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1/8/2009
 It’s a new year. What should we expect from you in ’09?
A lot more music, man. I kind of pretty much took the whole ’08 off. I pretty much put out two songs. Expect a lot more work and a lot more productivity. The album should come out. I’m tired of promising people the album but hopefully it comes out. I know I made a timeless piece of work so I’m really not that anxious. Expect a lot more activity and a lot more work.
At this point why don’t you just leak The Greatest Story Never Told?
I did want to leak it. Trust me, I’ve thought about it, but it’s not just me. Just Blaze worked hard on the album as well. He put in hours and I put in hours. If I just leak it to the internet I don’t think it will be as impactful as if I put it out through an indie. I’ll put it out on some small label instead of giving it away for free.
What do you need at this point from a label to put it out?
I’m looking for somebody who understands the project. It’s not just a Saigon thing. New York is dead in the water right now with East Coast rap. The record companies, they’re trying to get the quick buck, the quick dollar. They don’t care about the music really. They just care about what’s happening right now. For instance you have Soulja Boy who sold a million and a half records with his first record and he just sold 40,000 records in his first week. Pretty soon he’s going to disappear from the face of the planet and nobody’s going to remember him anymore. That’s how they do. They do the fly-by-night shit and that’s not the type of artist that I am. For me to be relevant eight years later, I must be doing something right. I’ve been touring a lot this year. That’s partially why. It’s surprising to anyone that I get booked so much without even putting out no music.
With no singles or indie albums to make money off of, how important has the touring been?
It’s very important. It keeps you busy, you get to see the world and you make money. It’s very important and at the same time you’re learning. I’ve been to Asia and Europe and the Middle East. It’s been crazy. It’s been a great experience. I don’t think I would have ever seen these places had it not been for the kind of music that I make. I go places and they tell me that platinum artists have never even been there before and I have never even put out an album so for them to pay me to come out and perform for them, it shows me that I’m doing the right thing. It’s translating somewhere. (laughs)
What’s the average Saigon fan like on the road?
Oh, they just love me because I never sold out. That’s what a lot of people say when they give me shout outs. They tell me to keep doing what I’m doing and I think that nobody is paying attention but they tell me that they hear me. They keep up with me via the internet. They tell me don’t compromise for nothing and don’t bend over for nothing. A lot of these artists, they bend over. I don’t do that. I know how easy it is to make a jingle but I don’t do it just to say that I did it to make this bread. It’s not that hard. I really keep the integrity in my music.
That’s why I respect Nas. I respect Nas a lot. Nas knows how to make songs like “Owe Me Back.” He knows how to make those records that can cross over and he knows that he can make music that’s impactful and means something. I would hate to die and be remembered for a nigga that had the ears of all these people and all I told them was to make it rain or to ball out or to go drink some liquor and this is what I’m known for when I’m dead. This is what my legacy is. My whole life was based around this. You feel what I’m saying? I would never compare myself to Malcolm X because I could have never hold a candle to him but imagine if Malcolm X died as Dirty Red the Pimp? Nobody would have remembered him and he wouldn’t have mattered. Because he died as Malcolm X, we still got his posters on the wall and he’s in social studies textbooks. If he had just died as Dirty Red we would have never talked about him again.
Right now your legacy is that you have great music that we’re never gonna hear. Will that change?
People are going to hear that eventually. I’m just trying to be respectful to the people around me. I’m a very loyal person. That's how I grew up and that’s what I know. I could take the music and throw it out there and let everybody hear how dope it is and keep going but I’m respectful to the people around me and if it ain’t everybody’s decision I’m not going to do it unless Just and Gee and everyone is okay. I wouldn’t just do it on my own.
Does it bother you when fans say that you’re all talk about The Greatest Story Never Told?
Nah because these people don’t know me and people run out of things to say. Opinions are like assholes and fingerprints. I can’t change nobody’s opinion. That shit don’t bother me at all. It used to bother me but now it’s like, ‘Fuck it.’ You can’t please everybody. As long as I know what I stand for and I know my good deeds in the world I don’t care what nobody say. People say I contradict myself. “One minute he’s this and the next minute he’s that.” I don’t care what people say, man. Jesus turned water into wine and hung out with criminals. Does that make him a contradicting person? No, it doesn’t. Look at Malcolm X. The most famous picture he has is with an AK-47 in his hands. People don’t say he’s a gangster. They realized what he stood for. And people are just dumb. I realized the masses are just dumb. I’m not going to sit here and reason with a person who can’t think past go.
