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9/12/2007 What’s up?  I’m good, man. I can’t complain. Everything has been working out really incredibly and everything has been real incredible as far as this project is concerned. I definitely can’t complain about it. Everything has been looking right.  Corner Store Classic has been out for over a month now. How’s it doing for you?  It’s been kicking in the door. It’s been doing so much. I expected it to do good, but I didn’t know that it would be received this crazy. It’s literally become the mixtape of the summer and I’m not trying to say that to be funny or being on my own shit. There aren’t any mixtapes that are out right now like Corner Store Classic. It’s been making noise since before it came out on July 20. When July 20 came and it hit the ‘net and it hit the world, it’s just been nuts, man. I can’t even describe it. I’m just trying to keep up with it all.  Was going with the free download a good move for you?  I think it was definitely a good move because you can reach so many people with it. You can reach so many other people who don’t know you. I have a real big fanbase. The streets and the ‘net know me as do the labels, but there are a lot of people that don’t know me. It’s like that for any rapper unless you’re a Jay-Z or someone like that. Other than that there’s still more fans to be gained. It’s still about me generating fans and me generating a bigger buzz. I have to get and keep the people interested in me. I had to make this mixtape to where people could get it. I got kids everywhere that I couldn’t get to on the road and I was able to reach them through this.  I’m not making any money from this and I’m not selling it in any stores like that. It’s really just a download and if you see me at a show, I usually have the hard copies with me and I’m usually just giving them out to the fans and putting it out. It’s all for free download and I think that’s dope. I think it’s great. You’re able to reach so many people that you weren’t able to reach before and it works. It was definitely a good move.  You shout out Entourage on “Never Sleep.” How is your life like Entourage?  It’s just about coming from one world and being put in another and trying to make sense of it. Even though it was a small line, it was something that made sense and when my crew heard it, they all appreciated it. We do live like that, but in a different way. We don’t live in a big mansion like Vinny Chase does. But I’m new to this game and I’m from New York, where if you say something you mean it and if you mean something you say it. The rap game is a whole different mindframe. It’s totally different in the music business. You have people saying things they don’t mean and you have people telling you what you want to hear. There are a lot of excuses and there are a lot of lies in this game and that’s different from where I come from. That’s how it is with Entourage. I’m a huge fan of Entourage. It’s one of my favorite shows, right behind The Wire, which is my favorite show of all time. Even though they have a good time on Entourage and there’s hot chicks around them and all of that, they’re coming from Queens, New York and they’re trying to make sense of why people don’t come through, why people don’t do what they say they will do and why things happen that they don’t deserve to have happen to them. I come from New York where it’s all one way. You’re a stand-up guy and that’s what it is. If you say you’re going to do something, you do it, but the game is totally different. That’s just me trying to make sense of the game that I’ve been thrown in the middle of.  Looking at that, you’ve always been very strategic with the moves you make. Are you happy with the way things have been moving for you?  Yeah, I am. Things have been working out real good. God has been looking out. I’ve been blessed to be able to make the moves that I’ve been making. Just as easy as it is to make the right move, it’s even easier to make the wrong move. There’s no book to tell you how to move in the game. Besides Russell Simmons having a few books out, there’s no textbook for us. If you want to be a doctor, you go to school and you have tests and you have labs. If you want to be a lawyer or a detective, there’s help available for you. It’s not like that in hip-hop. You learn everything as you go. I’m just blessed to be able to make the right moves with the right people and maneuver myself in the right way. Things are definitely changing as far as my status and as far as how people look at me and my status.  I mean, right now Hot 97 just put out a list with Peter Rosenberg of the hottest MCs in the game. I’m on the list and I’m the only unsigned artist on it. There’s Nas, Saigon, Andre 3000, Ghostface, Lil’ Wayne and others. That’s huge. That’s not even something that I pushed for. I didn’t even know about it. It was actually Torae who called me and told me I was on the Hot 97 list. It’s a huge accomplishment. I’ve officially been listed at the No. 7 spot on the list of the top 10 MCs in the game today. To be the only unsigned MC on the list is ridiculous. It’s crazy. It shows that I’m making the right moves. Things are working out right and it’s a little easier for me to get records played on the radio. It’s a little easier to get beats from certain people. It’s a little easier to get shows and to go on tour because now people are coming to me instead of me going to people. Now people are offering me tours and free clothes. You just have to take everything for what it’s worth.  “The Paper” is really your first single. Are you happy with how it’s doing?      I’m very happy with how it’s doing and it’s still moving. We’re still pushing it. This is just the beginning of us pushing it. It’s my set-up single, and if you look at some of the biggest singles, they take a long time to break. It took Mims a year to break “This Is Why I’m Hot.” It took 50 nine months to break “Wanksta.” I’m happy with how it’s doing. I want people to know that I can make all different types of records and it’s still me. Making a record like “The Paper” is something that you can hear a 50 on or a Jadakiss on or a Lil’ Wayne on. And those records are going to exist in my catalog. I tell people that I’m not one of those guys that runs around with a Jansport and incense. The reason that people think that is because I get down with Little Brother and 9th Wonder. I love them to death. That’s my extended family and there’s nothing that I won’t do for them and there’s no way I can ever repay them for letting me kick in the door with them, especially 9th for letting me do an entire EP with him. The first time people heard me was on “Speed Racing,” but that’s not how my album is going to sound. My album is not going to sound like a Supastition album or an LB album, but I have records with Little Brother and Supastition. If it did sound like theirs, why would you go and get it? You’re already familiar with theirs. You can just go get theirs and be good. I’m glad “The Paper” did what it did and people could go and get it. I had people from the J League that loved the record. They were telling me, “Forget that, something’s wrong with those underground kids who are trying to put you in the box.” I have kids telling me that “The Paper” is huge and to push that. So I didn’t care. To everybody who loved it, I appreciate it. We’re getting ready to do a bunch of big things with that record. The average big record takes a year to break. Look at how long some of the average hit records took to break. Trust me, we have a lot of big things that we’re going to do with that record.  How do you balance making the different types of songs that you do? At the end of the day, I just make the records that I want to make. I think that’s when you’re really successful. If you try to make records for certain people, like one day you wake up and say, “I have to make an underground record” and then the next day you say, “I have to make a street record,” I think that’s when you’re not going to succeed. I write what the beat tells me to write. If I had Fabolous’ “Make Me Better” beat, you couldn’t expect me to do a song about the ‘hood or about how nice I am on it because the beat doesn’t call for that. If I had that same beat, I would have done what he did but I would have done it my way. I would have done something real fly. If I had 50 Cent’s “I Get Money,” I would have done a similar thing like that but in my own way, because the beat calls for that. I don’t write acapellas and then try to find a beat for it later and match it up. It’s not going to feel right. That’s why people are big on my songs because I write to the beat itself. That’s why I’m able to ride the beat in certain ways because I wrote to the beat specifically. I didn’t try to piece it together later. When I make records, man, I just make them the way I want to. That’s how I balance it out. That’s how I balance having an underground fanbase and a mainstream fanbase, if that’s what you want to call it. You can read my interviews in the past to see who I came up on, but I came up on Big Daddy Kane, Nice N Smooth, Biggie, Jay-Z, Nas and Rakim and all those guys that were able to do it all. They were able to be commercially successful and have an underground following. It’s about balancing. I just do what I do and I think that’s what draws people to me.  You worked with Guilty Simpson over a Madlib beat on “Play Your Position.” Are we going to see you doing more work with the Stones Throw family?      I would hope so. Madlib is a great producer. Madlib is sick. For the greatest of all time, J. Dilla, to do a full album with him, that means something. One of my favorite albums is Madlib’s Shades of Blue. I listen to that album almost every day. Yesterday’s New Quintet is crazy too and all that jazz stuff that he does. I would definitely love to work with Madlib hands on one day. I would definitely love to get in the stu with Madlib and make some things happen. The whole Stones Throw family is dope. I just did something with Roc C as well. You’ll also be hearing me with some of your favorite huge artists on the radio. That’s the beauty of it. And from a fan’s perspective, sometimes they don’t want to see the meshing of the worlds. They want to see me on one side of the fence but why does it have to be like that? You had some of the hardest dudes out in the “Self Destruction” video with the other “conscious” MCs. Look at “We All In The Same Game.” What was wrong with that? How come nowadays we can’t do that? It is what it is.  You worked with DJ Premier on “Click” and “Git It Done.” What was that like for you?      