HipHopGame.Com: Mickey Factz Interview

HHG: I remember The Semtex freestyle you did in the UK, when you were coming off the top. What was going through your mind when you were coming up with those bars, knowing millions were listening?

MF: Well, funny thing about it is, I’ve always freestyled to myself off the top—just to sharpen my skills. Before I went to Semtex show, I had two shows in the UK already, and I was freestyling off of their beats. You know, the electro-techno, all of that. So when it was time for me to go on Semtex; it’s just basic for me to freestyle. I didn’t really want to give them a written, because when you give writtens, they have to be specifically made for radios, or just for free. I’m somebody who doesn’t like to repeat my own freestyles because I used to be a fan of DMX and Mase. And when they would freestyle, it would be on their album. So it would be like “Yo this is wack. What am I paying this for?” Nah mean? So, when I went on Semtex, it was just you know – I’ve seen Asher do like a 45 minute show. I’ve seen Charles Hamilton doing his freestyle thing. You know, they could do it, but they don’t have the skill level to keep doing it, or like, switch up their flows. When I was on Semtex, the only thing that has been going through my mind was to not curse.

HHG: And you only did it once.

MF: Yeah. I think I cursed maybe once. But, I think I said shallow or something (laughs)

HHG: It’s funny, because it’s like the essence of freestyling diminished a long time ago, because when people freestyle now, they simply provide a written instead of an original one. Do you feel the demise of the word freestyle is a possible reason for the game being in the position it is today?

MF: I think a lot of things have changed over the years. A lot of definitions have watered down over the years. And, I think freestyling is definitely one of them. You know when I used to watch KRS-One, and what he would do onstage, no matter what – when he gets on stage, you know he’s going to freestyle. You know he’s going to go off of the top very much. You know his freestyle is going to be off the top, and he’s going to lead you on, you know what I’m saying? Supernatural is the same way. Actually, me and Supernatural had a freestyle session at Rock The Bells for the first few days, and it was crazy, because he has the record for the longest freestyle. So I mean, I think the definition has definitely been watered down, especially when it comes to battling too. People battle and everything is prewritten. I came from the school where people came off the top – where somebody would come off the top and go against somebody with a written. And, if you were able to beat them, then you were supreme. So that’s the school I came from. You know a lot of people that I run with – they always want me to go on radio and have prewritten stuff to wow people – to have people go crazy. Look at the 12 minute freestyle I did. People were like whoa.

HHG: I remember you said the other day when we spoke, that you’re a lyricist by a way of life. What paved that way?

MF: Oh yeah man. I used to listen to people that would wow me. People don’t wow me anymore. I’m not mad at people doing songs that are real watered down or something for the club, or for the girl. But, whatever happens to the other songs on the album shouldn’t be about dancing. It should be about you being nice. I commend Slaughterhouse. I commend all of them that still just wanna to go out there and just rap. Sometimes I feel like just rapping – just to show people that I could rap. I think people would even forget me because they hear the “Supra”. They hear “Rocking and Rolling”, and they forget, I could literally turn it up on you in a heartbeat. But hey, it’s all good. I definitely grew up listening to the greats like Rakim, Kane, Big L, Pun, Jay – Early Jay, Nas. I liked listening to how lyrics were put together. Like even now, Lu {Lupe} is exceptional - so are Jay Electronica, Phonte, and Elzhi. When I listen to their records, I get scared like “How could I better than these guys?”

HHG: You just mentioned Lupe, and you guys are fairly similar. Because you’re lyrical, and you guys have a similar look, what’s the main difference among you two?

MF: The man difference between me and Lupe is, let’s say there’s a road to a treasure at the end of the road. There’s a one way road, and there’s a road with all the turns that takes you to that road. Lupe is going to take you all around that forest to get you to that road. He’s going to take you everywhere. He’s going to take you over the trees, underneath the river, and all that. I commend him. That’s hard. If you really listen to what he’s saying, and you break it down, you’re like “This kid is absolutely a problem.” Me, I’m a straight forward dude. (Laughs) I’m going to drive straight down that road. I’m going to put you in that seat, and for the next 3-4 minutes, I’m going tell you what I’m talking about. I’m going to have a plot. I’m going to have an ending. And there might be a surprise in there - but it’s still lyrical. The shadowboxing is still in there. The wordplay is still in there. The double and triple entendres are still in there. It’s not as intricate as Lupe, but I’m not a watered down Lupe. I’m more straight forward when trying to break down a similar subject.

HHG: Another similarity comes from the stage presence you both posses. How many red bulls do you chug down before you go on stage?

MF: I don’t take any red bulls when I go on stage. (Laughs)

HHG: You have crazy energy when you perform.

MF: Man, sometimes, I don’t even get any sleep. Matter fact, here a story. I did a show in a Chicago. I didn’t get any sleep, ANY sleep the night before. I slept maybe 10 minutes before I got on stage, and that was probably one of my best shows. I came on stage with my jump rope, and I broke it. I was wilding on stage, and the whole crowd was in love with me. You know, at the end of the day, being an emcee, and being an entertainer are two different things. I just happen to know how to emcee, and know how to entertain at the same time, and I think Lupe knows the same thing. I know I could get on stage, and I like to entertain for the female fans that are out there – the ones that want to see you dance. Like Big Daddy Kane used to do that. Just kind of tell jokes in between songs. Give them nice little stories. And, give them the party records. But, I can’t ever neglect my male fan base. They need that lyrical prowess I come with. So, I always gotta come off the top. I always gotta get them my verses from “Incredible”. I always gotta give them my acapellas. That’s meaningful. You know, I try to bridge the gaps between both males and females, and I’m giving energy on both sides of the spectrum.

HHG: In terms of performing, you’ve mentioned James Brown as an influence before. How does a rapper like you take into consideration the style of performing James Brown offered when you’re on stage?