Is The Greatest Story Never Told the same music you recorded for it while signed to Atlatnic or did you and Just work on some new tracks after you got your release from the label?
Yeah, it’s the same music and you know what? I still play it for people and it still sounds brand new. It’s timeless. I didn’t rap about new cars or the in style clothes that probably went out of style. I didn’t rap about whatever drink people are drinking this year. That’s what most rappers rap about to sell. What I did is rap about something that’s timeless that withstands the test of time and that’s the reason I’m not panicking because had I been one of those artists who rapped about what’s going on now, my shit wouldn’t have been relevant and I would have to come out now. But the fact that I rap about stuff that’s going to affect us for years to come, it’s always going to be relevant.
Will you still work with Just Blaze after The Greatest Story Never Told comes out?
Me and Just are always going to work together because me and Just established a friendship. If I need a beat he’ll throw me something and if he needs something he’s got it. He’s my brother, man.
Will you still be under Just Blaze’s label Fort Knocks?
We don’t know. I’m always going to rock with Just Blaze. Fort Knocks, however he wants to twist and turn it, that’s how we’re going to do it. That’s for the people working business. I don’t get caught up in that. Of course I’m going to take more control moving into the future. I’m not going to wait for somebody else. I’m going to go and eat. But when we collaborate I’m trying to put the business shit aside. I don’t care about a name or a label. As long as it’s dope that’s all I care about.
All I’m really missing right now is a way to get the music to the people. Most people that are not Saigon fans are not Saigon fans because they haven’t heard the music. I’ve never heard niggas say I’m wack or can’t rap unless it’s just a hater or somebody that’s just talking out the side of their neck. Other than that I’m just missing a means to get the music to the people in the most effective way and that’s what we’re just trying to figure out how to do.
Looking at the long-term, wouldn’t you be better off at an indie where you could have creative control on everything?
Probably. Probably. It would probably be more effective for me and the kind of artist I am, to build from the ground up. The major label system, they don’t know what to do. Those motherfuckers don’t know their ass from their elbow. I’m not looking forward to working with that again.
We were negotiating a deal with Interscope through Allido. Me and Mark Ronson sat down. They heard the album and thought the shit was phenomenal and wanted to find a way to put it out. They thought to put it out through Interscope but I didn’t want to go into that situation if there wasn’t gonna be any support. None of us did. They were willing to do the deal but they didn’t want to guarantee certain things that I couldn’t get at Atlantic. They wouldn’t guarantee certain things. I wasn’t going to go over there for a few dollars up front to go and sit on somebody’s shelf. If they don’t guarantee you a release date and video, it don’t make sense to get in bed with a major label. They’re harder to get out of than to get into. It took me a year and a half to get out of my deal. It’s like jail and trouble. They’re easier to get into and harder to get out of.
How did you get out of your deal with Atlantic?
I had to fight. I had my lawyers. I had to say I quit. I had to do a bunch of shit. Like, that whole me quitting shit, that was my ploy to get off the label because I realized this sitting around shit wasn’t helping me. They still owned my name and my licensing and my merchandising. I couldn't do nothing.
See, right now I could go in the studio and make songs and sell them. I couldn’t sell it myself while I was on Atlantic Records. They didn’t even do shit. I’m like, ‘Why should they profit off of all my hard work?’ All they did ways give me an advance, which wasn’t really that much. All they did was give me an advance. They didn’t work my project. They didn’t do shit. All the fans I got, I went out and got ‘em myself.
Are you cool with anybody at Atlantic today?
Gee. Gee Roberson. That’s it. I probably went up to that building six times the whole time I was signed there. I already felt it. There was like systematic racism, yo. I swear to God, if I was making ignorant music and I was going in there with songs about fucking a girl or kicking a ho, I really feel I would have got a bigger push. I would have got a bigger push because I see the artists who do well up there and none of them are in my same lane. None of them are making music that’s about upliftment or the future of our children, of our kids. The future is our kids. We’re going to get old and die and some teenager is going to be in the street with music.
I know the power of music. I’m not going to sit here and lie to myself. The power of music is powerful. I’m not going to act like I don’t know and put a bunch of poisonous music in the atmosphere. I can’t do that. Once certain doors open in your mind and you become conscious of some shit, you can’t act like you don’t know. It’s like knowing that fire is hot. Once you know that shit is hot you’re not going to touch that shit. It’s that simple.