Working with Preem was a huge. Going to his studio and watching him make a beat for you is something that artists with plaques on their wall can’t say they’ve done. They can’t even say that they have one joint from him. And I got two. Watching him make the tracks and going in the booth and having him say, “This is sick” or, “Do that ad-lib over” or, “That’s perfect,” that’s crazy. He’s really who he is and he deserves every accolade he has. He’s created a culture and he’s created a soundtrack to the culture from back in the days until now. He’s created a soundtrack from the whole Gang Starr situation to Biggie and Jay-Z to now me, Papoose, Torae and Termanology. It’s crazy. He is who he is and he definitely deserves all of the accolades that he has. And he’s also one of the coolest people in the game. Being that both of your tracks with DJ Premier had Torae on it, did that confuse people into thinking that you guys were a group?      A little bit. That’s my family. There’s nothing I won’t do for him and vice versa. But on a business level, it did get a little cloudy with that. On a business level, he knows where he wants to go as an artist and I know where I want to go. He does his interviews and I do my interviews and we make sure that the people know that we’re two soloists but that we do a few songs together and we rock shows together sometimes. If we do shows, he’ll do his set and have me jump on stage to do my verses and I’ll do my set and end it with him coming on stage to do the two records. If I’m out of town I’ll do the records by myself. We’re really trying to let the people know that we’re not a group and there’s not going to be a Skyzoo and Torae album or mixtape coming out. There’s “Three Kings” out now with me, Torae and Chaundon and that was Chaundon’s idea for his project. But me and Tor are both incredible soloists and his mixtape is crazy. I’ve heard it and it’s bananas. He’s working his way in and he’s creating his lane. The same way I’m carving out my lane, he’s doing that for his lane. We’re both just making it happen.  You’ve worked with a lot of big-name producers without having a major deal. How do you make that happen?  I just think that I like what I like. I don’t go out and say that I’m not going to work with no-name dudes because everyone was a no-name at once, from Just Blaze to Kanye to DJ Premier. You’re not born with a name unless your last name is Hilton, Carter or Combs. You’re not born with a rep. With that being said, I’ve just been fortunate enough to rock with some of the best producers in the game. I’ve been fortunate to do that. And if I meet Joe Schmo and he has 10 fire beats, let’s go. I listen to everything. Right now there’s this kid in Seattle named Eric G. I think I met him through MySpace and Tor was real cool with him as well. That just helped to build the relationship. He’s a young, 20 year-old white kid and he doesn’t have a name but he’s dope as hell, so I just did a couple of records with him and they’re going to come out through a King magazine mixtape. That’s his first big break and it’s cool that I was able to help him.  Now the list is getting ready to get even crazier. Since the mixtape dropped there are so many other producers that I‘m going to work with that’s going to be crazy. I’m about to be working with Buckwild and Needlz. I just did some stuff with Ski. There are so many people. Chris Styles, Don Cannon…It’s getting crazier. The list is going to grow. I think the reason that these producers flock to me is because of the music. At the end of the day, the producer is about money like any artist in the game, but I think the producers love the music more than the artist nowadays. If a producer loves the music and wants to see it come out, he will make sure that it does. Look at “Git It Done.” Preem liked our music and the music aspect kicked in over the business aspect. He didn’t care about us not having a deal. He just wanted to do the songs because he loved the music. That’s what it’s like with 9th, Khrysis, Black Milk and now Buckwild, Needlz and more. They wanted to do it because they love the music and they respect what I’m doing. It’s a beautiful thing to be able to make more music. You had Mick Boogie and DJ Kay Slay host Corner Store Classic. That’s an interesting combination.  Yeah I did that on purpose. Mick was doing the Little Brother mixtape and he loved Cloud 9. He called me and told me that he was down to do my next mixtape. I always knew that he would do Corner Store Classic. I also knew that I wanted to pair him up with somebody to make it real epic and larger than life. Mick is on the internet like crazy and he’s the Cavaliers’ official DJ,  Lebron’s official DJ, he’s with LRG and he’s running all over the country and outside of the country. Just having him involved was a huge look and I always knew I wanted to pair him up with someone else but I didn’t know who to pair him up with. I looked at the areas that I wanted to have embrace me more and I thought, ‘What’s going to throw people off their rocker the most?’ People would have expected me to have Mick Boogie and Clinton Sparks. But Mick Boogie and Kay Slay? I went with Kay Slay because Kay Slay is the biggest DJ in the streets and he’s proven himself as far as the mixtapes and as far as the grind. He’s put himself out there with his mixtapes and radio shows on Hot 97 and Sirius. He has Pap and a couple of other artists under him and what better way to go than with someone that’s really earned their stripes and has really held it down for the mixtapes? I knew that when people saw who was hosting the mixtape, it would blow them away. That’s why I never told anyone. I took the biggest DJ in the corporate world and the biggest DJ in the streets and put them together and it just came out crazy.  