Lousy Brown | TripleHQ Exclusive Interview | @lousybrown |


Lousy BrownDescribe the typical Lousy Brown fan.

People that want to see a dude rap when they come to a show.    

You have roots throughout different areas of the South. Which part of the South do you feel the closest? How do you think that has affected your music?

I’ve met some cool ass people and I have a lot of love for everywhere I’ve been. South Mississippi and New Orleans are always familiar since I grew up down there. I haven’t been to Savannah in a minute but my time there was special. I’ve been talking with my homie there and I’m trying to go back to visit and hopefully perform asap. I’ve been in the A over 8 years and I think we’re cool for the time being. I dig Atlanta and Atlanta seems to be tolerating me. The creative scene is dope and bigger than it gets credit for. More and more, we’re getting our seasoning in the mix.  

In terms of influences, I came up on my fair share of southern rap but we were into all types of shit in South Mississippi. I had an eclectic taste in music from the jump and it only expanded as I grew. I feel like music, in general, was mad important back then for your own personal style and how you connected with other people. I’d be on NIN one week and Ween another and J5 another, etc. Hip hop was my shit though. When it comes to creativity, I’ve always been kind of a misfit. I feel like being a creative that challenges the status quo is tough, especially in the south. I’ve developed a DIY mentality out of necessity. There ain’t footprints from where I’ve been that lead to where I’m trying to go.

What do you think the old school can learn from the new school and vice versa?

I’m just gonna speak for myself: I can always learn something from older heads. On the flip, it’s hard to listen to a teacher that I don’t identify with. I was watching a documentary on Lemmy Kilmister and they asked him what music he had been into recently. He responded by saying something like—the stuff that blew his hair back when he was a certain, formative age, is the stuff he still preferred as an older dude—The Beatles, Little Richard, etc. He implied that it was probably like that for a lot of people. I dig a lot of new music and I’m glad my curiosity and love for music haven’t wavered. But I pick up what Lemmy was putting down all the same.  

How was your experience in Dope Sandwich?

It was real cool. I’ll always be thankful I got to be a part of that. It gave me my first taste of performing live shows and it’s when I put my first project together. I learned a lot being around like-minded creatives like that. Everybody brought their own different styles and skills to the table and rocked out.  

What’s your favorite verse in hiphop history and why?

I really don’t think I have an all-time favorite verse. But I can remember where I was when I heard some songs for the first time. A few that come to mind: Mos Def’s verse on Redefinition. Because go listen to it. Dead Prez, both Sticman’s and M-1’s verses on Hip Hop. The last verse of Hell Yeah is super hard, too. I know we’re supposed to just be talking verses, but Let’s Get Free is worth mentioning because it’s a powerful project. Lyrics Born on Do That There. Because it’s not super serious and it’s rhyme calisthenics. Young Bleed on Give and Take. I think he’s doing his thing with Strange Music now but I always felt like Young Bleed was mad slept on. I feel like Nas, Ghostface, and Aesop Rock are some of the best painter-emcees—I visualize some of their songs more like layers of an image than a linear story.