When you're headlining, people are paying to come see you specifically. It's a different kind of pressure, because you've got to deliver. You've got to give these people what they paid for. It's a different mind state, a different type of mentality, but it's honestly a pretty good problem to have, you know?

Far from the richest rapper, but my biggest personal achievement thus far in my life has been retiring my mom early from her job at the Post Office. It's a tiny payback for the sacrifices she made that allowed me to chase a far-fetched dream of becoming a successful artist. I'm forever grateful.

When you're a producer on top of that, just havin' a beat that's hot is not enough. Now you know your sound, 'cause you've been workin' on your sound for so long, and now you're extra picky. You might do a beat that's ill, that the average rapper would pay big money to get on, but you don't wanna do it because you're like, "Ehhh... it's not what I'm looking for, it's not what I'm goin' for." So you're extra picky.

I was inspired by, when I was in college, seeing some incredible speakers come to my school: Michael Eric Dyson, Spike Lee, Nikki Giovanni, and other poets and writers. I always loved that experience: going and sitting in an auditorium and listening to their opinions.

I'm not a conscious rapper, all those things we talk about, the struggle, the pain, the outlook to the future, keep your head up. I try to put all those positive things into a regular human character, which is myself.

There's still value in a CD, even if it's just nostalgic. People are still willing to pay. But it can't compare to a digital-only release where you can control the exact time that it'll come out, you know what I mean? So whoever finds how to bridge that gap is gonna make a lot of money.

I want people to follow their dreams, yes but I'm not interested in telling young black kids how to be rappers I want to show them that there's so many other paths you can take, besides a rapper or basketball player.