Do you think you would have done better had you went the Plies route?
Absolutely. But you gotta understand, a lot of people come into this shit for different reasons. I didn’t come into this shit for money. I’ve been poor for my whole life. I know how to survive with nothing. Once you get the cars you get used to that shit. The fake girls come around and half these niggas know these bitches don’t want ‘em. Before you were rich these bitches weren’t paying you no mind. They don’t give a fuck about you. They give a fuck about your so-called celebrity. The shit gets in their head like, ‘I’m that nigga.’ They build you up to break you down. I understand that shit. That's why I never got caught up in that shit. Nah. I can do a lot with a little bit. I’m resourceful.
Why do you think a lot of rappers don’t realize they’re being used?
It’s the pimp and the ho mentality. If I go to talk to a prostitute and ask her why she’s selling her pussy to get some nigga money, she'll tell me to mind my own business. A lot of these niggas are getting pimped and they get pimped to the point where financially they’re in a better place so they’re like, ‘Fuck it. If I gotta poison motherfuckers to make a couple million dollars and make these label heads $20 million, it’s worth it.’ That’s not me. I got principles and morals.
In your opinion what’s the biggest problem in hip-hop today?
Greed. And the corporate part of it. I was watching a special documentary on Motown Records and back in the day you had to have talent. It wasn’t about a gimmick. You had to know how to sing before they would even fuck with you. Now it’s not about talent. It’s about marketing. It’s all business and it’s all about marketing. It’s not about talent at all. Can you believe Soulja Boy just said Nas killed hip-hop? How ironic is that! How is Soulja Boy going to say Nas killed hip-hop?
To get some headlines.
Exactly, but that just shows you where the game is at. One dude is a genius with words and one dude has a great marketing ploy. Just because you have a great marketing ploy, how can you fix your lips to say that? That’s like a rookie basketball player saying that Michael Jordan fucked up the NBA. (laughs) It doesn’t make sense.
It’s crazy what a lot of rappers are saying these days. Hip-hop right now is the only thing that anybody can do. A man can wake up tomorrow and say, “You know what? I’m a rapper today.” It’s the only shit in the world where somebody could do that today. Well, singing too now with Auto Tune they can do that shit too. Back in the day it was a craft and you had to practice on it every day and you had to get better at it. Nowadays if you can come up with a catchy catchphrase and a good beat you can have a song n the radio tomorrow. That’s why I’m telling niggas that if they want to get in the music business they need to come up with a catchy catchphrases and a good beat and put that shit out because you got a good chance. That’s how fucked up shit is. It’s the only profession where you can do that. Nothing else. Even rock bands, a nigga has to really know how to play the guitar. A nigga really has to know how to play the drums. In hip-hop a nigga can fake it all day.
Do you ever feel old when you criticize the younger generation coming up and say “back in the day”?
Yeah. I’m an older guy. With age most of the time comes wisdom. The sad part is a lot of these niggas who are targeting the kids are older than me. A lot of these shit that’s targeted towards kids, they’re older than me.
I was explaining something to my friend the other day. Remember when Kris Kross came out? My older brother didn’t like that shit. That shit was for kids. We liked it. We loved that shit. We were in grade school, but the older kids didn’t fuck with Kris Kross. Now you can’t differentiate. There’s no hip-hop for grown-ups no more. There’s no hip-hop for grown motherfuckers. Hip-hop is strictly for younger motherfuckers. If you look at 106 & Park the demographics are 13-24. Me and a 13 year-old are not going to be thinking the same way so we shouldn’t be listening to the same music and dressing the same way. Something is wrong here. This goes back to Nas. He had a genius song called “2nd Childhood.” A lot of these guys are in their second childhood.
It’s like the story of Peter Pan. He was a grown man who wanted to be a kid forever and that’s how hip-hop is. That’s why he hung out with the Lost Boys. Them niggas was lost. Them niggas was fucked up in the brain and that’s what hip-hop has become. They won’t let it grow up. You can put Hip-Hop up there with the Blues, Rock and Roll and the many other forms of music that was stolen from us and exploited. It’s officially official.
Do you think Walt Disney ever thought that one of his movies could explain the current state of hip-hop?
