I tell each artist they have to grow toward a revenue stream.

Ever since I was a teenager, I was always kind of, like, checking myself. You know, like, "Come on man, don't get your head all swollen. Life and time itself will give you perspective on what you're doing." So, that's actually what's always been a reminder in my own head.

I think the problem for the future generations is a lot of people ain't takin' the time to look for galvanizing artists and give them their voice, so therefore for their voice to be heard, they gotta bang more pots on the ceiling, so to speak; they gotta do crazy things just to get recognized. I just feel that whenever you don't give a generation some kind of voice, then expect side effects.

I'm envious of the way that electronic dance music has organised itself. It has been able to understand what it ain't rather than what it is. And I think that slipped away from hip-hop as soon as the DJs lost the majority of the say so in the direction of the music.

Public Enemy started out as a benchmark in rap music in the mid-1980s. We felt there was a need to actually progress the music and say something because we were slightly older than the demographic of rap artists at the time. It was a time of heightened rightwing politics, so the climate dictated the direction of the group.

There's people who feel that, Well, if I could profit off of sellin' sex to an eleven-year-old kid that comes through some kind of virtual portal, then I'm not really doin' it in actuality. I'm just kind of co-signing or fostering it, 'cause it can't be attached to me. I'm like, Yes it can, 'cause people are livin' through their avatar.

People aren't going to support an artist just because they have an audio file. They have to feel a real connection.