On a Corner Store Classic skit you talk about how Mick Boogie took his time.  Yeah. (laughs) We were just joking around. Mick really came through in the clutch. He basically came through with it in a weekend. I Fed Ex’d it to him and I was in the studio when he got it. He called me and we were going over it. I was just coaching it with him and I liked his ideas. We just really put it together over the phone. Mick really did his thing. He bodied it. I love the way that it came out. I was trying to get it out on July 20 because I was really pumping that date because I had the release party. I think the tape got done on July 15. We really pushed it to the last minute to where we were really playing with fire. Mick got it ready with me and he Fed Ex’d it to me and I got it to HipHopGame to get it online. It all worked out beautifully. I couldn’t have scripted it any better. It came out great.  Cloud 9 has been out for a year now. Looking back on that, would you consider that album a success?      Yeah, it was definitely a success. The funny thing is that with all of the critical acclaim it’s gotten and as well as it’s done, it’s still getting me fans every day. Every day on MySpace, I get about 200 emails from fans that love Cloud 9, Corner Store Classic and my other music, whatever it may be. But then I still get at least two emails a day from people who say, “I’ve never heard of you but I just heard ‘The Bodega’ and that’s incredible. Where can I buy that?” That’s a new fan. Even though Cloud 9 has been out for a year, it’s still getting fans. Every day I get a girl that says she loves “You and Me” and she wants to know where she can buy it at. There are people’s albums that dropped around the same time as Cloud 9 and they don’t have people hitting them about their album. Cloud 9 still has legs and it’s still running. There are bigger artists who can’t say that their album is still running a year later because their label shut down on it or they’re coming out with a new project. I have a new project out and my old one is still running. That’s something that these labels dream of having. That’s a good look. People are still loving Cloud 9 and they’re still finding out about it as well as the thousands of fans that already love it and already know it word for word. Cloud 9 did great numbers. It did really, really well in the stores and on iTunes. There are still people who are finding out about it. “Way to Go,” “The Bodega” and “Extreme Measures” are still new records to some people. So it’s good to have music that can still impact people. How much longer can you push Cloud 9?      I haven’t really been pushing Cloud 9. I’ve moved on from the project but that doesn’t mean that the project is wack now or that it doesn’t deserve any light because that project is timeless. Cloud 9 is moving itself right now. I’m promoting Corner Store Classic right now. When people ask about it, it’s because it’s walking on its own legs. That’s beautiful because I can push Corner Store Classic while Cloud 9 pushes itself. It’s just dope to have so many records out at one time and they’re all making noise.  You’ve been doing your HipHopGame journal for a few months now. Are you happy with the response that you’ve gotten to it so far?  Yeah, I’m definitely happy with the way that people have taken to it. I always said from the jump that I wanted to do my journal differently. I always saw the other journals and I thought that it was a real cool concept where you have your own journal that’s not a diary, but you’re just giving people a look into what you’re doing. I always thought that was cool and I always said, “If I ever get an opportunity to do that, I’m going to do it differently and I’m going to make it crazy. I’m going to talk about topics like we’re sitting out on the stoop talking about things.” That’s how it is in the ‘hood. We sit outside, talk and just shoot the breeze. We talk about who’s the nicest in the game, what’s so screwed up and all of that. We talked about how Drama and Cannon went through their situation and why it was so wack and how people should have held them down more.  We talk about all of these topics and I figured, ‘Why not bring it to the internet and have people that I don’t know feel like they’re sitting on the corner with me in the ‘hood and we’re just kicking it about what’s going on in the music? Why not have that same effect?’ Every week it’s a new topic and a new entry instead of me just talking about what’s going on and who I’m meeting up with and what labels I’m taking meetings with. I figured we could do that too, but let me give you my opinion and let’s see how you like it. Maybe you thought I was wrong when I said that the indie way was the good way to go. Maybe you thought I was wrong when I said that J. Dilla was the nicest or when I said the South was running the game and why they’re so unified right now. Let’s kick it like that. There aren’t a lot of artists that are willing to put their thoughts out there like that and I’m one of the people that is willing to do that. I wanted to take a different approach to the journal.  