MF: Yeah, when I had my show at S.O.B’s, the Black Apple in NYC, I went and got a choreographer. I went and got a personal trainer to work on my cardio. And, I really studied a lot of artists that I look up to. I studied Andre 3000, Busta Rhymes, James Brown, and Michael Jackson. I’m always trying to get into that zone. Like Janelle Monae, I think she’s an amazing performer. I even look at Lupe’s stuff. I just take a little from everybody, and I try to incorporate it in my show – try to make it my own. Other than that, you get a well rounded show. You get lyricism, partying, emotional stuff, rock; because I like some elements of rock and even cardio, because I do push-ups when my band is up onstage.

HHG: You mentioned Janelle, and I remember reading in Smooth magazine you said you felt her & Chester French pose more of a competition for you than rappers. Why is that?

MF: Well, Chester French, and Janelle Monae, I think, are the future hip-hop. Well screw that future of hip-hop, I mean the future of music. I think Janelle Monae is like the second coming of like James Brown. I remember being at her show. Her voice – she has a very opera kind of voice, but still can be R&bish and Popish. Chester French is a group rock/alternative band, and they have hip-hop roots. They’re so musical. They have some of the hardest beats. If you have downloaded that Jacques Jams Volume 1, they have some of the hardest beats. The joints that they did with Clipse – with Pusha – it’s crazy. I mean, they’re musical, and they’re great writtens. I feel like I’m the same. I’m musical, I’m a great writer, and I’m a great performer. I feel like they’re my competition. B.o.B, Bobby Ray, I think he’s amazing. Amazing performer, amazing songwriter, and he’s lyrical. That’s my competition, because they’re pushing the envelop on music. They’re pushing the limits. There’s no limit in their music. I feel like when I’m in the studio, I need to make something on their level or even hotter.

HHG: Because you are a lyrical dude, I was curious, outside of music, have things like books and movies provided a sense of inspiration when writing?

MF: Yeah, I just started getting into the Matrix. I think the Matrix is amazing. The way it’s written, and the way it’s portrayed is absolutely amazing. Like Malcolm X, I always try to get into the mind of Malcolm sometimes, because he was such a rebel. Bruce Lee, he’s a big inspiration. He had some great philosophies as well. Outside of that, I get a lot of inspiration from art. I try to go museums in every single city. Just taking the art, and everything I see, that’s what really inspires me outside of music. That’s where my music comes from.

HHG: You just had me thinking, and this is an out of loop question, if you could pick one superhero that relates to you, who would that be and why?

HHG: You know, I just started collecting comic books. I remember Giant, and Semtex asked me the same thing, and I said Wolverine, and I was absolutely wrong. The superhero that most parallels with me is Spiderman.

HHG: I could see that.

MF: Spiderman because he’s always the underdog. He was a regular kid who worked – I don’t work anymore but I used to work. He had glasses. He was picked on. But, he always had morals. “With great power comes great responsibility”. After his Uncle died, he felt like he had to continue. Like no matter how much it would look like he would lose, he always came back. I feel like I’m the same way. He had girl problems in the beginning. He didn’t know who he wanted to be with, and then he married Mary Jane. I feel like Spiderman, and Mickey Factz are one of the same person, like literally. I’m trying to collect everything. I just want to follow Spiderman now. I’m at a Spiderman craze right now in my life.

HHG: Switching gears, I know you have the company called the GFCny. How is that company different from an ordinary record label?

MF: Well it’s different in many ways. For one, in everything that we do, we think outside the box. We try to get into the minds of people who are dictating the culture. We try to talk to the trendsetters. We also let the artists be free and make their music. We don’t limit the artists in what they want to do. It’s like a family at GFCny, because at the end of the day, everybody is a star in my eyes. From the stylists, to the A&R’s, to the managers, to the artists, everybody is a star. We all know the common goal at the end of the day, and that’s to elevate the culture. That’s what it’s all about. Hip-Hop – the music in general – the culture, and where it came from, I feel some of it is being lost. I feel like GFCny is trying to back that essence of not so much changing the culture, but moving forward into the future. Some people say “Mickey Factz wear skinny jeans.” At the end of the day, just because the people on your block wear baggy jeans, doesn’t mean people over in China, Japan, Europe, and Australia are wearing those clothes. If I dress like this, it’s because I feel like this is dope. This is what I like to wear. When I was younger, I wore baggy clothes. It was dope. But sometimes, people have to get out the mindset of being stuck on one phase. You know a lot of people are stuck in a specific mind frame. I feel like sometimes we act like our parents. Remember when we used to listen to that 90’s music, and thought it was the greatest music ever. Our parents would be like “Turn that racket off!” Then when our parents would play the music from the 70’s, and 80’s, and we would be like “What is this garbage!?.” But, we would appreciate it once we got older. The same thing is happening now. We’re becoming our parents by just being in love with the 90’s. Man, I love the 90’s. I love everything about 90’s music. But, I appreciate the music coming out in 2009, 2008, 2007. Even if it isn’t up to the lyrical level as it was from those years, it’s still great music being put out. Just to be apart of the class of 2009, which would probably not happen for another 5-10 years is classic.

HHG: With that said, are you more a business man than rapper?

MF: That’s a very good question. You know, one day I could be a business man, the next a rapper. I could do both very, very well. But I think it’s important for every artist to be a business man at the end of the day, because rapping isn’t going to be all of your life. I think Jay-Z is a monopoly. Outside of Jay, it’s very hard to just continue to rap. Look at LL. No disrespect to LL. He’s a great, but, I don’t think the kids want to hear LL.

HHG: As for as the music is concerned, how’s the album coming, The Achievement?

MF: Well the name of the album is no longer The Achievement. I mean, The Achievement is still like…I don’t how to say it. I think whatever doesn’t make the album is going to make The Achievement, but I don’t think we’re going to put it out. The new album is going to be called The New Museum. I changed it because; I want everything to start fresh, new. In a museum, you can’t touch anything. In The New Museum – which there is a new museum in New York - you could touch the art. You could touch the art. You could actually live with it, be with it, move with it, and breathe with it. I want this to be timeless music. So right now, it is taking a while. But when it drops, it’s going to transcend music. You know, a lot of people are going crazy about the artists coming out now. Like Cudi, Drake, Asher, those are my buddies, but I’m going to say this: This album is going to be literally be like, The Miseducation of Lauryn Hill, Illimatic, And Reasonable Doubt. People who I have played the stuff for, they’re losing their minds. They’re like “this is why you’re taking so long.” This is post introduction stuff. This is all demo stuff. God forbid, when I really get in into what I really want to do, and finish it up, it’s going be 11-12 strong records. Just like back in the day, when 10-12 records, no filler. Everything is going to be meaningful. That’s what we need man, meaningful music.