Nah. But it’s crazy that now you see it. You can see it like it is and that’s because motherfuckers don’t want to grow up. People don’t want to grow up. The kid Bishop Lamont has a song called “Grow Up.” I love that record. The shit he’s saying is true. It’s like, ‘Damn, man, who's going to raise the next generation if it ain’t us?’ We’re leaving niggas to raise themselves. I’m a nigga that looks to the future. I look ahead. I can think back 10 years ago and 10 years ago I never thought it was going to be like it is today. How’s it going to be for the kids who are 8 and 9 today? It’s going to be fucked up. A lot of people are like, ‘Now, now, now, now.’ I don’t know. I can’t figure it out. It’s a harsh reality, man.
 Have you already started The Greatest Story Never Told Part 2?
Oh, I’m producing now. I learned how to produce. I learned a lot from Just blaze, just watching him and shit. I be in there banging out. I’m getting good. I got a new song produced by Scram Jones. It’s called “Transatlantic Slave Deal.” If anybody knows about the Transatlantic slave trade, that’s pretty much how Africans got to America. When they brought us on those ships that’s what it was called and it’s ironic that I ended up on Atlantic Records because they didn’t’ want to help me to help my people. I used to try to go up to the Black employees and try to make my case to them to them. They’d tell me they basically needed a sex songs and I’d tell them, “Dog, you got a daughter! Do you really want a song about me laying pipe? You want a song with me giving a bitch the business? How would you feel if your daughter was singing along?” The sad thing is they’d look at me with a jackass face.
They don’t care. The thing is, you have to have some kind of morals. If you’ll do anything for a dollar, you’re a ho. You a ho. There comes a point where you have to say that you value life more than you value a fucking dollar. The only thing money is going to get you is material possessions. Of course we all need food, clothing and shelter but after you get that what are you getting? Once you drive nice cars you get tired of it. All that shit means nothing at the end of the day. And most of them do it for the women but the kind of women you attract with that shit is the kind of women you don’t want. All that material items and diamonds and shit, that shit is for the birds. That shit is stupid, man. It’s clownery.
I always knew shit was like that. Just knew it. Just is a smart motherfucker. To tell you the truth, if you listen to “Live Your Life” with T.I. and “Believe It,” it’s damn near the same record. It’s the same record and Atlantic ain’t wanna push my record because of the content of it and I was a new artist. Just & I were the first one to do that Auto Tune shit outside of T-Pain. It was to the point where we didn’t really want to do it because we were biting homeboy’s shit. We had made the shit as a reference and he charged us too much money so we never really went with it. If you look now you really won’t find a song without Auto Tune. We were always ahead of the curve. We knew we were. It’s hard when you know you’re making great music but your so-called partners don’t get it. It’s cool. I’m cool about it. We’re still ahead of the curve, man! We did “Believe It” over two years ago and now you can’t get away from Auto Tune. People already know. Niggas know I’m a beast when it comes to this shit. I do this shit in my sleep. Now that I’m producing I can come up with my own record and I still got the usual suspects around me like Just Blaze and Scram and Digga, the producers that make that fire.
If I had to predict what your beats would sound like I would say they’d have a dark, grimy mid-‘90s sound.
Oh yeah. I don’t know, man. I don’t try and reinvent the past but I just think that we need to evolutionize the New York sound. It stopped evolving when we started copying whoever got hot and I don’t think that’s cool. Biting used to be a no-no in hip-hop. Biting was like snitching in hip-hop. Now biting is allowed. “There’s a sign on the door, no biting allowed.” That was in “The Symphony.” Now a nigga will bit your style, the way you dress, the way you say your words, Biting is crazy. And I’m a hip-hop head. I love this shit and I live hip-hop and biting was a no-no. Biting was like ratting. Now it’s cool to bite. Niggas will bite rhymes. Niggas will say a nigga’s whole rap. Oh, man. It’s ridiculous. Me, I just rock fur collars, man. That’s all I do, man. I rock furry collars, B. (laughs) I’m just fucking with you.
Sure you are.
Nah because this girl has this fur collar. I bet you I could start this shit in hip-hop. Next question.
If you were going to sell out and make your jingle, how would it go?
I made a jingle! I did it now that I’m producing! I made a song called “Pussy” just bugging out and I played it for this girl and she was like, ‘I like this!’ I was like, ‘Oh no.’ Being a producer you just fuck around but the thing is, I made this song called “Pussy” and I know it will work if I put it out.
Kind of like Spike Lee’s Bamboozled?
