good. Everything's cool.
you been up to lately?
around. You probably heard me and didn't know it was me. I did some side
projects. I did the John Cena album and I did some video games. I've been
staying active in the studio. That's the place where it all happens. You
get out in the streets and live your life and come in here and detail
it out. You put your life in music. I've been in here working on the American
Black Man album.
well. I recorded somewhere close to 180 songs, maybe 190 songs, over the
last year, just trying to find a different angle. I never stop recording.
I go out, I do what I do, and I come in here. Unlike most people, I own
a full-blown studio. I don't rent studios and this isn't a rinky-dink
studio. I wanted to build a place where I could record my records and
master them as well. I go hard. I record every day.
you compare the joints we've heard from your Street Triumph mixtape to
what's on the album?
stuff has a lot of my new flows. A lot of the stuff you're hearing now
was done throughout my career. Some of those flows are dated. It shows
my growth and evolution in the game. Some of the stuff where I go hard
in my lyrics, I was doing it because there were fans who liked me to rhyme
hard. Some fans don't like me to. It's good for me to hear the feedback
and everyone can't like everything. If everything is one-sided, then it's
you going to drop the Street Triumph mixtape?
out around July 20. I'm going to drop it in July.
line from "Gangsta Boogie" is when you said "I've never
let the rap game prostitute me." How deep is that to you?
is, if you're not willing to sacrifice some of your time, some of your
energy, some of your strength, and some of your creative thoughts to making
yourself better, than you're not really doing what we call artistry. My
first experience with the majors was not a good one for me and I refuse
to relive that. I dedicated myself to putting that out and not living
that life. You don't talk what you don't live because that's fake. I wanted
to do my own distribution deals and everything else. Not everyone is built
for that fight. I'd rather have the dignity and honor of not sending someone
else's kids to college while mine are stuck in the hood when they grow
up. I didn't want to do that. I wanted to really live my life like I make
my music, and that's hardcore and raw.
ever be too hardcore for this industry?
No. I do
it for the love of hip-hop. The problem is you have a bunch of dick-riders
who hear somebody's record and they ride that shit until the wheels fall
off and then they jump on someone else's bandwagon. You have fans who
only like what's hot at the moment. I have fans who ride with me whether
I have a record out of not. I drop a record whenever I want. Not a lot
of people can do that, but I can do that. When I'm ready to come back
to work, I come back to work. I get to spend time with my family and do
what I want. All of my hiatuses are at my own discretion. A lot of people
say they're ballers and bosses, but they're hustling for a big corporation.
I have lawyers I can call at home and when I go to the bank, I go to meet
the president because I want to know who I'm dealing with. All these other
clowns, they want what I call "nigga pennies" which is small
money. To me, they're disrespectful not only to themselves but to the
artistry of hip-hop as well. The only thing they're thinking about his
how fast they can make a video and get on TV. The same stores that sell
records from Sony and BMG, my records are in the same store. They may
be harder to find, but the people who are my true fans find them.
consider yourself an MC instead of other dudes who liken themselves to
"a hustler who raps" and titles of that nature. How do you feel
about these "hustlers"?
I think it's
funny. I laugh. When I'm making records, there's a part of my life that
makes me a hustler. What makes me a hustler is I know how to get up and
get what I need for my family. If I tell somebody I will punch their face
into their body, I'm being an MC, but when I punch your face off your
body, I'm doing it as a man with a big-ass fist. I'm a real dude. A lot
of these guys are like the George Jetson dinner. You put a pea on a plate
and pour water on it and that's dinner. These guys are crafted from other
people's lives. The bad part is when you call a coward a coward, it makes
him brave. He wants to prove he's not a coward and he'll want to do something
to prove he's not a coward. I listen to all that hustler shit and these
niggas aren't hustlers. I haven't seen an active crack block in a long
beat the crack-rap to death. Should everyone move on from the crack?