HHG: You know what you had me thinking Mick, why do you feel rappers hide their intelligence when they spit, and dumb down?

MF: I think its human nature. Human nature runs towards negativity. Human nature runs towards drama. Human nature runs towards violence instead of trying to accept knowledge, love, and peace. It’s always that one point in music when an artist comes and drops something so classical, life-changing, and world-motivating that it can’t be denied. That happened to Michael Jackson, Lauryn Hill, The Beatles, Elvis, and even Illimatic. You could still listen to Illimatic to this day. I know rappers nowadays they just want the fast buck. A lot of artists just put these singles that are about nothing. Then one or two songs are social commentary. You’re like “Ok, good looking.” Two songs are positive, but the other 9-10 songs killed me about 10 times, you sold me all the poison in the world, and you probably bumped every single woman in the world. Is that what life is about? Is that how it’s supposed to be interpreted? How about women being raped? How about people starving in Africa? How about kids hustling at 11-12 years old? How can we prevent that? Nobody cares about that. I don’t know man. Don’t worry though; I got you – because The New Museum is coming soon.

Race For Love

Man I'm Trying To Find Love, Without Any Direction...I'm Between Love & Lust, My Heart Is On The Intersection..And November 4th Is The Election...Both Teams Have A Strong Campaign...One Loves Ciroc, & The Other Champagne...One Loves Prada & The Other One Louis...One Thing In Common, They Never Really Knew Me...Draw...The Race Is Undecided Cuz They Lacked The Undivided...Attention, Required To Satisfy My Desires...Intervention, Is Needed Because They're Lacking The Fire...Interjection, Is Needed Cuz I'm Surrounded By Liars...Surrounded By Girls Who Play The Role Of Cons...2-Faced, So Eager To Destroy A Bond...Because Now, Girls Play The Role Of Politicians...They Provide Empty Promises But Leave A Nicca Wishing...

Ballerstatus.Com: Pleasure P Interview: A Man First, Musician Second

Identity Theft has risen at an alarmingly rate in the past couple of years. I know what you’re thinking – “Carl, what does this have to do with Pleasure P?” Well, unlike Pleasure P, or Marcus Cooper, he hasn’t had any issues as far as people swagger jacking his style, or more or less, his persona. His candor may come off as pretentious to some, but could you blame him?

Could you blame him for the atrocious fallout between him and his group Pretty Ricky?

Could you blame him for having interviewers assiduously cajoling him to spew a couple of shots towards his former bandmates?

Could you blame him for just wanting people to recognize him for just simply being him?

There’s more to the crooner than the ballads, and lullabies. Raised in Carver Ranches, Florida, coming up, Pleasure P was merely Marcus Cooper – a kid trying to find his way out.

Now, Marcus, is the man who just finishing touring with Lil Wayne, Drake, & Young Jeezy this past summer. Now Marcus, is the man whose first album, Introduction to Marcus Cooper, has smash hits including “Did You Wrong”, “Boyfriend No. 2”, and “Under”. And now, Marcus is the man touring with the King of R&B, R. Kelly. Get the picture?

Ballerstatus was able to sit down with the self-proclaimed new “Bad Boy of R&B” and discuss his fallout with Pretty Ricky, the fakeness in the industry, fatherhood, and the essence of valuing life, in this tell-all interview.

Ladies, and gentlemen, here’s Pleasure P.

No – here’s Marcus Cooper.



BS: It’s been about four months since your debut album was released. If you could change anything on the album, would you? And if so, what would it be?

PP: Oh hell nah man. My album is a classic man. You know, once people actually take a listen to it, they’ll be like: “Yo – he has one of the best R&B albums out this year. You know something that’s really R&B.” So nah – I love my album. I love everything about it. I wouldn’t change it for the world.

BS: By titling your album the Introduction to Marcus Cooper, you were able to show a more close up view as to who you were as a person. Were you trying to remove the label of being Pleasure P from Pretty Ricky, or was this more of a personal thing, for people to get a closer look as to who you were?

PP: It was more of a personal thing. Being with Pretty Ricky, the personalities of the group kind of overshadowed who I was as a person. I don’t think people got the opportunity to meet that person. So, you know, I wanted to introduce them to me – to show that I have maturity – that I’m a grown up just like everybody else because life isn’t all about playing games, and all that kind of stuff. I just wanted to show them that side of me. I actually feel that as an artist, my next album – which is titled Suppertime - should have been titled the Introduction to Marcus Cooper because I’m actually connecting with music as an artist. Each album, you get better, and better, and better. You learn more. That’s what grooms you into becoming someone like a R.Kelly. This album, I’m actually connecting with music. I’m going to get a lot of stuff off my chest. I’m going to tell them like it is. You know, this album is going to be a phenomenal album.

BS: I remember reading an interview, you said you were the real quiet one, and didn’t have a personality in the group. Was that how people behind the scenes wanted you to be marketed as?

PP: Nah I used to be quiet because it was always a battle of who talked the most. Since I was the singer, I was always singled out. So, you know, maybe one rapper out of the group would get jealous or something like that. Now, when you see the group, you see the singer – he don’t talk. He don’t talk as much. And, the rapper, he always talks. That’s how they wanted the group to be. They didn’t want the singer to get all of the shine, and stuff like that. But, the singer will always get the shine when it comes to that, because there’s only one singer. So, they definitely gon’ want to hear what the singer can do. Always.

BS: Songs like “Did You Wrong”, and “Under” were real deep records (cut off by Pleasure)

PP: And they both number one records. I’m the only R&B artist out right now to this day, at this time, with two number one records on one album. Number one on Urban, and number one on the R&B charts. In my world, I’m very happy about that. “Under” touched number one a couple weeks ago, and Boyfriend 2, of course, went number one as well.

