Vic Mensa’s ‘The Autobiography’ Paints A Poignant Portrait Of An Artist In Progress

Hip-Hop Editor
08.01.17

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Before there was Chance The Rapper, there was Vic Mensa.

While Chance and Vic both came under the wing of Kanye West, and have similar tales of succumbing to the pitfalls of sudden fame and wealth, Chance emerged all the brighter for his time spent in the crucible, releasing Coloring Book to mass acclaim (and eventual, inevitable backlash). However, Vic languished on a label that couldn’t seem to figure out what to do with him, dropping a series of EPs and mixtapes that didn’t seem to go anywhere, and ended up in a downward spiral of legal issues and personal crises, even coming to seemingly resent his one-time friend and musical partner. Thankfully, it seems he’s finally shaken off the depression and addiction that had almost taken him and his musical brother off the path to stardom to create The Autobiography, on which he details the trials that tested his resolve, pushed him to the edge, and forged him into a stronger musician and person.

Vic was the original Chicago wiz kid, by way of teenage blues/rock band Kids These Days. Forming in 2009 with members Liam Cunningham, Macie Stewart, Lane Beckstrom, Greg Landfair, Nico Segal (aka Donnie Trumpet), J.P. Floyd, and Rajiv Halim, the Kids stunned with a mashup garage rock fusion that sounded like if Jay-Z had made Collision Course with The Black Keys instead of Linkin Park, and it came with a smooth shot of Coltrane laid on top. Unfortunately, the band dissolved in 2013, right around the same time Chance dropped Acid Rap and began his ascent into rap’s stratosphere. Meanwhile, Vic’s Innanetape barely made a splash, and his career began to sputter.

The Autobiography is aptly titled; from its opening tracks, Vic details the ups, downs, crises, and successes of his life so far — as well as their effects on his psyche. “Memories On 47th St.” is the most straightforward of these efforts, as Vic launches into a pair of narratives of formative experiences: The first time he encountered racial profiling from the police, and his first time getting high with classmates who may not have had his best interests at heart. “Rollin’ Like A Stoner” extends this into its natural end: Vic’s eventual addiction to pills and alcohol as he tried and failed to escape his problems instead of coping.

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