Larry June drinks about 35 oranges every morning. Pair that with 15 green juices and some chlorophyll, and you have the diet of a man who seeks the finer things in life. 

"Organic" isn’t just a buzzword for Larry. His countless projects outline the Orange Print to successful living: His clothing brand, Midnight Organic, tags his apparel with words like HEALTHY, ORGANIC, and GOOD JOB!; his song titles spark conversations about the trajectory of humanity; even his lyrics provide keen insight into the daily routines and investment opportunities that have allowed June to flourish as a self-made entrepreneur. 

Larry June’s persistent gratitude and optimism have guided him through the trials and tribulations within hip-hop, and his ‘hoods of Hunter’s Point, San Francisco and Vallejo. You might see him douse a crowd of fans at Rolling Loud with Uncle Larry’s Orange Juice, you might see him working at his SF boba shop, Honeybear, or you might even see him traveling through Mexico City, mesmerized by the architecture. An old-soul camouflaged as the spokesperson for Vitamin C, June has worked for over a decade to solidify his status as the suave gangster with no affinity for rap beef (unless it’s grass-fed and organic).

The Great Escape, Larry's latest album with GRAMMY-nominated producer Alchemist, is a step away from "all the bullsh—" and an invitation into the opulent grand-opening party for their cinematic The Great Escape Ski Resort. Alchemist’s beats score this groovier film-on-wax, adding touches of psychedelic-infused reggae and downtempo, as well as loops from ‘60s-era B-reels. Larry June builds his own world of gang lords and drug deals, referencing Mexican magnate Carlos Slim to discreet calls with his own invented cast of characters. With the fleeting third-person adlib of "Sing it, Larry," our world-rebound protagonist croons words of affirmation throughout the album.

Larry June's immensely positive brand of gangsta rap holds true on The Great Escape, and rappers from around the world lend verses on the opulence of life. Action Bronson appears on "Solid Plan" to discuss the banality of artificial intelligence and Tony Soprano’s sacrifices as a mob boss; Big Sean raps with Larry about their daily chlorophyll drinks and investments commercial real estate on "Palisades, CA"; and even Wiz Khalifa roll ups to relish on the empire June has created. 

But June is far from out of touch with the people. The opening track begins with the rapper battling San Francisco's inclement weather: "Bend a corner, I’m on Hayes Street copping a windbreaker" — a moment anyone visiting the foggy city can relate to. 

Although June spent part of his childhood in Atlanta, his heart has always been in the Bay — from its windswept hills to its hometown rap heroes. Larry June sat down with GRAMMY.com to discuss growing up, doing things differently, how he and the Alchemist concocted The Great Escape.

What was it like to live in Vallejo?

I loved it. It was so different. There were crazy house parties and shit. S— was tight as hell. Big Mac Dre culture. It’s a whole different energy.

Do you have any favorite Mac Dre songs or albums?

Man, I like "Not My Job." I could bust you a rap, I love all Mac Dre’s s—. It’s not even one particular album, his s— is just so different.

Other than Mac Dre, who are some of your favorite old-school Bay Area artists?

RBL Posse, RIP to Jack[a] — legendary, you know what I’m saying, can’t forget J. Stalin, can’t forget E-40, Too $hort, you know, all the classics. B-Legit, Cellski, everybody man, there’s so many I can’t even name all of them. It’s a whole different energy. The world still hasn’t even picked up everything that’s going on. Johnny Ca$h.

Because you mentioned Johnny Ca$h and J. Stalin, did you always have an affinity for artists who also sang a little bit?

That’s crazy you said that. For sure, I think so. J. Stalin’s really my boy, he was making music with me when I was like 16 years old. He’s a good dude, a real entrepreneur, made it out the ‘hood, started a business for himself, all kinds of s—. Legendary. 

Ever since I was a kid, I loved that singing aspect in rapping. You could switch it up, and it doesn't have to be the best singing. 

I saw a quote recently where someone said, "You don’t even have to be a Whitney Houston-level singer, sometimes there's beauty in using your own voice."

It’s an art. It’s natural and it’s coming from the heart. It’s how you sound, so you’re giving the people something that’s yours, versus you’re trying to sound like something and you’re trying to force it to sound perfect. Sometimes those imperfections make you 20x better. 

That’s how I feel about my music – a lot of s— I might want to redo, I might have said a word wrong, but that’s how I say it. I’m going to give it to you the way I would give it to you in real life. I just do it for the motherf—rs who rock with me, that live like me, that understand what I’m talking about. If you don’t understand, hey, it wasn’t for you. [Laughs] Numbers, baby.

What inspired The Great Escape?

Me and Al, we was in the studio vibing, and the album had a real luxurious feeling. From when "Turkish Cotton" comes, it feels like a movie scene. Al was like, "This is like some Robb Report s—." I didn’t know what the Robb Report was, so he showed me and it’s like a magazine with Lamborghinis and nice properties and expensive watches. 

Then, we saw something that said "The Great Escape," and it hit me. I escaped all the bulls—; I’m living very peacefully. I escaped the jealousy, the odds that were against us. What we were going for was more like a spy-feel. "Come to the spot, get your back rubbed, come to the Great Escape Ski Resort."

How did moving to Malibu and getting the place that was shown in the album’s behind-the-scenes documentary build the world of The Great Escape?