It's disgusting. In my eyes, I think Jay-Z is a dope rapper. I think Jay-Z
is talented as a motherfucker, man. But right now, I think Jay-Z is acting
like his father is Thirsting Howell the Third. He's acting like a rich-ass
white boy whose family has $800 billion dollars. He's not in touch with
people. A lot of people are going to say this behind his back, but I don't
care because I don't see me getting any money with the motherfucker. There
are a lot of people I know who say Jay-Z fronted on him. I tried to reach
out to Jay once or twice, and I know he doesn't want to sit down with
me on some business. As far as I'm concerned, Jay doesn't even really
represent the streets. He represents it from a rap level. He's in a high-rise
doing his thing. If he came from Marcy projects, like I believe he did,
then he needs to go back and kick it with some of the young rappers. He's
on that snob shit. We've heard all those crack records. How many more
can we have? He's a dope MC and he rhymes his ass off, but I think he
needs to stretch his subject matter out a little more and keep selling
good records. All that businessman corporate bullshit, and that's all
good, but remember you have a lot of people who came up with you and you
can't let them sink because you have a lot of money and a so-called position.
lost his hip-hop roots?
I don't think
he lost them, but I don't think he really cares to stay in touch with
them. I think Jay-Z is a very good businessman. He's sharp. There's a
certain way you act with people when you front on niggas who helped you
get up to the top like that, then that's when you become a shitbag. It
is what it is.
talked to Jaz-O, he said Jay-Z has a lot of yes-men around him. Who do
you keep around you for feedback and support?
I got guys
around me. Some of these guys, I grew up with. I got guys like my man
Kap. Me and Kap were in pre-kindergarten together. He's still around me.
He knows every rhyme I ever wrote. Sometimes before I go on stage, I forget
my song order. He's like my human computer. He knows every rhyme I ever
wrote in my life. My man Rocky is still with me. We were running around
in the streets doing all crazy things. These are true friends. They don't
hang out with me because they feel they can make a few dollars. All that
stuff will happen regardless. I try to minimize my people because a man
can't get rich with an army. You have to make sure your soldiers are strong
and honest with you. Imagine if the President of the United States rolled
around with a lot of yes-men. It would be a disaster.
scared to be honest today?
Yes. I think
that's a big part of the problem. There's no unity, I speak for New York,
but there's no unity between rappers up here. There's smiling in your
face and tight handshakes and Blackberry's and T-Mobile's and all that
bullshit, but at the end of the day, no one gives a fuck about the next
man. It's always drama. The only time they want to latch on to you is
to make them richer or to feel more important. Half of these guys don't
even have the courage to kick it to a woman, but now that they're in the
music business, they can. You can put the make-up on and do the grinning
and the skinning, but when you stand in the face of a real motherfucker,
they're seen as the three-dollar bills they are. They're not honest. You
have to be honest and be a real motherfucking man or women. A lot of the
stuff they do, they can do on their own if they would just man up.
about culture and doing something in your own way. There's no way in hell
that New York rappers should be hopping on dirty south music. I think
dirty south music is hot when dirty south guys do it, but to hear a New
York rapper does it with no ability and he's slanging his words like southern
rappers, they have everybody hopping on their dick because the dirty south
is popping now. That's the same thing that happened when Dr. Dre was hot
out west. That's the biggest detriment to the game today. The hardest
thing in the world is for these clown-ass motherfuckers to be themselves,
man. It's disgusting.
a lack of talent, bad advice, or are they just after the dollar?
what it is? Hip-hop became a hustle. The labels started giving bigger
rewards for less talent. When people started getting all these different
awards and Grammy's for people who have less talent, the people who come
up behind the less-talented, they're going to think that level of talent
is the max. Singers aren't real singers anymore and MC's aren't real MC's
anymore. One thing I've never been is a hater. There are quality singers
out here. But you have to do things under the right pretenses. Everybody
wants to entertain the children. You have a guy like Brian McKnight who
doesn't know what the fuck to say to the young girls, so he doesn't have
a record out on the radio because he doesn't have a record for who the
record labels are targeting. The whole rap audience is not between 16
and 21. You have people who grew up in hip-hop who are 35 and have real
jobs and they buy records. If these guys were smart, they would cater
to their audience. You have guys busting their ass and a 16 year-old or
some college graduate straight out of Harvard who has never understood
the concept of groundbreaking hip-hop or R&B telling you something's
not hot. That's not real to me.
you want the new generation as fans?