BS: Before I even pose you the question I was going to ask, do you feel you’re not receiving enough credit as far being mentioned with the Ushers, the Chris Browns, the Trey Songz etc?

PP: I definitely don’t get the credit because this was my first album. I’m the underdog. With me coming from Pretty Ricky, I’m going to be honest, it was a negative. I came in the game at a negative because I have people thinking I’m one way when I’m really not. So this album sort of solidified to people like “Oh he cool.” Now they want to see what he’s coming out with next. A lot of people didn’t even know I was solo. There’s a lot of things that comes with that. I’m not Usher. I’m not Chris Brown. I’m Pleasure P. I just started this shit. In due time, people will know, and realize that I’m real R&B. I mean, R.Kelly, he realized it – that’s why I’m on this tour. I appreciate him for giving me the opportunity to show that I’m real R&B. Everyday my motto is I’m gonna turn people into believers. And, slowly, but surely, we’re definitely doing that. I toured with Lil Wayne all summer, and I had the opportunity to perform to different types of audiences. Now, I’m on this R.Kelly tour, and this one is older, and sexy. You know, who knows? I might come back a as co-headline with Usher, and Chris Brown. You know, it’s all about introducing everybody to Marcus Cooper. You know I’m introducing everyone to him. I’m going to keep coming with hits.

BS: Being that you are on the tour with Kels, was he able to give you any type of advice?

PP: I’m at the beginning of the tour, so we didn’t really have the opportunity to build like that yet, but, I believe in the middle or the end when everything is settled, we’ll get to do that.

BS: What I was going to say before in reference to "Did You Wrong", & "Under", was that, those were real deep records. I know some artists record to just record, but were those records actually referring to past experiences in your life?

PP: Yeah they were. You know, but you lets take “Boyfriend #2”. I wrote Boyfriend #2 because I’m the type of artist who’s the new bad boy of R&B. I’m going to say whatever I want to say. You know, a lot of people to this day are scared to admit they go under – like a lot of dudes. I mean, we’re grown now. Come on now. We ain’t in school no more when that used to be nasty. I’m going to say that. You know what I’m saying? Some people won’t say it. Like “Boyfriend #2” is telling a girl “Yo? Let me be Boyfriend #2”, because she has a man who ain’t treating her right. I’m going to be the one to say that. I ain’t scared to talk to any female. If she said she has a dude, I respect that. But, at the same time, if he ain’t treating her right, then she gon’ have to be a good woman for me. I’m going to say however I feel. With this album, I feel with the experiences that I’ve been through - this new album that I’m working on – as far as the music industry, the people, how fame is, and how people just come out of the wood works expecting you to have a mentality of your own – I think his album is going to connect more with people because this is going to be the realest shit I ever wrote - Just like Pac said. This album is going to be the realest shit I ever wrote. I’m going to speak some shit that everybody can relate to. I learned in songwriting that a lot people feel like you, you just don’t think they do. I’m going to actually say the shit that people don’t say, but you really feel. Call it what you want, but I’m gonna always keep it 100 when it comes to that.

BS: You just had me thinking, why do you feel artists are so scared to be honest, and personal with certain things in their songs?

PP: Because that was how the entertainment industry was set up. Songwriters stay behind the scenes, and artists are supposed to be marketable. They want you to be marketable, but I feel like if you’re real, that should be something to market about. As long as you keep yourself separated from little kids to grown people, and as long as you keep yourself separated from setbacks, then you’ll definitely be fine. People think R&B guys have to dress a certain way. They have a whole persona of an R&B guy. They say R&B guys can’t have tattoos. They’ll tell you all kinds of stuff. Me, I’m just the type of nigga that does his thing. I just do what I want to do. That’s why I’m the bad boy of R&B. I have tattoos everywhere. I want to have tattoos everywhere. People gon’ have their thoughts, and mentalities, but mine is totally different. I came from Carver Ranches Florida, and now I’m living in Bel Air. That’s my mentality feel me? I live down the street from Eddie Murphy, and all them other people. That’s my mentality. I think that’s why R&B guys are the way that they are. Me – I’m from the streets. There’s no doubt about that. I ain’t trying to make my whole R&B career based off that. I definitely don’t forget where I come from, but I just kind of feel like, it is what it is man. The shit is what you get.

BS: I always thought artists were scared to make certain moves in fear of what the label might have thought.

PP: And that’s what I’m saying. It’s the label – the people behind the scenes. And, honestly, for some of them, it ain’t even within them. There’s some rappers that don’t even have it in them. I know I could beat the shit out of them, because rappers they deserve that man. Niggas going to look at me because I’m an R&B cat, and sing R&B. I don’t want them to look at me like that, but if a rapper even did a diss record on me, it’s gonna be a problem – a real personal problem. I don’t talk back and forth on records. I don’t believe in it. Women do that.

BS: You right. Do you ever feel because you are an R&B singer, a lot of rappers characterize you as a soft?

PP: Yeah they do. They be like “I’m a gangsta rapper. I’m that” Man I don’t give a fuck. I’ve been through the same things you’ve been through, and probably even more than you’ve been through honestly. I don’t carry myself nor walk around like that, but, the day that it ever comes that a rapper tries to diss me on a record, that’s when I’m going to introduce his ass to Marcus Cooper. Feel me? A lot of rappers man, they hide behind security, but me, win or lose, I’m going to go all the way. I’m the type of person – if you lock me in a room one on one, come see what happens. I mean with none of your homeboys around. Let’s do it head-on. I’m from that school. I’ll shoot another man a fair fight without anybody around. A lot of these niggas don’t do that no more. A lot of rappers and people don’t do that no more. Niggas wanna be about gunplay now. That’s their mentality.

BS: Do you feel in rappers in particular follow that mold?

PP: Man, honestly, and truthfully, I don’t like to expose people because that would be a contradiction of what I said. Honestly, that would be like a diss record, where niggas just say names. I don’t name drop in interviews. If a person has a problem with me, you gon’ know about it. That’s all I gotta say.