I pretty much recorded the majority of the songs at home. I’d come to [Al] and we’d escape from the world, get crazy cribs by the coast. We’d vibe, we’d hear some s— and I’d add little pieces in there. 

I’m inspired by seeing beautiful things, so I have to go to different places to get inspired while making the music. I went to Mexico City to film a portion of the "Spanish" video, and I’m seeing different architecture and eating all these different kinds of foods, seeing different s—. I started getting interested in Barragán lighting; it creates a different type of lighting in houses naturally. [Laughs] I was learning so much, and I was able to teach it to people who didn’t know it through the music. 

It was real natural; nothing was forced. I was just being me and it came out dope, man. I wanted to make sure that I was rapping good enough with the Alchemist on his beats because everybody who works with the Alchemist is amazing. Artists from Roc Marci to Boldy James, Jay Worthy, Curren$y, even go back to Mobb Deep. They set the bar high. Prodigy. 

[Alchemist] was like, "No, you got this s—. Stay in your bag. Don’t think about that, just do you." [Laughs] 

How do you approach a Cardo album (Into The Late Night), versus a Harry Fraud album (Keep Going) versus an Alchemist album?

I’ve built a relationship with these producers where we have our own bag. When Cardo sends me beats, he’s not sending me the beats he sends to Drake or whoever, I’m in our bag and I master that bag with each producer. 

It’s kind of like a superpower for me. I can cut off my Alchemist bag for two months, not even thinking about that bag at all because the Cardo bag was recharging, so I never run out of raps. I live by the motto: If you do the same s—, you get the same results. The key is never losing yourself. I did an album with Alchemist, but I’m not going to turn into Common. [Laughs] 

I was surprised to hear "60 Days" because you’re probably one of the only artists who could get Al to rap. What was that conversation like?

We were really just in the studio vibing. He was jotting down some notes, and I guess he likes to write raps  —  he doesn’t like to be doing nothing. I looked over and I’m like, "You got something for this?" and he was like, "F— it, I got something," and he jumped in there and did it. 

He didn’t want to use the record [on the album], but I love the record. I love the beat by itself. That’s why I didn’t want to rap too long – eight bars, slight hook, eight bars. The beat is so movie scene-ish. He got on there, it worked out, he didn’t want to drop it, we ended up dropping it first.

That’s the magic with this record. Every song is consistently great.

You want to give them variety, man, start soft. I drink 35 oranges as soon as I wake up in the morning.

Wait, 35?

Mhm. I might drink 15 green juices, some chlorophyll; you’ve got to stay healthy inside the body. I might take a jog. I’ll rock 35 miles, for no reason.

When did you realize that this is the lifestyle you’ve got to be chasing?

It made me feel better. I used to be going through some s—, so I use taking a walk or a jog to ease my mind and help me think clearer and see different things. I noticed when I started drinking the juices, it was making me feel better. It’s really those peaceful walks. I’ll walk in the rain 35 miles.

That’s something that’s always drawn me to your music. It’s music that you can listen to and aspire to be like.

It’s raw because I come from a completely different world. My grandma had the candy house in the hood – ICEEs, candy, sodas, making nachos for the 'hood. I’m preaching to my people that you don’t have to do the same thing. 

Go get you something healthy, take a walk. Everything ain’t about sitting in the ‘hood and doing the same s— that we come from, that people know us for. It’s cool to do different s—. I’m just an advocate for that. A lot of inspiration from my dad too because he was the first n— in the 'hood coming out healthy. You’ve got to be thankful for your parents.

On "Turkish Cotton," you even mention"I was just dead broke in 2017." What changed for you?

The cars got faster. My mindset got better. I started experiencing new things and looking at things from a bigger aspect. I always got that fight in me. I’m always hustling and working because I know it can get ugly; I lived it for the majority of my life. I’m new money. I didn’t come from millions of dollars, I didn’t have nothing passed down to me. I’m breaking a cycle for me and hopefully the next generation of kids that are coming up. 

That’s why I talk my s— like, "I bought the ‘Rarri," but I’m also going to let you know that, "N—, I was broke just like you." Anybody can do it if I did it. My mom had me at 15 years old. I wasn’t supposed to be doing what I’m doing now, man. 

That’s why being healthy is so important because if we’re not healthy, we’re not going to be able to do nothing. It first starts with how you feel and what you put in your body when you wake up, if you have negative people around you; you’ve got to be aware of everything if you want to be successful. 

Now, it’s about legacy. You dropped your first project, Cali Grown, in 2010 and look at you now.

[When I dropped] Cali Grown, I was hella into smooth, peaceful beats and started doing what I wanted to do and started developing my voice and creating. I had a vision: being a boss, healthy living, being a player — but it can’t get ugly. I was taking my equipment with me everywhere I was going and practicing. 

What’s dope is that I could have easily deleted all that stuff from the internet, easily, but I left it up there purposefully to show you I was trash. [Laughs] I do it to show my people that if you keep going, you can be great, you just need to believe in it. 

Sock it to 'em, Larry! Now, last but not least, what can happen in 60 days?

In 60 days, a lot can change. If you put time in and really dedicate yourself for 60 days – it can be a week, it can be 30 days, it can be 20 days – if you’re dedicating your time to doing something, it’s going to work. I’ve got a big thing about discipline. A lot can change, for real, you’ve just gotta keep rocking.

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