I never turn
down people as fans. I think having any types of fans is good. I'm not
knocking the youth. I think they're keeping things fresh and new. My thing
is just because it's not new, don't isolate it. You have cats like Big
Daddy Kane and guys like that who still have a level of talent. It's not
the fans that's the problem. It's the hypnotizers of the fans who's the
problem. I have a lot of 15 or 16 year-olds as fans. If you have one rebellious
bone in your body, you would like me. There are people who don't like
it and that's fine, as long as they stay respectful. You always get people
who don't know, and if somebody doesn't know, they just don't know. Reintroducing
myself or getting in a situation where I can do a song how I want to and
put it out how I want to on my own pretenses, that's the glory of being
independent. I learned that from Showbiz and Lord Finesse. I can't disrespect
what I've been taught by my peers. It's just about making good music.
If fans want to come and rap with Bumpy, they're more than welcome.
ever been told you're too intimidating and to tone it down?
told that by a lot of people. A lot of people tell me I'm scary and that
they're scared of me. My question is how can you be scared of somebody
you don't know? They say I look scary. I think they're so used to fucking
people over and if they try that with this guy, they'll end up in a trunk
somewhere. That's a good fear. That means they're not going to fuck with
me because they know I'll deal with them. Some of these people get their
deals and before they realize that it doesn't last forever, they've already
spent their money and they can't get into the building. There will never
be another Big Daddy Kane, Kool G. Rap, Rakim, or Bumpy Knuckles. There
will never be another Common. These guys last forever because they found
their own identity and they never tried to rhyme like anybody else. I
am who I am, and I'm a big guy. If people feel they have a problem with
me, then fuck them. Ain't nobody whopping my ass. And any record label
that feels that way, I don't have to change, so fuck them too.
had some of the best producers work with you, from Pete Rock to DJ Premier,
throughout your career. How did you get these guys to work with you?
blessed to be able to come up in a time where people wanted to make music
with who they liked. I met Premier crossing the street outside of Sony
after they did "Step in the Arena. He was like, "Oh shit, you're
Freddie Foxxx." "Oh shit, you're DJ Premier." We just shook
hands and on some real shit, he said he wanted to work with me. That's
the same way Treach was when we did "Hot Potato." All these
relationships are based off respect, regardless of what people think,
it's not intimidation. I was with Premier and Showbiz yesterday and we
were talking about my album and how the game is today. Pete Rock and the
Alchemist are my real friends. They'll tell you the same thing. It's not
any fake love because when we really need each other outside of music,
we show up. You have best friends splitting up over money now, and that's
because they weren't established on a respect basis. I can go knock on
Premier's door at 2 am and wake him up.
like producing or emceeing better?
I like the
whole creative process. The thing is, I've been producing since my first
album, but nobody ever knew that. I have a production team and I work
with my guys, but it depends on the mood I'm in. I can turn on my samplers
or my keyboards. I keep three or four sets of turntables in different
places, and some days I'll just feel like spinning. I have folders in
my computer from different producers like Primo, Pete Rock, Alchemist,
DJ Scratch, Kev Brown, Buckwild, and these guys will come in and drop
in fifteen or twenty beats and I'll vibe with it for a little while and
if I feel like rhyming, I'll rhyme. I can do that because I'm a man first
and I know I'm not going to rely on anybody else handling my business
for me. If people don't respect that, then what does that tell you about
you have a million joints in the stash.
Yeah. I have
a lot of music in the stash. And at some point, you have to give something
back to hip-hop music. Sometimes it's cool. Sometimes I see guys who don't
want to give people free downloads. That's sucker shit to me. Give them
free records. It's still your record. Give it to them. Let them download
it. It's your song. As long as your voice stays on it and it's your music,
it's not going to do anything but help you anyway. That's why I put damn-near
thirty-seven records on the mixtape. Everyone wants to stick to the standard
of ten to fifteen records or whatever it is, but I wanted to give them
more because they want more than a couple of skits and a few gunshots.
I was surprised to see you were doing a mixtape. How do you feel about
the mixtape game?
What I did
is not so much a mixtape, per se; it's more like a compilation. I think
mixtapes are cool and I listen to some mixtapes that sound better than
some people's albums. Some of these guys aren't really mixing and it's
called a mixtape. I haven't heard real mixing since Kid Capri or Clue.
Big Mike, S&S, those guys are real DJ's on turntables. Anyone can
blend things together on a computer and they title it a mixtape. That's
not a mixtape.
things going on in hip-hop make you shake your head?
A lot of
shit I see, I just don't commend on it. This game is out of my control.
