from Black Haven where DJ Paul, Tommy Wright, a lot of legends come from, too. Describe your childhood in Memphis. 

Oh, growing up in Memphis was fun to me, honestly. You know, it ain’t really much to do, like I don’t really have nothing for us to go to. We used to have Liberty Land which is like a fair, almost. They took all that away so, you know, sh*t. I guess, everybody just kind of like found something to do. It was a lot you can get into. Like my granddaddy said, “trouble is easy to get in but hard to get out of,” you feel me? So, for me, I just found my escape route with Gangsta Walkin’. Of course, everybody knows me for that and music, pretty much.

Tell me about Memphis barbecues. 

Yeah. Well, honestly, you want some real barbeque? You gotta go to somebody’s house. Like, yeah, all the little spots — I rock with Top’s Bar-B-Q and all of them spots or whatever. They cool, they bussin’. But if you want some real Memphis barbecue, you go to somebody’s house in the hood. Facts. This where you gon’ get the real experience, fasho.

Do you have any particular memories from those BBQs?

Well, you know, of course, the barbecues bring everybody together for the holidays or whatever. Of course, you gon’ catch some vibes or whatever. You know, family dancing woopty woop woop, but my momma and my daddy, though, when they come to barbecuing — crazy. Like, my mom and pops, they were always separate. Like, it was never a mom-and-daddy-together situation. I was always kind of like boom or boom, you feel me? But my pops got some shit so crazy. He used this goddamn this raw apple juice. It’s raw apple juice and he be spraying the meat with it. Shit crazy, bro. Like, and moms, she got this little thing she do where she like pour something on top of the charcoal to make the grill super smokey. Like, so, that’s some shit I’d never forget.

Speaking of your pops, he’s a legend. I read that he used to bring you into the studio a lot when you were a kid but you were a little bit reluctant to be around that atmosphere. Are there any memories that stand out?

Yeah, there were many moments, bro. Like, all I remember is these tall guys with long hair. Like, back in the day, back in the times, everybody kind of looked like Bone Thugs, and everything was dark. All the music was dark — the style, the look. My pops used to rap — I don’t know what kind of car it was. I think it was an old-school Bonneville, like a box Bonneville. He had the blue lights and the speakers. Like, this is all I can remember. He used to always keep some Dom in his car, for some reason. But you know, we had a lot of moments, though, bro. Like, the 90s was crazy.

Lisa Lake/Getty Images

Your granddad was also in a music group, too, right? 

Yeah, he was a part of the Southern Aires. He used to go on tour and everything.  It was a gospel group, though. They used to go on tour and everything. My grandmama, she was always in the choir. She just sang her ass off. Same thing with my momma — sing her ass off, bro. Like for real, for real. 

Has your daughter already started exploring her musical talents?

Definitely. My daughter be — she’s in piano class and all type of sh*t. She just loves singing. She loves my music. Like, you got to play my music in the car, for real, for real. Or she gon’ tell you to play it. She knows all the lyrics.

What rappers were influential to you growing up?

Of course, my pops n’ em, which he had a group called Madhouse, back in the day. Of course, Three 6. Sh*t, honestly, all the Memphis legends and sh*t. I can’t forget about the ATL legends, too. Lil Jon, Crime Mob, Pastor Troy — all them folks. I came up on all them folks.

Can you elaborate a little bit more on that? I know there’s this misconception that crunk came from Atlanta but it’s something that came from the 80s and the 70s in Memphis. Can you just talk to me about Memphis crunk and how it was adapted in Atlanta?

Yeah, Memphis definitely, definitely brought crunk to the industry in the 80s. All of the Buckin and Jookin and sh*t y’all see me doin’, like, none of this sh*t new. All this sh*t came from the Crunk era, the Get Buck era, Gangsta Walkin in the club, tear the club up. Sh*t’s been around.

“Memphis definitely, definitely brought crunk to the industry in the 80s.”

How does that make its way over to Atlanta?

