I think when I dropped The Eulogy is when it became more [about] feedback because that's when Pitchfork wanted to review it and things like that.

I'm a SoundCloud, online kind of artist. It's not like back in the day when everyone was like linking up physically to do music. But with the album, I did have my first experience with meeting with a producer and us making things from scratch.

In the industry there's this whole mentality of working with someone who can open the door for you, but my whole thing is that I like my work to speak for itself. So I still do have that same mentality.

I think when I dropped The Eulogy is when it became more [about] feedback because that's when Pitchfork wanted to review it and things like that.

With a lot of people you think you want to work with, you reach out to them about working and then realize you don't want to anymore because they're a complete dickhead.

If we actually supported these gay artists and pumped money behind them the same way they pump money behind these divas, a conversation of homophobia in hip hop wouldn't be. Because I would have the money and the revenue coming in. It's not about homophobia or who's going to push back. It's all about who's supporting you and where there's money from.

Every time someone asks me who I want to work with, my answer is always the same: whoever wants to work with me that won't want to get their ego stroked.