Now we have the iTunes Pick of the Week. You can go to iTunes and listen to the song and buy it. Now we have that and like I said in the journal, most of the time it’s not going to be a hip-hop record. I think that’s the beauty of the music too. I can name a John Coltrane or Kelly Clarkson record and I’m still the nicest rapper around. Just because I like a Kelly Clarkson record doesn’t take away from anything that I’ve done musically. John Coltrane, to me, is the greatest musician ever in any genre of music. Just because I mention him doesn’t mean that I’m still not putting out the dopest records. It just means that I have a wide range, musically.      You also make it a point to always thank your fans and let them know that you appreciate them. Yeah, I think that’s something that a lot of artists don’t do. You hold the door for people and they don’t say, “Thank you.” There’s not a lot of that going on in society. And look at the music. There is so much nonsense out. There is so much bad music out. But there is also a lot of good music out. You just have to search for it. I appreciate music that has authenticity and when people appreciate it, you have to thank them because they don’t have to appreciate it. It’s like a teacher has to show their students that they’re doing their thing and the kid should be appreciative of that. It’s the same thing with the music. In a classroom full of idiots, I’m doing my thing and you’re looking in and saying, “I appreciate that.” I always make it a point to thank my fans on my MySpace page, at a show or an in-store record signing. I appreciate all of that because you didn’t have to do that. Are you the best unsigned MC in the game today?      Definitely. Without a doubt. And I think that everyone should feel that way about themselves. That’s why when Lil’ Wayne said that he was the best rapper alive, people took that personally but he should say that and he should feel that way. It’s like when you step on a basketball court, you should feel like you’re the nicest one out there. If you don’t, why play? The only thing is that you have to have respect for all of the MCs out there that are doing their thing, signed or unsigned. I still have respect for the Termanologys, Serius Jones’ and the Saigons. I think they’re incredible along with Jay-Z, Eminem and 50 Cent. If you run around and say that you’re the greatest that ever was, then yeah, you deserve to be knocked off of your high horse. You have to have and give respect and if you do, then you deserve to be sitting on that horse. But I’m definitely the nicest unsigned rapper right now. I’m definitely the most complete. I’m definitely the most versatile, the most authentic and definitely the nicest doing it.  How much longer do you think you’ll be unsigned for?      I don’t know. We’re taking meetings every day. We’re definitely building this buzz every day. The whole goal was to build this buzz to an undeniable status. The mixtape wasn’t even on the streets for a full week and it was already on Rap City as their Pick of the Week. I didn’t even push for that. They contacted me and they told me that my mixtape was crazy and it was bananas and the buzz was crazy on the street. I got a bunch of magazines that are coming out with write-ups about the tape. I was on Rap City’s new segment Spit Ya Game. I was the first one to air on Rap City and it was the same week as the mixtape, so I had two appearances on Rap City. The labels definitely see where we’re going with it and I’m going to carve something out, label-wise, real soon. Have you started working on your debut album The Salvation? Not really, but I’m definitely excited to work on it. I was talking to my engineer DJ Nyce about how excited I am to make the album. I have a few beats already for the album and when I listen to those beats, I get so excited that I’m ready to jump out of my skin. I’m ready to go in the stu and start working on those records, but I want to be in the right mindframe when I go to make the album. It’s going to be real spectacular and real special. I’m putting my all into it and it’s going to be serious, man. I’m just ready to do it. As soon as I get that major deal, I’m ready to go with The Salvation. I’m ready for it to be one of the best pieces of music in years. Cloud 9 and my mixtapes are all incredible, but it’s still me holding back. People say that I’m making all of this incredible music and I appreciate it and I agree, but I’m still holding back. But when I make The Salvation, I’m letting it all go. I’m holding nothing back. I’m going to let it all go and it’s going to be something that’s really special.  When do you want to drop The Salvation?      I would definitely like to have a summer ’08 release with it. I’m not one of those guys where if I get signed tomorrow, I want my album dropping tomorrow. I want the setup to be right. I want the core promotional tours and the radio tours. I want to be able to hit the different markets and let them get to know who I am and get in touch with the people. I want to go in different markets and do different radio stations and do different venues and clubs and get to know the different people. I want the promotion to be right. I want people to know who I am before my album drops. People have a single come out and then their album comes out and no one knows who they are and all they have on their wall is a ringtone plaque. That’s why I’m building up the buzz now. I want you to be able to know who I am.  