Well, Atlanta actually listens to Memphis music, you know what I’m sayin’? Because I think, back in the days if I’m not mistaken, Atlanta was more on the booty-shakin’ music and Memphis was on gangsta music. So, most all the ATL legends looked up to the Memphis music culture, especially the ones that were from the streets and in the streets. Like, Gucci Mane, you know what I’m sayin’? All these people — you can go look it up for yourself and they gon’ tell you, like, we listen to Memphis music. Like, we had the most gutter-est music. So, it’s pretty much everybody else in the South, pretty much. Everybody love them Memphis music. 

“Atlanta actually listens to Memphis music, you know what I’m sayin’? Because I think, back in the days if I’m not mistaken, Atlanta was more on the booty-shakin’ music and Memphis was on gangsta music. So, most all the ATL legends looked up to the Memphis music culture, especially the ones that were from the streets and in the streets.”

What was your first job? Like your first hustle, your first job before rap took off for you?

Sh*t, before rap… Sh*t, I don’t even remember, bro. Like, I was at a f*cking, like a warehouse or some sh*t. I worked at a warehouse. I forgot the name of it though. I don’t know but that was like distributing medicine and some sh*t like that. I went through like a temp agency or some sh*t.

Did that job last a long time?

Look, no job lasts a long time. I could never keep a job, bro, like, that wasn’t for me. My head was always somewhere else. I couldn’t never keep a job. That’s how I knew that this sh*t wasn’t for me. Like, it was over it.

What was the point where music had to happen for you?

Sh*t, once I had my baby, Ocean. Once I had her, sh*t hit hard, bro. Like, I was going through a lot around that time. I was down bad, for real, for real. When Ocean came, like she started coming or whatever, we were in an apartment with no lights, at the time. We had candles in that mothafucka. That sh*t was crazy. And now, sh*t, we here. I’m actually finna go into partnership with my daughter on Crunk Star Kids merch. I’m coming out with this Crunk Star Kids merch, she’s gonna be the face of it.

It’s pretty much for like just some outside of music type sh*t. But, also it promotes the album coming up or whatever. 

What do you think the biggest misconception about crunk music is?

I mean, sh*t, everybody pretty much thinks it comes from Atlanta. That’s pretty much it. Memphis didn’t really get the flowers for that. Until now.

Do you see that public opinion starting to switch and people start to give Memphis their flowers now that you’re doing 

Yeah, facts. Most definitely. 

How’s that make you feel? Especially being one of the few, if not the only, prominent artist out of Memphis right now who is really bringing on that legendary sound into a new generation?

I mean, sh*t. Mission accomplished, bro. It’s time to keep rolling. We finna get even crazier with it. Just wait.

The intro to Duke Nukem has this real old-school Memphis feel to it. But when you listen to both the Memphis Massacres, you come out the gate swinging over hard-hitting production. What was the decision to open up this project compared to the last two?

Pretty much, I didn’t want this one, or the last tape to sound exactly like the other one coming in. I want to, you know, put a little versatility in it. Put another Memphis sound in the front that people forgot about, which is the funk. The funk Memphis sound. The pimpin’ sh*t. That gangsta pimpin’ sh*t that’s in my crunk vibes.

Image provided by the artist. Photo credit: Cam Kirk

Because that all comes from DJ Spanish Fly, if I’m not mistaken?

Well, as far as the dark style, I want to say DJ Spanish Fly, fasho. But from what I know, I’m not sure if I’m correct, but MJG, 8Ball was more on that funk. And Playa Fly, on that funk shit. The heavy bass guitar in the background with a funky-ass beat.

That must’ve been heavily playing in your house when you were a kid. 

Yeah, pretty much. Yeah, a lot of this trap sh*t, that’s some Memphis sh*t, too.

Do you think that’s another misconception about Memphis?

Like, we didn’t call it trap music. But all of the Memphis artists, back in the day, was already talking about slanging dope in their music, you know what I’m sayin’? This sh*t old. This shit old as hell to me.

How did you feel when Atlanta trap legends were arguing about who the king of the genre is since a lot of these influences came from Memphis, in the first place? 