I have to do what I do. I can either speak on it or leave it alone, but
I can't change it. I don't have an army with me. You can't go to war because
these guys won't fight for you and they'll leave you hanging. When you
look behind you, they'll be gone, trying to figure out who's ass they
have to kiss. I'm not like that. I've never been a dick-rider and I've
never wanted to be affiliated with someone based on who they are. I'm
more for the fans. I fought the industry before. When I did Industry Shakedown,
all these rappers were crying like bitches. "Oh man, you're dissing
the labels, they're not going to like us anymore and they're not going
to fuck with us. They're going to hate us." They were crying like
bitches. You would be surprised to know who was bitching out on me. "Don't
drop that record. You're talking like Russell Simmons and Lyor Cohen."
They were crying like bitches. Now in 2006, those same motherfuckers are
coming to me saying, "Yo son, I'm trying to do some Industry Shakedown
shit" because they don't have any deals anymore. When I came for
the fight, they weren't standing behind me. Now that my part of the war
is over, there's nothing to fight. They're not going to do it like I did.
They're not going to go at corporate America. I did that for everybody
who was fucked in the game. I didn't do it only for myself. I did that
for everybody, and I had very little support.
you feel about all these talented artists without major situations?
is finishing the Christina Aguilera album. It doesn't stop no show. Any
real artist knows that. If you miss one bus, you catch the next one. Who's
going to sit around and cry? You have some great newer producers out here.
I don't know how new Just Blaze is, but Just Blaze has always been one
of my favorites. For what some of these guys are doing, like Cool and
Dre, they have some hot shit out, but everybody should develop their own
flavor and rock with it. That's what's hot to me. When you hear these
motherfuckers doing the same thing, that's not hot to me. That's why I
love Busta Rhymes. Busta does him. He does him. Busta's really a dope
producer but a lot of people don't know that. Busta is so creative with
his work. Nobody can ever replace Busta Rhymes. A lot of these guys are
going into the studio trying to sound like someone else. That's one of
the biggest don't-do's in hip-hop. When I first started hearing rappers
saying other people's rhymes, I knew hip-hop was going in the wrong direction.
We used to beat motherfuckers up in the park for that shit. I used to
hear so much Biggies quotes, it's disgusting.
buy the excuse that they're "paying tribute"?
(laughs) How do you pay tribute to a motherfucker by spitting his rhymes?
That's not a tribute, that's biting. A lot of people say Biggie and 2Pac
are the best rappers ever. This is some real shit. Sometimes people praise
the dead to insult the living. They don't have the balls to say someone
wasn't as good as Biggie. Who cares? Biggie was a don. He did what he
did, but you do what you do. Why are you saying Biggie's rhymes? Biggie
had his shit. 2Pac and Freaky Tah had their shit. They still got what
they got, but it doesn't make any sense for people to take from their
work. When we sample a record and chop a record up, we're good at that
and that's publishing for them. You're not paying anybody for saying his
rhymes. They're biting his whole verse and just chopping it into pieces,
but nobody's hitting his mom or kids off.
been a lot of debate on New York hip-hop and if it's fallen off. What's
your take on that?
At the end
of the day, I don't know how many new guys are going to be able to do
it, but I think some of the more seasoned rappers with experience need
to get back in their studio. It's cool to make party records, but New
York had their own style of party records. Think how dope it would be
to see someone from the south do their thing, someone from New York, and
someone from Cali do their thing. I don't want to walk in a show with
a New York rapper on some crunk shit. That would be some dope shit. I
guess a New York rapper could do one south record just to show they can
do it. All that crunk shit is just old school New York hip-hop. It's the
same shit that Bambaataa and Zulu Nation were doing. The tempo may be
a little bit different, but the rhyme flows are the same. You can't get
away from New York music no matter where you go, but New York rappers
can't see that. The next time you get a chance, listen to some crunk music
and then listen to a Bambaataa record back-to-back. It's just a refurbishing.
