People are very afraid. In my country, you had a corrupt party who sabotaged an amazing candidate Bernie Sanders who was stronger than the other. Had Sanders faced Trump even more young people - from black millennials to the gay and lesbian community - would have voted because he represented them at his core. Fear drove the American vote, because if you're choosing from two devils like Hillary and Trump then you're more likely to end up picking the one who is cooler and makes you laugh.

I think that everyone who does music, and everyone who does art, or everyone who decides at a young age that they're gonna do that, is someone who feels like an outsider. The world is not really set up for that.

My relationship to Brooklyn is probably the relationship that any 40-year-old man has to his hometown, which is that this is where I live, this what I know, yet it's different, it's changed. My fascination with the city has maybe subsided and now it's just where I'm from, where I live.

I am trying to change hip-hop music because I do feel there are places people can go with production and the structure of an album that they haven't gone yet. But, like I said, I don't have any delusions of grandeur. I just want to make music that doesn't make me bored.

Any issue and any problem, no matter what height you look at it from, no matter how much you extend past the first fractal, it's still a fractal of something that emanates from within your consciousness - from within the human consciousness. And it'll move on and manifest itself externally, and then those are what we pick up as societal ills. But all these battles we're fighting are internal. For me, it's reconciling hope with dread and trying to cut out some place in my mind where my heart can be protected a little bit.

We're not steadfast about not repeating mistakes.

Maybe my great struggle, and it's probably not anything different from too many other people, but it certainly is what drives the music, is a hugely internal one.