Right, but, you know I’m saying, it is what it is. They came out, they doin’ they thing now. So, it’s like, that sh*t can easily be skipped because that sh*t’s so old and ain’t nobody really speaking up like for the city, for Memphis. So it’s like, sh*t, everybody just thinks this is it because this is the time we’re in now. But me, I’m big on history. Like I always want to know some sh*t, you feel me.

You’ve clocked tracks with a bunch of OGs from the city. Have you heard from any of the OGs from Black Haven since your popularity grew?

Definitely. Like all the OGs, I talk to all the OGs. From Tela, Project Pat — all them folks. And it’s love.

So just wanted to talk a little bit about Duke Nukem. What was your decision to kind of bring these artists on board and bring them into your world? The project includes appearances from A$AP Ferg, Latto, and Offset. The most interesting part of the album itself was that your sound was completely uncompromised and all of your collaborators had to enter your atmosphere. 

Yeah, I mean a lot of things just kind of pretty much just fell in my lap. Like just from Instagram. I think Ferg just followed me on Instagram and boom, I got Ferg. We collab’d in LA and sh*t. Everybody else, sh*t, I don’t know. It just kind of naturally happened, I don’t quite remember all the details because the time is going so fast, bro.

For Offset, how did he choose the joint that he hopped on? 

Me and my homeboys, we went over to his house or whatever. He want to hear what my partner Ayoza had. Like, what kind of beats and sh*t he had or whatever. Boom, he was going through some beats, Offset picked a beat. Sh*t, he just started snapping on that mothafucka. I came behind him and just finished up.

That’s dope, do you write or are you just one of those guys that freestyle in the booth?

Yeah, I just punch in.

How do you find that process in comparison to writing?

I mean, I like it better because I don’t feel like writing. I don’t feel like actually sitting down, writing some sh*t. It’s a lot quicker for me to just hop in the booth and just say the first thing that comes to my head.

And just with that process, how many songs are you able to knock out in a session?

Just really depending on — it just depends on me. I did at least four or five songs in the session, just goin’ in sh*t.

I wanted to just dive into the Ferg collaboration. I know you said it was like off of an Instagram follow, but just talk to me about catching the energy with Ferg? Especially since he’s from another coast but still really savvy to your sound. 

Yeah, like what you said, that let you know it was stupid easy. It was just an instant vibe. Like, sh*t, me and him linked up. Boom, boom, boom. Chopped it up, went straight into the studio. [Snaps finger] Just got straight to it, it was easy. Since we are already on that same type of — we low key almost on the same sh*t. He’s a real anthem music-type of person. I am, too. So it was like perfect.

Do you ever think you guys would lock in to do a collaborative EP or something like that? Has it even been discussed before?

No, it hasn’t been discussed but I don’t think he’ll turn it down, though. Like, me and him real cool.

Another collaboration I wanted to talk about was with Isaiah Rashad. That one completely threw me for a loop. I was really curious about how it would sound. How did that collaboration come about?

Pee had hit me up and was like Top Dawg artists — some of the people over the label is in Atlanta. And he was like, ‘I’m finna go to the studio or whatever where they at. I need you to come.’ I was like, ‘Bet, I’mma pull up.’ So keep in mind, I ain’t even gonna lie, I didn’t even know who he was at the moment. I didn’t know who Isaiah Rashad was at the moment. So we went up in there, he pulled that damn song up. I was like, ‘Oh my God!’  Like he pulled out the right sh*t. So I went in there and knocked that mothafucka out in no time, like quick. And the whole studio was rocking. I added them stomps up in there, put my own little twists on it. I had the triple M in the background and sh*t. 

How often do collaborations like that come about where it’s kind of like you’re not necessarily familiar with the other person’s work but it just ends up being the right track?

That sh*t happen a lot.

Can you give me an example of another track that we haven’t discussed where that happened?

The Ferg one pretty much. But I think we just when we both just went straight in. See, Isaiah Rashad already had that song ready. So, I just hopped on that one but I can’t think of another one right now.