BS: You’ve mentioned the phrase “Bad Boy of R&B” a couple of times during this interview, and a lot of people have referred Bobby Brown as that. Do you feel a lot of people might try misinterpreting that, and start saying, “Oh, he’s trying to be another Bobby.”

PP: Nah I’m trying to be me. I ain’t trying to be Bobby. I respect Bobby. I love his music, and stuff, but I’m just trying to be me. You’re talking to me right now, and the bad boy of R&B is a mentality. It’s something than more or less what you did. For me to have sense to say: “Man I’m not going to namedrop.” That’s what a bad boy does. Those niggas would name drop for attention and recognition. That’s gay and lame. You know what I’m saying? People do that everyday, and people go out and support these people. I don’t know why. I mean I don’t respect them no way. I treat them like the men that they are. I don’t say nothing to them. I just keep it moving, because they don’t pay my bills. It don’t make no difference in my life. I’m going to keep making records, and I’m going to keep doing my thing,

BS:I know you’re a little tense, so I want touch on something that’s more important to you, and that’s you being a father.

PP: Yeah man I’m a father. I’m definitely a father. I’m a father of a 5 year-old.

BS: What would you want your son to take away from you not only being a musician, but more importantly, as a person at the end of the day.

PP: I just want him to take my teachings. If I had to die a couple of years from now, I’d just want him to take my teachings, and my manly qualities. You know what I mean? I’d want him to take the mentality of not having a small mind like me. Where I was from, I only knew ten streets. Going out of town for me was three hours away to go to my auntie house in Bradington in Miami. So, I’d just want him to just know the world is bigger than that, and not to have a small town mentality. A lot of people have small town mentality, not knowing, there’s more out there. Instead of spending your money, trying to impress these girls in the club, take your money, and travel somewhere. See something different. Hopefully, that’ll make you some money. You might meet somebody, and run into somebody, if you do something. You know, just to have that mentality, to know not to name drop, to know not to do certain things. I want my son to be that man.

BS: You know what it is pleasure? A lot of artists try to expose their kids so early in the game, and it doesn’t necessarily pan out. How do you prevent yourself from exposing your son to the entertainment business with all the negatives swirling around?

PP: Oh, I don’t. I don’t expose him to the entertainment business at all Carl. He grew up like a normal child. He goes to school. To me, when he sees me, it’s daddy, not Pleasure P. I keep that separate. I keep that totally separate. It’s a tough world out there. I just want him to know the things that he needs to know in due time, so when he does become an adult, he’ll know how to handle certain situations. If I’m not around, and daddy gone, he could say: “I know how to do this, because daddy taught me how to do this. Daddy taught me to be private when it comes to girls because these niggas that’s supposed to be my friends, gon’ get after the girl, and spray me.” My son will know all of my teachings man.

BS: I know women throw themselves at you since you’re a celebrity. But, because you have a son, how do you avoid making potential slip-ups, and be a good model in terms of females?

PP: Man, my son is too different. My son is living two different worlds than me. He lives in the I’m daddy, not Pleasure P world. He don’t know nothing of what I do with females, and stuff like that. Honestly though, I’ve been keeping it cool. I used to mess with a lot of females during my Pretty Ricky days, but now it’s kind of tiring and boring. It’s just like how being in the club is tired, and boring now. How many times can I go in the club, and pop bottles of Ace of Spades? It’s just boring on. You have to do better things with your money, and time, other than, make the club a lot of money. We do that. We think that’s going to bring women towards us more by being the freshest people. But, if you think about it, your ass was just sitting at the table the entire night, spending 10Gs, and you didn’t get any women because you were sitting at the table thinking the women were going to come. Now, the nigga that be at the bar, he’s the one that’s getting all of the women man. (laughs) At the end of the day, the nigga who was at the bar is getting all the women. He’s on the date with the girl, while you’re on the phone with your accountant like: “Where my money?”

BS: You’re not lying man.

PP: Yeah. I’m not fascinated with that no more man. People live for that – not me. I could say I did that. I have an old soul.

BS: Safe to say money doesn’t define you?

PP: Money definitely doesn’t define me man. That don’t make you happy. You could do all that stuff, but you won’t be happy. There’ always going to be something you’re missing. You could buy anything in the world, but there’s always going to be something you’re going to complain about, or don’t have.

Ballerstatus Exclusive: Interview W/The Knicks(David Lee, Al Harrington, & Danilo Gallinari)

A lot of people have low expectations this season for the Knicks – there’s no question about that. With everyone spending their Sunday afternoons praying to their respective gods in hopes of number 23 flossing blue and orange in 2010, people seemed to forget about the Knicks’ current studs who posted great numbers last year.

Coming off a career year, David Lee was the Knicks’ front man, with his high energy and hustle on both ends of the court. After averaging nearly 17 pts, and 12 rebs last year, Mr. Double-Double decided to test his luck onto the free agent market. With a scarce market, and limited offers, Lee rejoined the Knicks for a one year deal.

His teammate, Al Harrington will play his first full season with the Knicks, after being dealt last winter from Golden State. The high school phenom who has a knack for scoring, left Golden State as a disgruntled player, and came into the Knicks as one of their primary scoring options, averaging close to 21 a game.

Then, comes the Knicks’ coveted first round pick from the 2008 Draft Danilo Gallinari. The Italian Stallion, whose lanky frame could present problems for opposing teams defensively, has the ability to shoot the ball inside and out. Though he has massive potential, his limited playing time has raised eyebrows from many fans. Still, Galli remains optimistic, and tell his fans to be patient, as he and the Knicks prepare to compete – and even fight for a playoff spot.

Ballerstatus had the opportunity to sit with these three at the NBA Live 2010 Launch Party and get their thoughts on this upcoming season, Lebron, and their individuals goals, and more.


I know you signed the one year deal returning back to the Knicks. How do you feel being back?

