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What came first I would say was the producing. I was a huge fan of Pharrell Williams and around that era, when I was in high school, the producers started getting recognition for all the dope beats: Dr. Dre, Timbaland, and all these dope producers.I also started rapping. I wanted to be Eminem, and that's why I still have those qualities in my music, and that's why I'm able to be so versatile - sing, rap whatever. But really my number one thing is singing.
Music was just played all around me, and I couldn't run from it. My pops, he never learned to sing, but he'd have his little drink on the side, and he'd put on the best of his hits - gangster rap or oldies - and he'd sing all day on his mic plugged up to the wall set-up. It's a trip. I've just seen that my whole life, so I've always just had a love for music. By the time I was 13, I really just jumped in it. And it's something I took on to have as a hobby.
As a matter of fact it wasn't until after BIG passed and stupid rumors went around that I had something to do with it, and it's like I'm not a killer man , I'm a musician, I'm a DJ we got like a different heart. Ya know back then when rappin' was fun, and we could immolate being gangstas; ya know Dr. Dre made the hardest gangsta rap records in the world, that didn't necessarily make him a gangsta. It was all like ya know : character, we were all in character.
Basically my personality, and my talent, and my lyrics are so outstanding that what listeners can tell is that I put so much hard work into what I'm doing because it comes through my music. So I feel that my music for one will get my point across. I write from my heart and my spirit... You know what I'm sayin'? Some people don't know their place, they're just like "Oh I rap because I'm tryin' to get this or that, and I'm doin' this because I want to get money.
Kids who are least impressive in my class are the ones who only listen to one kind of music. They only listen to country or only to rap or to gospel or anything. It's a sad thing. I try really hard to get them to go out and listen to things. It's amazing what you learn. ... I'm still trying to learn. It's not like I'm going to be a calypso singer. That's not going to happen, but I'm sure there's something in that, that I can learn from and apply to my own work.
We've always said we're a HEAVY METAL band. We've kinda branched out here and there - we've done a rap thing, we've done a rap-rock thing, we've done something with Angelo Belmonte, who's the primary composer of Twin Peaks. In fact, most of David Lynch's movies is Angelo. He did something with us and that was great. We've also acted, we've done an episode in Married with Children, which was awesome - so we're always looking to do things which you wouldn't expect.
Infrareds on little people standing with some big heads, I was Captain Kirk, walkin' with a black t-shirt. LAPD, the nurse asked did my knee hurt? I was in pain, little Martians tryin' ta take my brain, Hospitals came, detectives wrote down my name. I was to blame, my life never been the same. A true story; I tell ya, it'll never bore me. My classmate died, my other friend named Cory Drinkin' 40s, he jumped out the project window, Stabbed himself with a yellow number 2 pencil.
You can't expect to be on MTV and critique George Bush. You can't expect to be on BET or the cover of 'The Source' advocating Jesus Christ or Buddha or Hindu Krishna or Moses. As a conscious rap artist, you have to play in the arena that you're supposed to be in. What is that arena? That arena is the college market. The conscious rap artist woos the college market, even though the college market is the wildest, most sexed-out, drug-driven market in the country, possibly the world.
We should remember what a rapper like Tupac Shakur was doing, to a certain degree, who came from an experience of politicization very close to being a "Panther Baby". He knew, he came from that experience of the Black Panthers, and accounting for all his contradictions and process of growth, he achieved politically through gangsta rap things that no conscious rapper has achieved, such as establishing political, ethical, and moral codes between Crips and Bloods in the United States.
We used to have MTV and all these ways we can show our videos, and it was these rap shows, and it was everything. And then it became not cool to be conscious; it became cool to just hang out. Escapism rap became the norm. And, when I say "escapism rap", I mean getting high, get your cars, get your money, get your jewelry, go to the club, have your women, and it just became all about escaping your reality and not making your reality better on a real tip; not just on the have fun tip.
It's unfortunate that some people do not see what entertainers do in the background, but many of us do so much work with causes. You know some people have chewed me out, saying things like, "Oh why could you post pictures in your dresses and meanwhile they killing black men on the street?" I'm thinking, excuse me do you know what I did today? Do you know what I'm doing right now while I'm reading this post? So I think a lot of celebrities get a bad rap because people see the surface.
I was kind of in an experimental phase with The Disposable Rappers. This is boring to me, because it's true, but when I was a sophomore in high school, I visited my sister in college and saw an improv troupe, and that was a genuine moment for me. It was an actual "Aha!" moment. After I saw that, I said, "I want to do comedy." So The Disposable Rappers started doing improv in addition to rapping, and when I went to college, I very specifically went saying "I want to join a comedy group."