I know you mentioned that QC reached out to you first before any of the local labels like CMG and the Paper Route. But I also remember you mentioning that like both, I think it was P and Offset were both telling you like, you kind of just need to go through the motions of being an artist and establish yourself from the ground up. But outside of that, what’s the best advice they’ve given you in terms of your career?

Sh*t, the best advice they ever gave me was to keep going. Don’t stop, keep going. They both tell me that sh*t. That sh*t has been working for me ever since. ‘Cause sometimes, you know, the rap game, sh*t can get a little frustrating and get hard. Be feeling like sh*t just not moving the way it should be. Then, sh*t, next thing you know, one of them songs pop. You be like, ‘Damn!’ That sh*t make you feel good. So just keep going.

Was “Crunk Aint Dead” one of those types of joints? Because it felt inescapable in 2020.

Definitely was one of those. Crunk Ain’t Dead definitely was one of those. And I lowkey knew that it was gonna do what it did. was because I don’t know, the energy that I felt when I was recording that track was crazy. 

Why do you think everybody has their eyes on Memphis right now?

Mainly, because — I want to say, because of social media now. See, Memphis, we could never really blow like that because we couldn’t. We wouldn’t ever stick together. So social media, you don’t really need all of those. You don’t really need to stay together no more. It would be powerful. We will be a lot powerful if we did come together still, to this day, but with social media, sh*t, it is what it is. Mothafuckas gon’ discover you on their own now. So, it’s a lot easier and it shows that Memphis got hella talent in the city. Bro, it’s so much talent in Memphis. Sh*t crazy.

Let’s dive into the history of the Gangsta Walk real quick. Because I know you said your first introduction to it was your dad’s friend playing music from a jukebox down the street with headphones on and doing the Gangsta Walk. 

Yeah, it was my uncle’s partner, Lil Nike. Me and my granddaddy and my uncle were outside or whatever. I don’t know what we were doing but we were out there talking. And Lil Nike came around the corner and he was in the middle of the street with headphones on a CD player and he was just going crazy. He was walking as he was doing this shit. Like, he was gliding down the street but like, he was floatin’, bro. Just bustin’ crazy moves. That’s when I was like, ‘You know what? I’m gonna have to do this sh*t.’ So I started going over to his house, trying to learn and he was teaching me and sh*t.

The Gangsta Walk like if I’m not mistaken — between that and Buckin — it kind of all evolved into what we know now as Jookin, right? Can you tell me a little bit more about just that dance in the city and what it means to the culture?

Oh, well it’s a very cultural dance. I think it plays a part in the Crunk movement, especially back in the old days. The Get Buck movement or whatever. And it’s important to a lot of people and is not important to some people. It’s just what it is, but it’s known from the city. It’s known from Memphis. It’s like our Crip walk, almost, you feel me.

How does the new generation gravitate towards these regional dance moves? Obviously, you’ve shed a massive spotlight on a national audience by incorporating the Gangsta Walk into your social media and your music. I’ve seen a few national dance battles take place in Memphis. With social media, are there more kids who are showing interest in it?

Definitely, bro. And I’m gonna tell you like when I was growing, when we was coming up and we was going to the battles and sh*t like that, the little jookin battles and sh*t, they was live as hell. But now, the crowd is so much bigger, bro. Like, I feel like me and a lot of other legends — we the reason why. I feel like I’m a big reason why because I’m an artist and I’m putting it on a little stronger, in a different way, you feel me? I’m more like, on a worldwide type sh*t, you feel me? The last time I went to one — bro, I’m talking about there was so many people that I was like, ‘Damn, this what this sh*t became now?’ The whole world doin’ this sh*t now. This shit overseas, everywhere. Everybody doin ‘em. 

How do you see that starting to impact the globe? Having traveled outside of Memphis and across the globe, what’s your reaction seeing this homegrown movement start taking over across the world?