It's the same thing that Zulu Nation was doing. You'll see it's the same
shit. They just doubled-up the hi-hats and played them faster. Everything
else is the same. The drum patterns are the same and the rhyme flows are
the same. I think it's dope to hear dirty south guys like Chamillionaire
getting off. I love Paul Wall. That's my dude. But when I see New York
rappers jumping down south to get in videos because they're not hot anymore,
just like they ran out west, that's pussy shit to me. I ain't feeling
that. That's not my problem so I don't have to deal with it. If a motherfucker
wants a dick-rider tag on his shirt, that's not my business. New York
rappers are killing themselves because they're not doing what they're
supposed to be doing instead of doing other people's shit, and they're
doing other people's shit wrong.
you feel about the Cristal debate?
racist? If it ain't Cristal, it's Tommy Hilfiger. If it ain't Tommy Hilfiger,
it's Timberland. Racism is here. Hip-hop music, I've said this before
in many interviews, is the only music since the beginning of time that's
crossed every color line. I got people in Germany, Amsterdam, and Holland
who I'm cool with and I know my mother could have never had conversations
with their mothers like we have because they don't have anything to bond
them like that. Hip-hop did that. Hip-hop has become a race in itself
because when it's time to stand up for a certain cause in hip-hop, I know
that a lot of my fans don't look like me. I have more white fans than
I have black fans, and I'm cool with that shit. There's nothing like having
a bunch of rebellious white boys on your team. That's a real go-hard squad
run through a brick wall for Bumpy Knucks.
I love every one of them. That's why I'm not stressing about who likes
the music and who don't. I don't go to shows and play in front of empty
crowds. People come to see who this 275-pound wild, bald-headed motherfucker
who spits fire over beats is and who scares the shit out of the first
ten rows. They come to see the wild man. They love it. It's like the wildest
rollercoaster ride you ever took. When you realize you lived through it,
you want to do it again.
you get ready for your shows?
I have to train. When you have as many songs as I do, I have a tendency
to not know what I want to perform. Sometimes I get on stage and take
requests. I just have fun with what I do. I'm trying to tell you about
Bumpy Knuckles. People tell me to tone it down. Tone down what? Not everyone
likes Michael Jackson. I have to be who I am and I'm a little different
from the average.
iron has become a part of marketing now. Do you work out for image or
working out since I was in the 8th grade. I started boxing in the 6th
grade and I started lifting weights in 8th grade and I've been working
out ever since. I've tried to keep myself in shape ever since. I'm a fighter.
I can't be no fat, sloppy, and nasty motherfucker. I'm always on point.
I'm always in the right shape. I always try to stay physically able to
do what I do. I have heavy bags, I train in martial arts, I do isometrics,
I do all that shit because I'm Bumpy Knuckles so when somebody runs up
on me, I can give them a seven-piece situation.
take us through a Bumpy Knucks workout?
I get up
and I do my stretches. I'll have breakfast, which will probably be a bowl
of oatmeal and maybe four egg-whites, especially when I'm training. I'll
have some water, room-temperature water. I take my supplements and vitamins
and all that shit. I try to do forty minutes on the treadmill, twenty
when I start and twenty when I finish. If I'm doing chest, I do chest
and triceps. I'll do biceps and back. I have a weird regiment. I'll switch
up here and there. I used to be a soccer player so my legs are as big
as a motherfucker. I played in high school but I haven't played in years.
My legs got big as hell from that shit.
you think of the Bernard Hopkins comeback?
man. I like the fact that he's one of those guys who keeps breaking rules.
He didn't want anyone setting rules that he's too old to box. I respect
you think of the US's effort in the World Cup?
I saw the
last game that they lost. You win some and you lose some. When there's
no communication on the field, you can't play by yourself. There are always
a few guys who are the main guys and they have to all play as a unit.
It's all about your setup and how good your setup is. If you're setup
is good, you'll be able to do well. I've fucked up so many times and I
can say that. I've fucked up so much in my career, but I can say that,
keep my head high, and keep it moving.
going to get into sports again as a coach?
really. I like watching it on TV. I'm past all that shit now. I'm more
into other shit now. I'm trying to keep up with the latest technology
in computers. I like making music and I think I might end up getting back
into producing jingles for commercials. I like doing that shit.
stuff for Red Lobster, right?
Yeah. I did
commercials back then. I like doing commercials because I don't have to
spend as much time. It's only 60-second spots, but there's a high demand.
They need stuff by tomorrow, so you have to be able to deal with the drama.
I like doing them, though, and I think I'm going to start doing those
do what you wanted it to?
I needed it to do, yeah. I didn't really care that the company I did it
with didn't know what they were doing with hip-hop so they couldn't make
it happen like Industry Shakedown. It did what it needed to do and it
kept me connected to the streets.
lot of people miss out on it?
when I do shows live, those songs really work. I got the album out and
I accomplished a lot of things on my own. Look on my MySpace page and
see how many people say I influenced their lives .That makes me happy.