You’re right. That’s what it is. That’s what it is, man. I don’t know, man. You know, it’s hard to give up on something you love so much. Hip-hop is like my religion. That’s like finding out The Bible was a fluke. Imagine how many Christians would be devastated if they found the guy that wrote The Bible. “News flash – none of this shit is real!” That’s how I feel about hip-hop right now because I lived it. When you live something and you love it, that shit raised me, man. When I was little I used to look in the mirror and I wanted to be Run-DMC and LL Cool J. They were more influential than my father. I didn't want to be like my father. I wanted to be like these guys. I wanted to wear my Adidas with no laces and I walked and talked like them. That’s how these kids are today. We gotta give these motherfuckers something that they can take with them. It’s cool to party and shit but there has to be a balance.
That's the problem with Black families. We teach our kids to play before we teach them how to work, like at Christmas. We give them toys all year round but we don’t teach them how to work. They want to play. “Let’s go to recess.” If you bring that mentality to adulthood you’re not going to be able to do anything. I got a sister who went to Temple and she’s about to take the Bar Exam and when I see how much work she put in and how her work is about to pay off for her, yo, I’m so proud of her, man. And I got another sister who’s lazy as fuck and she ain’t got nothing.
In your opinion, who should the kids listen to today?
It’s nonexistent. I don’t know, man. I don’t know. I don’t know. I don’t think hip-hop offers that anymore and that’s the sad part. Who do you think? You’re a hip-hop fan and you do hip-hop journalism. Who do you think the kids should listen to?
If I had kids…
See, you gotta think.
Probably some clean versions of Wu-Tang and Inspectah Deck.
“You can’t party your life away because your seed will grow up the same way.” Remember that? They don’t make music like that no more. Even Nas’ “The World is Yours.” “Whose worked is this? The world is yours.”
Now we have songs that teach young kids how to drink liquor. I love Ron Browz. That’s my dude and I respect his craft. As a producer he’s real, real good. I even like the song “Pop Champagne.” I think it’s a cool party song but to see it on 106 & Park with kids who are not even old enough to drink, it kind of don’t make sense, man. You wouldn’t show a kid a porno tape, would you? No. There’s shit for adults and there’s shit for kids and you gotta differentiate the two.
Are you telling me you’re not getting Arab money?
(laughs) Get the Arab money. I wouldn’t even know what Arab money looked like. I thought the richest man in the world was an American. Bill Gates, right? Warren Buffet, he’s up there. I know he’s got the billions. Bill Gates is up there too. I don’t know. I don’t get into that shit.
Can you tell me anything about Arab money?
I don’t know, man. I’m surprised people are still rapping about money. Damn, man, how much can you beat a dead horse, yo? And then they wonder why hip-hop is going…You can’t keep saying the same shit and expect hip-hop to get better. Think about something else to rap about. Rap about something else. (laughs) I don’t want to hear no more money songs. Okay, you have money. What else? That’s it?
Motherfuckers hit their glass ceiling right there. It’s all good, man. I’m going to single-handedly change hip-hop. Watch. I’m going to do it myself. I’m going to bring the integrity back into it. Not just to hip-hop but to being a man also. I’m watching men morph into women. I’m watching it happen before my eyes. I’m seeing men in tight clothes. I’m seeing men hugging each other and holding hands. Niggas is morphing into bitches and it’s ridiculous. Masculinity ain’t what’s up right now. If you masculine, it’s like, ‘Oh, he’s a brute. He’s rough.’ It ain’t cool to be masculine no more. When did that happen?
I didn’t even know that was going on.
Have you been to Atlanta lately? It’s happening in New York. There’s a whole section where you’re like, ‘Nah, this can’t be real.’ It’s almost like you’re in the Twilight Zone. Shit is the Twilight Zone.
Did you end up in the gay section of town?
You trying to play me homie? (laughs) Hell no, I never stopped there. You drive through it when you see it. I didn’t stop there. Believe that. You drive through it and put your foot on the gas as fast as possible. I mean, I don’t know, man. I don’t know. I’m kind of glad I’m getting older. I can’t wait to hurry up and die, man. (laughs) I know that’s fucked up to say but shit, it’s torture to sit and watch this shit take place. I really do want to hurry up, get old and fucking croak.
I think you’re the first person to ever say that on HipHopGame.
(laughs) It’s a sad reality but I feel sorry for the next generation. I feel sorry for the next generation. The odds are stacked against them, B. It’s crazy.
You said you were going to single-handedly change hip-hop. You know you have to give us at least a rough outline of your timetable.