Right. It is crazy, especially when you see people in Tokyo and Korea, and Russia. Like, everywhere. They doing this sh*t and they know the history behind it. They know where it comes from.

For sure just one last question about dancing. Offset seemed a little bit reluctant to get into his dancing bag before but I’ve seen that you’ve been able to kind of get him out of his comfort zone. Who do you think would win in a dance battle between you and him?

[No hesitation] Me. Obviously me. Stop playing, man. Stop playing. I’d tear his ass up. He knows that. He gon try to hit out on all them lil’ neck moves and shit. I’m coming with straight footwork. 

Have you guys ever had that discussion about doing a QC dance battle?

No.

Crunkstar is on the way, you just dropped “WTF!” as the first single. Tell me why that was the one to set the tone.

I mean, I feel like it was just the right energy. The right vibe. Crunk. But also, it’s got a different feel to it ‘cause of the beat or whatever. Shoutout to oldhauntie. And also, it highlights my adlibs and I felt like it was time to do that.

You’ve mentioned this being your crunkest album to date. But you also said that it’ll showcase your versatility way more than previous efforts. Tell me a little bit about that. 

Pretty much I’m diving on into the crunk rock, you know? That crunk rock vibe, you feel me. Like get in some real rock vibes and sh*t. Singing, all that sh*t. I ain’t holding back. See, I’ve been trying to hold back on ‘em with these last albums or whatever, but this one, this sh*t here finna be crazy, bro. Like, y’all not gonna expect this outta me.

Did you grow up listening to a lot of rock music?

Hell yeah! Especially Linkin Park, Korn. Love them folks. 

You debuted the project’s title track at Rolling Loud with Rico Nasty, who’s almost like a modern-day Joan Jett. What was it like working with her on the record and finding a perfect middle ground between what you’re striving to do and keeping the crunk spirit alive?

Shits crazy, bro. ‘Cause I always loved her music, bro. I forgot the joint I heard from her. “Don’t hide, I can always come and find ya.” She had the plaid pants on and shit. She went hard. I was like, ‘Who the f*ck is this?’ I always wanted to work with her so to finally get that done, bruh. Mane, just checked this shit off like yeah, I got this shit out the way.

Did you two record the song together?

Naw, naw. F*ckin with this COVID sh*t, around this time, it was a little hard. And plus, I was moving around a lot and she was too. So, I just had to send her the record and she sent them off back in no time. 

What was your reaction to the reception of the record?

This sh*t was crunk as f*ck, bro. Like, honestly bro, like I ain’t gon’ lie, I really felt this sh*t in my heart when this sh*t happened. Like bro, I’m seeing people crowd-surfing, moshing. I was like, this is exactly what I want. That’s what I was looking for and I got it, bro. We got it, you feel me? So shout out to Rico, for real. She came out there and rocked that b*tch. 

I’m sure you didn’t get to play “Crunk Ain’t Dead” live as much before Rolling Loud because the pandemic hit right after the song dropped. How do you feel your live performance game has leveled up since before the pandemic?

I think Rolling Loud, I think it brought something else out of me. I never performed like that before. Like, it brought the real rockstar outta me, for real, for real. after the show, my n***a’s like, ‘Damn, n***a. You straight? N***a, you was going crazy out there.’ Like, I’m yelling and sh*t, screaming. Bro, that shit felt good.

Will we be seeing you crowd-surf on your tour?

Man, you know I can’t do that. They gon’ move. They gon’ move out my way, man. I’m too big for that sh*t but, I’m actually in the gym now. So, let me go and put that out there: Duke Deuce’s been in the motherf*cking gym. I’m tryna knock some of this sh*t off.

What got you into the gym and how’s that journey been for you?

See, I had caught COVID, right? So I caught COVID. This sh*t was bad, bro. Like, I had never felt like that in my life, bro. Like, that was the worst shit ever. Out-of-body experiences and all. Like, really f*cked up. But I had lost like 30 pounds in the hospital. I don’t know. I guess something clicked in me like, damn, I actually want to lose weight. I was starting to pick it back up as I started to feel better. I’m like damn I actually want to knock this shit off so I can really go crazy on stage like how I want to.  And really bring my dancing to a whole other level. So you know, that’s kind of what inspired me to go ahead and just knock this sh*t off. Sh*t been fun, though.

