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 don't know [whether] if I didn't get paid, or my career didn't keep going where it goes, if I would keep doing music.

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.

I like to consider myself a student of hip hop. There's a certain level of certification and wit and craftsmanship that comes with rapping. As rap progresses - it's a young genre - it's becoming way more mainstream, crossing over to different lanes. I feel like it's losing its essence in a way, because it's getting commercialised. I want to keep it fresh and keep it progressive, but I also want to respect the foundation of what rap is about.

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 started making music for fun maybe my senior year in college. I started rapping in high school, but it wasn't anything serious.

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.