You can Google me and I have producers with plaques on their walls who tell me they Googled me and they had to stop because there was so much stuff. You could literally be on Google all day long looking at my name. You can look at my press run with XXL and Scratch and Spin magazine. You can look at my ‘net run with HipHopGame. You can look up my chat room presence. You can look up the BET stuff. You can look up all of the people I’ve worked with. You can put my name in Limewire and see what comes up. And the people that don’t know who I am, we’re going to make sure that they know who I am when the album drops. If I were to get signed tomorrow, I would definitely be trying to get a spring or summer of ’08 release. If it happens differently, so be it, but I’m definitely looking at a late spring or summer release.  Summer is a good time to have an album coming out. When the Ruff Ryders dropped in ’99, that was the biggest thing in the world and we could not stop listening to Ryde or Die Volume 1. It’s the same thing when Jay-Z dropped The Blueprint in 2001. You couldn’t stop listening to that record and when he dropped, he took over. That’s the feel that you want. And that’s the feel that’s missing nowadays. I can’t remember the last time I felt like that. The next time it will is with 50 and Kanye’s situation. But I haven’t felt like that in years and that’s what I want. What exactly do you want from a label right now?  I just want the right push. I want the belief. And I want the creative control. When you do business with a person, you believe they have your best interests at heart and you should have their best interests at heart. You should believe in that person because you have their best interests at heart. I think that it should be that way with the music and it’s sad that it’s not like that. A lot of artists beg to get off of their label and a lot of artists get frustrated with their label and they lash out because they don’t believe that the belief is there. It’s like a relationship with a girl. You want to know that she believes in you and you want to believe in her. That’s what I want. Whoever I sign to, they have to know that I’m one of the dopest acts on their roster. They have to believe that we can sell records together. It’s all about hard work. Nothing is going to fall in your lap and I’m ready to work, but the label has to believe that my album will be one of the biggest albums of the year and that the singles are huge. They have to know that if we market it right, the album is going to be bananas and that it’s going to hit big. I’m going to do my part to make sure that the songs I turn in are the best they can be and that we can make some money together. What’s the next move for Skyzoo?      I think right now I’m just really pushing the Corner Store Classic because it just came out and it has a big life ahead of it because it’s such a big tape from the producers involved with it to Kay Slay and Mick Boogie to the artists involved in it. There’s three or four records that I’m pushing at the same time like “The Paper,” “Click,” “Ride Out” and “Never Sleep.” “Cop and Go” is what I’m pushing now and that’s a great street record and that has a lot of life ahead of it. I can turn around and push “All Over the World” next. I can push “Bragging Rights” off of it. A lot of people have told me they like that one as well as “Never Sleep.” That has a lot of life ahead of it also. What advice would you offer to up-and-coming artists?  Have your music down pat but know that it’s more than music. It’s the music business. It’s the business of selling music. It’s about generating a buzz, generating acclaim for yourself and generating the right kind of business. It can get frustrating at times because you’ll be like, ‘What else can I do? I’ve made so many strides and I’ve done so much. What else can I do?’ It’s about having a plan. You can’t just go in, make some music and think that that’s it. You have to have a plan and you have to push. I’m at the magazines and the labels and now I’ve created myself. I’ve created my buzz and my lane. And before that, I had to be out there heavy doing that and I’m still out there. It’s about having a plan. You can’t just go out there and run wild. You have to have a plan. And don’t let anyone deter you from what you want to do. Have a plan and I think everything will work out.  What do you want to say to everybody?  As always, good looking on the love and good looking on the support. Good looking on supporting the Corner Store Classic and Cloud 9 and everything that I’m doing. Good looking to HipHopGame for holding me down as always. And just be ready for me to come out with some more music that you can hear Dipset or Lil’ Wayne or Jeezy on. You shouldn’t be throwing a hissyfit about that. You should be happy that I’m growing and I’m expanding. If I can do a record with Juelz Santana and I can pull that whole fanbase, then those people are going to be interested in what I do and who I mess with like 9th Wonder, Khrysis and more. They’re going to be like, ‘These dudes are dope.’ There are people who are now knowing who they are. So you shouldn’t be upset when you see me making moves. But even if you are still upset, I’m going to continue to make the records that I want to make whether it’s with Primo, Kanye or the Neptunes and they’re going to be dope records.

By Brian Kayser

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