If you're going to point out the ridiculousness of a rule, it's naïve to think that you can break it. It's the same way that rappers have embraced capitalism. Some people say they liked it better when rap was a literal protest form in the '90s. But I think it's more a form of protest today, because it's telling the story of what happens once something forbidden is within reach. I think rap is more political today when it speaks about luxury watches than it does about fighting the power.
I sleep all day. Noises flit around the house- garbage truck in the alley, rain, tree rapping against the bedroom window. I sleep. I inhabit sleep firmly, willing it, wielding it, pushing away dreams, refusing, refusing. Sleep is my lover now, my forgetting, my opiate, my oblivion. [...] It is afternoon, it is night, it is morning. Everything is reduced to this bed, this endless slumber that makes the days into one day, makes time stop, stretches and compacts time until it is meaningless.
I was probably just graduating high school, maybe still in high school. When I was still in high school, maybe the last two years, I was rapping but I wasn't telling anybody. When I signed my deal people didn't know it was the same Ryan Montgomery from Oak Park High School, because I used to play basketball and I used to fight. Like I'd bring boxing gloves to school. So when they found out, it was, "You mean Ryan who be boxing?" or, "Ryan who be hopping up at the park?" So I was known as that guy.
I do think there's a great deal of politics mixed in rap. Their reference to the real world is much better than most, particularly a lot of women who seem like all they do is sing about love. Love is such a fleeting emotion. It's such a small part of the things you do in your life. I don't understand why that's all they concentrate on, except that that's what they're encouraged to do, because if you keep thinking about love, you'll be less of a challenge. I like that about rap. It's got power to it.
The conservative media game was neatly summarized by Matt Labash, a former senior writer for The Weekly Standard, in a 2003 interview on the website journalismjobs.com. Labash explained: 'The conservative media likes to rap the liberal media on the knuckles for not being objective. We've created this cottage industry in which it pays to be un-objective. It's a great way to have your cake and eat it too. Criticize other people for not being objective. Be as subjective as you want. It's a great little racket.'
My family have always supported my rap - and they know I love them when I rap about them - but I'm just Michael Jackson to them. They care more about me. I express my love for them in a much more personal way on this record. It's about our conversations; my fear, and their advice. I know my sisters are gonna hear "Willie Burke Sherwood", which is named for my grandfather, and cry. I used to do music for me, because my ego needed it, but now I'm doing music for my family and friends who helped me become a rapper.
I have a few different managers, and one of them hit me up today and was like 'I'm going to set you up with these guys doing beats and such...' I was like cool, as long as I can do what I do. Just because kids are going like this now, I'm not going to do that because I am not 18 years old. I'm not going to rap like I'm in grade three because it's popular. I'm just not going to do that. It's not because I'm being stubborn, and I definitely not that guy that is getting older and does not understand the younger generation.
Rap music and rap records used to always be like this: we get one or two shots to a piece cause it was a singles marketplace and when the major record companies saw that it could also handle the sales of the albums then they started to force everybody to expand their topics from 1 to about 10 and you gotta deliver 12 songs, so a lot of times if you took a person who wasn't really developed, and the diversity of trying say 12 different things, you know the companies were like "Cool! Say the same thing 12 different ways."
In this time, we incorporate money and media, and it's split up like apartheid, where when you say "hip-hop," you think just rap records. People might have forgot about all the other elements in hip-hop. Now we're back out there again, trying to get people back to the fifth element, the knowledge. To know to respect the whole culture, especially to you radio stations that claim to be hip-hop and you're not, because if you was a hip-hop radio station, why do you just play one aspect of hip-hop and rap, which is gangsta rap?
The biggest thing that will define my legacy is how I've done it, and what I've done, and who I am. I'm a weird big guy. Doing rapping, doing movies. Do a lot of stuff. But always do things the right way. Went to the police academy to become a police officer. Get his master's in criminal justice, stayed out of trouble. Played for three different teams. Changed three different franchises around. This is a guy who they would have secret meetings about to change the rules. So, that's going to be my legacy: the most dominant player ever.
Appeasers will always try to get the least dangerous person to bend to the most dangerous person. This is one of the main problems in dysfunctional relationships. The more mature and rational you are the more you are victimized because, they are aware that you're not going to be as aggressive, destructive, or possibly as abusive and so you are the one who has to bend. You're the one who has to change and this constant rapping of rational people's souls around the prickly irrationalities of other people are what appeasers are constantly doing.
The appeal of the spectrally macabre is generally narrow because it demands from the reader a certain degree of imagination and a capacity for detachment from every-day life. Relatively few are free enough from the spell of the daily routine to respond to rappings from outside, and tales of ordinary feelings and events, or of common sentimental distortions of such feelings and events, will always take first place in the taste of the majority; rightly, perhaps, since of course these ordinary matters make up the greater part of human experience.