DL: I mean that’s where I set out this summer to be. You know, I wanted to look for a long term deal, but it was a good compromise with the Knicks. They’re trying to save cap room for Lebron, but it’s good that it worked out, and I’m excited for the season.

You know, you and Nate are a formidable duo. How do you think you guys will rank this season in terms of making the playoffs?

DL: I think we have a good shot. I like what I saw in the first exhibition game, and also in training camp. We’ve played together for a year – all of us have under Coach D’Antoni. So now, I think we all have a better idea of what’s going on now, and I’m looking forward to this season. I’m excited. I think we have a chance to be real good.

Last year, you posted career numbers, 17, and 12. Do you think could provide and encore performance this season?

DL: I think it’s only going to go up from here. I’m real excited about continuing to improve my stats.



Al, I know you were traded last winter from Golden State. How do you think the team will fair with you playing one full season with them?

AH: I think we’re going to do a lot better obviously. It ain’t because of what I’m doing, but, because of the team. You know, everybody is really focused. Everybody went back in summer to work on their game. I mean, we’re in great shape. So, I’m very excited to see what we can accomplish this year.

How you feel with everybody counting the Knicks down already, and considering you guys to be just another lottery team this year?

AH: It’s good. It’s a good feeling. It’s good for us you know what I’m saying? That’ll allow us to not relax, but just upset, and creep up some people. The biggest thing our team needs is to overachieve and have the type of success we want to have, and I think we could do it. We have a lot of great guys. We have a great coaching staff, and I think we’re going to find our way to win a lot of games this year.

Are you concerned about the rating you might get in either Live or 2K this year?

AH: (Laughs) Nah, not at all. A lot of times, people always tell me I’m pretty good in the games, so we’ll see what happens.

As for you Danilo, because of lacking of playing time and injuries, you weren’t able to see the floor as much. How do you plan to overcome all of that this season?

DG: I’m concentrated to do better. I’ve been better, and feel good ever since training camp. As for the team, I really have a good feeling. We really know each other from last year. We already have a good cast. We have a great chemistry. We just have to keep believing in ourselves, and with that, we’ll do great.

Everybody has their marbles on you because you were a top ten pick in the draft two years ago. Do you feel any pressure, especially from the New Yorkers?

DG: I think there is a lot of pressure on me. I feel it a little bit, but it’s what I like it. It’s what I like to feel. If you’re like the player, you get to the point you have expectations, and if you don’t get to that point, you have a problem. Now, I feel like I have pressure from a lot of people, and expectations. They expect a lot out of me.

What’s your goal individually?

DG: You know what – my goal is being more useful for the team, and try to be an important player for this franchise.

Because you’re so versatile, you could play any position from the one down to the four spot. If D’Antoni wanted you to play some point a little bit, would you have any problems with that?

DG: No not all. Actually, ever since I was a little kid, I liked playing point guard. So if I would have to play that role, it would not be a problem. I’d be very excited.

I know a lot of people have been talking about Lebron coming over. Do the distractions ever become too much at times to handle?

DG: No, we’re a really concentrated group. We are a team. We’re not thinking about next year – we can not. We are playing the 2009-2010 season. We have to think about now.

HipHopGame.Com: B.o.B A.K.A. Bobby Ray Interview

HHG: You could rap, sing, and produce, which were you able to do first?

BR: I definitely was able to rap first because that was my home. And, from that, I grew into producing naturally. You know, sometimes as an artist, you can’t always find the right producer – not necessarily a talented producer – like somebody who’ll work with you, but, just really developing your own sound. I think that’s how I’ve developed my own style of music. Songs like “Satellite”, “I’ll be in the Sky”, and “Generation Lost” are the most close to home with the sounds I’ve developed.

HHG: Do you find one harder than the other?

BR: Well honestly, I feel like rapping was something that I don’t feel like I’ve mastered it, but I’ve gotten to the point where that I’m good enough at it to where if I have an objective I’m trying to convey, I’ll get the point across, and get people to feel it. I feel like singing is something that is more of a challenge because I’ve always wanted to sing - that was the reason why I decided to take voice lessons, and really try to incorporate that into my music. I feel like I could do both, and hold my own weight, but, I’m still trying to develop everything, and production. Now, I’m working with live musicians – where we make music, and perform together. So it’s like a really close bond I’m developing.

HHG: On Adventures of B.O.B, how many tracks were you able to do all three on?

BR: Actually a lot. A lot of songs are like that. I kind of wanted to give people the best of both worlds. Some songs are mixed up. Some songs are just singing. Some songs are just rapping. For the most part, I kind of like to get the mix between all of it.

HHG: A lot of people would be intimidated to do a song with either Lupe or Eminem, but you have both on the album. Do you feel pressure to match up well, and deliver on those tracks?

BR: Nah not really man. It’s kind of like just a turn of events that happen – you know what I mean? I feel like it would be a great contribution. But, regardless of who was on it, even if it was Michael Jackson, you would still kind of want to show and prove something to the audience. You want to show something to certain people who could become fans, because those are the ones I feel who are real critical, and critique. I know it takes awhile to win certain people over, but, all in all, you really have to show yourself as an artist.

HHG: Because you’re music is so different, and inspired from other eras, I was wondering if you could put an artist from the 70’s, 80’s, and 90’s to work with, whom would they be, and why?

BR: From the 70’s, I’d definitely want to work with Parliament. Why I would want to work with them is because I feel like their sound was really close to what I would be. I definitely think I was a musician in the 70’s who passed away, and came back. I was born in 88’, so I feel like that was something in me. I didn’t really listen to a lot of funk growing up but, it was kind of something that always been in my soul. I actually want to do more funk. Like even at my shows, it has a funky, gospelish, hip-hop, high energy rock type of vibe. There are definitely some elements of that in there. In the 80’s, I’d probably work with Michael Jackson – the Michael Jackson in the 80’s, and not even because he passed, but, because that was the artist whose impression on me was real great in that era. For Michael Jackson, it’s kind of self-explanatory. In the 90’s, I would want to work with Outkast. Of course I could do that now, but, in the 90’s, that was how I was introduced to rap.

HHG: A lot of people always bring up you and Andre 3000 thousand in the same conversation.