I don't care who sleeps on me. Sleeping on someone is not to the detriment
of who's being slept on, it's a reflection of the sleeper.
you feel about Industry Shakedown today?
is still relevant to this day. If you replace some of the names I said
with some of the new names, the record is still the same. I made it because
it's an ongoing problem in this business where people are so full of shit.
It's better to be straight-up with a person and say, "We're going
to make you a star but we're going to reap the benefits." There are
a lot of people who feel how I feel, but they don't want to say it because
they feel they may jeopardize their future. There are a lot of us who
started out with nothing like Russell Simmons, and now look where he is.
You have to start from somewhere. We've all shot low-budget videos. People
have to start somewhere and they have to stand up for themselves and stop
being a coward.
your favorite project that you've done?
of my projects has a special meaning. American Black Man is probably going
to be my best work ever. I've worked with a lot of producers I've always
admired. I worked with Kev Brown a lot of on this project. His future
is so bright. He's an incredibly soulful producer. Oddissee is another
one who's incredible. I worked with Clark Kent and DJ Scratch. I did a
song with Christopher Williams. Who can ask for that? He's a vocalist
who's legendary to me and he stood up for himself so I wanted to work
with him even more. There are guys who are scared to be themselves. You
just have to reach down, touch the ground, and say this is who I am and
this is how I stand, and this is my space. This American Black Man album
is probably one of my favorites. I did what I want to do on this album.
In the Fall
of 2006 on Fat Beats.
was a rapper named Renegade Foxxx who spelled his name with three "x's."
Did you take offense at that?
I don't think
he does that anymore. I had a phone conversation with him.
that go down?
I don't think
he does that anymore. I'm sure he doesn't do that anymore.
do you have for all the kids out there who want a career in hip-hop?
two things I would tell them. If you can't read, you can't write. In hip-hop,
it's good to have a vernacular. You don't have to be the king of English,
but people can tell how smart you are when you open your mouth. You have
to be yourself. Don't think that a Das EFX record is old school or Junior
Mafia. Look back to Sugarhill and go back further than that and study
hip-hop from all the way back then to now. If a rapper did that, he would
be one of the best in the business. Don't you think presidents do that?
When someone becomes president, they look at George Washington all the
way up. They have to know all about the wars and policies. Mike Tyson's
knowledge of boxing is so incredible, it's no wonder he knocked everyone
out. It's not hard to study hip-hop. Go to record stores or go online.
Just take some time to study hip-hop culture to see where it's been so
you know where it's going.
want to get into anything else besides hip-hop?
I have a
motorcycle club called the Krupt Mob. We're doing all kinds of events.
We have a big barbecue on August the 12th. I'm doing a motorcycle run
for missing children. I hate pedophiles. I think motherfuckers who do
that to kids ought to have their fucking necks chopped off. We ought to
just axe all those motherfuckers. I hate people who do foul shit to kids.
I have a record called "Hello" where I used a Lionel Ritchie
sample and whatever money I make, I'm going to donate it to whatever charity
finds missing children. I think shit is wack that people kidnap kids.
That's one of my concerns and I've wanted to do something like that for
a long time.
you on that.
That shit is wack.
been a lot of debate lately regarding helmet use since the Ben Roethlisberger
accident. Do you always wear a helmet?
baby. We rock full-face helmets. I have a couple of guys in our club who
are into the German helmet thing, but I'm not into those. They're not
safe. I don't advocate that people wear those things. There's been six
deaths in the past two weeks. I tell them if I catch them riding without
helmets, I'm going to find them. Everybody's investing in full-face helmets
at this point. We're trying to ride safe and do the right thing.
you want to say to everybody?
just check out the new album, American Black Man, coming out in the fall.
The new mixtape is Street Triumph. I have a lot of music sitting in my
music that I never put out. I've been recording forever and now I'm going
to put them out. I have records with Pete Rock and guys like that and
they gave me the clearance to put it out. Everybody tells me they want
to hear the traditional Bumpy Knuckles, so when you hear it, be ready
for it. I think the new stuff is cool, but be you. Be where you're from.
New York rappers, let's take it back to where we came from. Nobody's going
to run the game, that's what the industry will do. As artists, let's just
do what we do, individualize yourself, make good music, and just keep
it moving, that's the bottom line.
more of Freddie Foxxx at http://myspace.com/freddiefoxxx