But this is one of the things that makes rap at its best so human. It doesn't force you to pretend to be only one thing or another, to be a saint or a sinner. It recognizes that you can be true to yourself and still have unexpected dimensions and opposing ideas. Having a devil on one shoulder and an angel on the other is the most common thing in the world. The real bullshit is when you act like you don't have contradictions inside you, that you're so dull and unimaginative that your mind never changes or wanders into strange, unexpected places.
You heard about, through word of mouth, Big Bird is out, he's in the house. He's turnin' up, with Snuffleup, They're really gettin' their hustle up. They stick together like Velcro, There Grover go, there's Elmo. And Cookie Monster there, look he likes To take selfies with his cell phone. They got a homegirl named Abby, Her last name is Cadabby, I showed her my report card, She said, 'Not too shabby!' They got all types of cool kids there, It's lots of fun if you live there, One thing I keep forgettin' about Sesame Street... How do you get there?
I value my core fans I got from the hood. I think a lot of things might hit home with them, like problems with the law or how I talk about partying - all the different topics I cover when I do rap. But I also value my suburban fans who take a liking to my music and like the way I change cadences. I appreciate all of them cause both types of fans push me to record all the time, both push me to give my best when I do a show. Both push me to be the best rapper and not just do it as a hobby, but do it as a job and take it seriously and put pride in it.
When I first started rapping, when I switched my style to more like a punch line style - this is when I'm like 13 years old - and I switched it to this real wordy - I was trying to rap like Canibus and like Eminem. It was real lyrical, real wordy and punch lines and, when I would come up with these punch lines and spit 'em in these cyphers, the minute the cyphers would be like, "Ohhh" and everybody would break away, it was a new feeling for me. It was like, "Oh, yo, you see what I just did?" I was addicted to that feeling, and I still love that feeling.
The poverty rate among black married couples has been in single digits ever since 1994. You would never learn that from most of the media. Similarly you look at those blacks that have gone on to college or finished college, the incarceration rate is some tiny fraction of what it is among those blacks who have dropped out of high school. So it’s not being black; it’s a way of life. Unfortunately, the way of life is being celebrated not only in rap music, but among the intelligentsia, is a way of life that leads to a lot of very big problems for most people.
Americanomics works, and I won't argue that is true. But if the economy is getting better, getting better for who? Well, if you ask me, I'm doing much worse than before, With the welfare cuts, I don't eat no more. So if I did wanna go out, I couldn't go nowhere, Cause I ate every last one of them reindeer. Rudolph first, I went down the list, I got so hungry, I just couldn't resist. I ate Dasher, Dancer, Prancer, Dixon, Fried them up and then started to mix them. And before you knew it, they were all gone, I wonder what y'all gonna do about my reindeer song!
You know them days you just got the blues, All stressed and depressed from just watchin' the news? No matter what good you do, it seems you always get screwed. Got you caught up in your feelings, now you off in the mood. Shake that attitude and do what you can, Set a couple goals, follow through with your plans. Time waits for no man and tomorrow's not promised, So if she's still alive, shoot a call to your mama. Cause the fighting and the drama, it's just not worth it, Nobody's perfect, ain't none of us worthless. We all got a place, and we all got a purpose.
My life after childhood has two main stories: the story of the hustler and the story of the rapper, and the two overlap as much as they diverge. I was on the streets for more than half of my life from the time I was thirteen years old. People sometimes say that now I'm so far away from that life - now that I've got businesses and Grammys and magazine covers - that I have no right to rap about it. But how distant is the story of your own life ever going to be? The feelings I had during that part of my life were burned into me like a brand. It was life during wartime.
I think that all journalists, specifically print journalists, have a responsibility to educate the public. When you handle a culture's intellectual property, like journalists do, you have a responsibility not to tear it down, but to raise it up. The depiction of rap and of hip-hop culture in the media is one that needs more of a responsible approach from journalists. We need more 30-year-old journalists. We need more journalists who have children, who have families and wives or husbands, those kinds of journalists. And then you'll get a different depiction of hip-hop and rap music.
If I like hardcore straight-edge punk music, gentle psychedelic folk music, gangster rap, indie-rock with a lot of guitar pedals, and I find inspiration from all these things in different songs of mine, shouldn't I be allowed to make any of this kind of music that I want? And it's the same for the comic books, why should I only make autobiographical stories? Or only political stories? Or only superhero stories? Or only comedy stories? I am a bit creatively desperate, when I sit with a pen and paper I am desperate for ANY idea that makes me excited, I don't care what kind of idea it is!
The current state of music journalism is not bad, but it's not great at all. Some of the hip-hop stuff people get into is exciting, because there's a passion and there's something to explain to a more mainstream audience, so you get these passionate writers who want to express their love for rap and hip-hop, which is cool. But there are too many magazines, and the access has been diminished, so the quality of profiles has gone way down. Internet stuff can be really good, though. I like the dialogue between fans on the Internet. I think that's the best rock writing that's going on right now.