BR: Yeah it really is a close representation of just individuality, or uniqueness – kind of a self-expression of freedom I guess. I think it’s because me and Andre show such great characteristics of that, and it’s kind of inevitable to be compared to that – especially coming from Atlanta. I think it’s pretty obvious to see, and it’s always going to be there.

HHG: Though it’s an honor to be mentioned along the same lines as 3K, does it ever bother you because you want to make your own lane?

BR: I feel like I’ve definitely have grown into my own lane. I think it would only bother me if I allowed it to. I take it as a compliment. Whether it’s a critique or a compliment, there’s always some form of interest. (Laughs)

HHG: I know you’re Scorpio. It’s been said that Scorpios are bound to succeed, but make enemies in the process. How have you tried to prevent any negativity from getting into your circle?

BR: (laughs). I feel like I’ve done a very good job staying hater free – you’ve never going to stay hater free though. A lot of people hate, and they don’t even know me. They don’t even know me from the beginning. So it was kind of like, some people are mad, some people are happy, but, they’re all fans. So it’s like you’re always going to have people perceive you some kind of way. I feel like in the industry, there’s always going to be someone you don’t like. There’s probably someone I don’t like that other people just love, and vice versa. Like there’s going people who love me, but others who can’t stand me. It’s kind of like the inevitable side of life.

HHG: I recall listening to “Hip-Hop Ain’t Dead”, and you were saying, how a lot of rappers pretend to be gangsta when they really aren’t. Why do you feel are scared to show their true colors to fans?

BR: Really man, I feel like it’s something a person has to grow and be comfortable with. I feel like – just the type of life that I live – I’ve learned to be comfortable with all sides of myself, and what I show to people. I really feel like an open type of person because I feel like even the people watching the certain artists portray something that they’re not, and the artists themselves who are portraying something that they are not, are really tired of doing it. But I mean, I think it’s on both sides, and we’re growing tired of it. I feel like it was a phase that people went through and like as a whole, I think everybody is growing out of that. People want to see more to life. They just don’t want to hear about the bad shit. Like, “shit, I might just shoot a nigga, and if shoots me, that’s what it is.” It’s kind of like a tape that’s on repeat, and people are tired of watching that tape. I feel like there’s songs that are always going to be there, and all over the universe. There’s always going to be pockets of society where there’s going to be a lot of violence and a lot of gangsta activity going on. It’s just because people have the freedom to attract into their lives what they want, but, I think as a whole, pop culture is really the whole gangster archetype.

HHG: I remember you Charles, and Asher did the “Change Gon’ Come” song awhile back. With everything going on with Charles, if you could sit him down, and talk to him, what would you say to him?

BR: You know, he actually gave some good advice on that song. He was like: “How do you change what was written//don’t pull into mind what they mention,” and I would tell him that. I would just tell him to continue to be positive because positivity can override anything – even the worse shit that happened –even death. You know positivity is positive. You could make positive out of anything. Actually, when you think about the type of inspiration it takes to make a song, he’s in a great position. Because as an artist, when everything is going great, then you’re just on cruises, and you’re on vacation, and you don’t want to make a song. You just want to relax. It’s always when something bad happens, that’s when you’re inspired. I definitely wouldn’t be surprised to see Charles Hamilton coming out bangin’. (Laughs)

HHG: Because you’re only 20, and you’ve seen things with Charles, and you’ve seen Cudi contemplate retirement, how do you take their situations, and make sure those don’t become a similar problem for you again in the future?

BR: You know honestly, I’m not even worried about what would come my way because I know as quickly as people can love you, they can turn on you. It’s more so in the media world than word of mouth because for example, Michael Jackson. There were two sides to it with the media, and people. Some people praised him. But even when he died, CNN, and different outlets tried to still stain his image, even when he died. I think the masses knew he was definitely a great person, and he made great music. It’s kind of like, regardless of what is out there, I try to stay as positive as possible. I try to turn all the negativity to positivity. You know, when you get a whole bunch of negativity, all you gotta do is flip it, and becomes a whole bunch of positivity. So either way, the light is going to prevail. That’s a piece of what keeps me going and worry free.


HHG: It’s funny you mention the media because in the past, a musician has always complained in the past about privacy. And with twitter out, privacy has apparently jumped out the window.

BR: Yeah I know what you’re saying about Twitter. I mean, I know some people delete their twitter account, and some people that just don’t get on it. But I feel like, in a way, it kind of makes you, more or less for me, it kind of makes me feel sane. It’s like the entire world is a family, and you know I just happen to be a popular family member. But, at the end of the day, you’re dealing with the same issues as the world, and that you do with your family. Your family gossips about you just as much as the world, so, you know, it’s kind of like a more amplified effect, and just the same thing. It’s just more digital and amplified, but it’s the same. If it ever does get out of hand, I’d probably just alleviate myself, and be an online person. (laughs) But really man, I think it’s good to touch people, and give people links and things like that – just to see how the world feels.

HHG: You have a lot of energy on stage because you play the guitar, rap, and sing. What you taking to get all that extra energy. (laughs)

BR: (laughs) I actually just drink tea. I just kind of stretch and get loose. That’s the best thing to do. Every muscle in your body has to be warmed up, and loose because even if you have the energy, you’ll pull something, and you won’t be loose before you get on stage. It’s kind of like a sport almost. It’s kind of like how a football player would prepare for a game. Of course, there’s no opponent, but yourself, so that’s the only thing.

HHG: I know you were touring with Swayze.

BR: I actually just got off tour with Swayze, and I’m about to go on tour with Blue October. We’re kind of doing a mixture of rock, and hip-hop mixture of a show. It’s kind of like the best of both worlds. It’s the Pick Up The Phone Tour. It’s about suicide awareness, and just that realm of things. It’s kind of like mixture of real positive things, so I’m curious to see whose coming out, and what the energy will be like. I feel like it’ll be great.

HHG: Before I let you go, being that you’re 20, and the same age as me, that would make you a junior in school. If you were to be in school right now, what would you major in?