This year. You’re going to see more activity. I’m not stopping this year. I’m doing everything I should have been doing. Like last year I pretty much took the year off. Last year I was going through a lot of shit with my family and my mother and my sister. My niece died and it was a bad time for me, man,. I wasn’t thinking about rapping and hip-hop. I was trying to get the personal shit in order but all that shit is behind me. You’re going to see a lot of me and Tru. We just sat down. A lot of people don’t understand Tru. They just think he’s this goon.
He did talk about how he’s still making it rain in clubs.
You have to do that shit to get motherfuckers to pay attention. If you put a motherfucking Playboy cover on The Bible more people will read it. If you put a motherfucking Hustler cover on The Koran you’ll have a lot more Muslims walking around. (laughs) It’s a sad reality but sometimes that’s how you gotta attract motherfuckers – with the ignorance. I don’t want to talk shit about niggas. The whole Mobb Deep and Joe Budden shit, they started it with me. I never wanted to entertain it in the public and shit but when everybody sees a fight, they run to the fight so if I gotta beat up a few niggas and run to the shit, I’ll do it. I’m not going to shoot a nigga but I’ll box somebody. There’s nothing wrong with men having physical combat. We might even go and have a beer afterwards. But that’s what you gotta do.
And no one fights anymore because dudes are cowards! Dudes morphed into bitches! Back in the day if you ran and got a gun you was a fucking coward. You was a fucking coward. You had to fight with your hands and get your ass whupped. A real man wasn’t scared to take a loss. It’s all about how you redeem yourself after you lose. It ain’t about getting a gun. I shot a lot of people before and every time I felt like that was some dumb shit. I was a kid then and when I see these grown-ass men talking about how their hammers go off, first of all, you’re lying and number two, who are you shooting? Who you shooting? You ain’t shooting your enemies, motherfucker. You wasn’t shooting the police. The police will shoot you 55 times.
But people love drama! They run to the fight! So if I gotta start some fights, I learned from the best. The thing is, if we’re going to do some gangsta shit, we’re not even going to get on no video. If we felt like these niggas needed to be handled we wouldn't get on the video like, ‘Word up.’ Real niggas don’t do that shit. If you ever see me doing that believe me, it’s for the hype. And I’ll say it. I’m man enough to say that shit because if I really felt like I had to do something to one of these niggas, I’m not going to incriminate myself. When they get hit I’m going to be on the island of Tahiti or something. I’m not an idiot.
But at the same time motherfuckers love to run to the shit and it’s a sad reality in hip-hop but it’s one of the things that creates attention. Beef creates attention. The thing about me is I don’t bother nobody but because I’m a “conscious” Black rapper, niggas pick on me. Joe Budden, I never did anything to this man in my life. Why would you just start up with me? Prodigy, he told me to suck his dick. Me and Prodigy seen each other and he didn’t want to fight and that was that. I told him we could square up right now and he gave me a pound and it was peace and love and then when he was with 100 niggas, he wanted to jump me. Come on, man. That’s sucker shit. And then it’s, ‘Oh, Saigon, you sucker punched me.’ How do you sucker punch somebody who just tried to set it on you? I’m telling you…(laughs) I don’t even want to talk about that no more. These niggas is comedy.
And I hope Prodigy is all right in jail because I know those crackers don’t give a fuck about him. They don’t care about celebrity status. I actually like P as a person. Me and P was cool at one point. That’s what a lot of niggas don’t know. Me and Hav is good. It’s the niggas around him that are telling him to be gangsta. Come on. This is a father with children. Y’all not thinking about a nigga’s best interests. If he dies are you going to take care of his kids? No. Of course they’re not. But they’re right there to egg them on. I got love for Prodigy but I’m never going to back down. Much love to Prodigy. Hold your head.
You’ve done a lot of collabs recently. How do you decide what to do and who to work with?
I’ve done a lot. I’ve worked with a lot of people. Now I just do it for fun or for a favor. If somebody calls me and wants me to get on the shit, now that I got my own studio I just do it for fun. I already worked with the best of the best. I worked with Nas, Jay-Z, Kool G. Rap and Grand Puba. If I never do another record again with somebody I’m good. Who else could you want to work with? You can’t get caught up in the hype. Whoever’s that nigga today, tomorrow nobody will give a fuck about him because his music is meaningless. Beat it.
Saigon’s Warning Shots 2 will be coming soon.
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05/13 - 
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