The only thing that deeply frustrates me is the slow speed [of major labels]. The more people involved, the slower the pace.

When I was 10, I would hear songs like "I Love You Always Forever" by Donna Lewis on the radio, and I want to make stuff that a 10 year old might hear coming out of the radio and think, "Yeah! I love this!"

Playing to bigger audiences at festivals got me in the mindset of writing music that I would sing to a crowd.

Brooklyn is a hub; people move to Brooklyn because of what's already in Brooklyn.

You'd have to be kind of a bonehead not to feel pressure.

You know how some trees have those ear mushrooms that just grow off, and you could live on one of those mushrooms and not realize that there was stacks and stacks of others? That's how I describe music scenes in New York. That's one of the trippiest things about living here - just how many parallel universes there are that you can be completely unaware of.

It's a lot different being a hip-hop artist. You just show up with a piece of paper with your words on it, say it in the mic, then you leave and some other guy does all the music.