“I caught COVID. This sh*t was bad, bro. Like, I had never felt like that in my life, bro. Like, that was the worst shit ever. Out-of-body experiences and all.”

After this album, where do you want to go sonically?

Man, bro, I’m trying to be on some real concert-like, rock concert type sh*t. I ain’t gonna lie, I was looking at some Machine Gun Kelly page and I saw one of his concerts. Bro, I watched that video so many times. I seen the flames and sh*t and how the crowd was, and how he was. I was like, yeah, that’s how I want to be right there but I want to be bigger, for real, for real. And I will be.

Are there any other genres that you’d ever want to explore outside of what you’re doing right now?

Oh, yeah, yeah. Sh*t, I want to get into pop, too. Pop, reggae — I like all this shit, bro. I don’t discriminate.

You got a weed strain on the way, right?

Yeah, yeah, yeah. Yeah, we’re still working on it though.

We had to like, get some sh*t situated ‘cause, honestly, I’m under new management now.  Cortez Bryant is my manager now. I’m growing, you feel me, so sh*t rockin a lot harder now. Shout out to bro, I love him to death. Good dude and we finna get this sh*t going so we gonna come back to the weed strain, you feel me?

Are you someone who consumes a lot of weed?

I don’t really smoke like that bruh. I used to in high school and sh*t like that, coming up, smoking all the time but sh*t, I don’t know, bro. I just want to, you know, supply it. 

I heard you were working with “Freeway” Rick Ross on that if I’m not mistaken. How does that connection come about?

Well, I talk to Cece. Cece — they partners, they do a lot of shit together. She told me that she’s been trying to reach out to me. But she ended up connecting with my old manager to get to me or whatever and everything kind of went through him.

Is there a name for the strain yet?

Duke Skywalker. Yeah, that’s why I made the song. Everything connects. That’s why I made the song.

I hear that you’re a big fan of cognac in the studio, and you’re also trying to launch your own cognac line.

Well, it’s pretty much like a goal for me to launch my own cognac brand or whatever. Whether it’s through Martell or whoever. But I was always big on the Martell, especially Blue Swift. So it just depends really.

What about the acting side? You’re trying to make a cartoon and dive deeper into acting a little bit. Have you done any sort of acting in the past?

I mean, yeah. Little sh*t at the house. Me and my cousin used to record us doing stupid shit, bro. If you think about it, I do a little acting like on TikTok and sh*t. Little funny *ss sh*t. When I was acting like I was a little kid, you know. Little kids will say anything, they say the worst sh*t at the wrong time and cut a cartwheel or some sh*t and still be playing. So, I definitely want to get into acting for real. Maybe some practice or something, but hey, no telling what the future holds. 

It sounds like you aren’t letting any door close on you. Where does that mentality come from?

I want to say I feel like when you are flexible, it’s like nothing can stop you. Like, say, for instance, you just stick to trap music, right? And it’s not working for you. Or it’s doing okay for you but it ain’t really bringing you no money. The whole time you damn near cold as f*ck doing rock. You get into rock and be super successful. You make the most f*cking money you ever made in your life. That’s why I’ll never want to have no closed doors around. I wanna make sure everything open.

For sure, so yeah we touched on pretty much everything so the second last question I have for you is what do you hope to accomplish before the year comes to an end?

Pretty much before the year, I hope I drop my album which I know I am. It’ll be the best album and everybody understand it. Everybody takes that mothafucka and be like, ‘Okay, this is it.’

Do you have any final words for the fans?

Oh, I love y’all. Naw, for real, though, I love y’all. New merch already out. Y’all can go get these right now. These the Memphis Duke Deuce 901s joints. I would turn around and show you the back. But yeah, that sh*t already out, new merch on the way. That sh*t rocking and rolling man.