BR: I’d probably be majoring in culinary arts. I just like to cook. I don’t cook, but if I had the time to cook, then I’d definitely cook. I used to cook a lot when I was a kid.

HHG: What’s your specialty?

BR: Italian Food and anything with Chicken in it. (Laughs)

HHG: I say once you get the album out, you do a cooking show - Rapper to Chef.

I’ve thought about that – a reality cooking show. Like I could be like “Boom”, “Bam”. (Laughs)

HHG: Or you could open up a restaurant, and with every meal comes a free freestyle.

BR: (laughs)

HHG: In reference to the song “Change Gon’ Come”, do you feel Change has arrived, with the class of 09 this year?

BR: I definitely feel like change has arrived, and if you think it hasn’t arrived, and then you just haven’t realized it yet. That’s what I would tell people

HHG: Wait, I have to ask for the fans. When is the album dropping? (Laughs)

BR: (laughs) The album is coming Spring 2010. We’re gearing up for it now. We’re getting everything ready. We’re getting everything in shape. We’re getting the music right, and everything is ready to hit the press. I feel like its perfect timing.

HHG: Any last words

Just check me out on twitter. Twitter.com/bobatl or @bobatl

Ballerstatus Exclusive Interview: 5 Minutes W/Dwight Howard

Last season, Dwight Howard was subjected to criticism for his lack of consistency from the line, and of course, his abysmal outing in the finals. With Kobe being Kobe, he,and the Lakers, shattered the Magic's hope of conquering their first NBA title. Still, Superman wasn't deterred by the loss. In D-Wade fashion--Dwight acknowledged if you fall seven times, you have to get up eight--and that's what he and the Magic, intend to do this upcoming season. I was able to speak to Dwight for Ballerstatus' 5 Mins With Section, and get his insight for this season.

BS: Dwight, last year, your team suffered heartbreak in the Finals losing to the Lakers in 5. How do you try to overcome the adversity, and come back to win this year?

DH: Well this year, we’re going to try to have a different outcome to make it to the finals. Our goal is to win a championship, and I’m going to do whatever I can to help my team get back to that moment. And, hopefully, the outcome—definitely like I said—the experience, the journey, and everything that I went through last season is something that I’ll never forget.

BS: With the addition of Vince Carter, and the lost of Hedo Turkoglu, people have said the lost of Hedo’s leadership may cause some chemistry issues. What do you think Vince could bring to the table to balance that?

DH: Vince is one of those guys that we’re looking for to just be aggressive on both ends of the floor. We’re hoping he could do that offensively and defensively. I think he’s going to just to put us in another group throughout this season I mean, we’ve added Matt Barnes—who is a great defender. We’ve added Brandon Bass—he’s a horse in the paint. We have guys here I believe could help get us get to the next level.

BS: Dwight, even though you’re considered the premiere center in the league, on several occasions, you’ve admitted that you don’t believe you’re quite there. Why do you believe you’re not 100% there?

DW: I don’t still think I’m quite there. I know I have a long way to go. I’m still young, I’m still learning the game of basketball, and it’s just a matter of time before I believe I hit my peak. I mean as of right now, I’m still just learning basketball. I’m 23, and I have a long way to go.

BS: Since I’m pressed for time, Dwight before I go, what team do you play with in Live?

DW: The Magic of course! Who else am I supposed to play with? (laughs)

BS: I’m just saying man—I don’t think it’s fair with you dunking all the time.

DW: (laughs) Nah I let Jameer [Nelson] do the dunking. I shoot all the threes.

BS: I appreciate the time Dwight. Good luck this season.

DW: No problem. Thanks for having me.

Ballerstatus Com Interview : Claude Kelly : I Love My Job

I love my job. Not a lot people could rightfully say those four words without cringing, or vehemently throwing a temper tantrum reminiscent of Tommy from the Rugrats. It’s hard for someone to fall in love with a J-O-B, if the intrigue has simmered down, or, if the passion has passed its stages of amorous infatuation, and has entered a dead end.

Songwriter, Claude Kelly, has been in a long relationship with music since his day of birth. Singing at an early age, enabled Claude to venture into the Never land of music, and segue his way into songwriting. Penning for the likes of Whitney Houston, Michael Jackson, Akon, Britney Spears, Kelly Clarkson & more, has allowed Claude to develop a love that not too many have with their day jobs.

In this one-on-one interview with Ballerstatus, Claude revealed his love for music, writing in different genres, writing for the late Michael Jackson, and whether he’s ready for a music career of his own.

BS: Can you give the readers some insight, as far as who you have worked with in your career?

CK: Sure. I’ve worked with Britney Spears, Kelly Clarkson, Whitney Houston, Leona Lewis, Akon, R. Kelly—just to name a few.

BS: Being able to write for different artists of different genres today is such a rarity. How important do you think it is to be versatile when becoming a songwriter?

CK: I think it’s the main part of being a songwriter. If you don’t know how to flip, and work with different sounds, then that could be a disadvantage. It’s been special for me to work with Britney Spears, and then, a couple days later, work with Akon. Just being able to jump genre to genre is real important today, especially when you know your homework.

BS: Do you have preference as far as genre when writing?

CK: You know, I don’t really have a preference, because there are some things with each genre I love. I’ve listened to every kind of music, which I think is responsible, for the way I write right now. But, I think variety is best, because I get bored quickly. So, if I do straight R&B for too long, I’ll get out there and throw a rock track, or a pop record. I kind of love them all honestly.

BS: That’s interesting, because what still bugs me out is, how you’re able to jump from one spectrum, consisting of the Britney Spears, the Miley Cyrus’, & the Kelly Clarksons, to the Akons, the Whitney Houstons, & the Michael Jacksons. What’s your thought process behind that?

CK: It’s really a reflection of what I’ve been listening to be honest with you. I grew up in New York City, and at that time, I’ve heard all those different genres at once. In the 80’s and 90’s, I think that’s when music was super popping. I was really into the Rock-Alternative, Hip-Hop. So I grew up as fan of every different kind of music. So it isn’t as hard for me. I know some writers are good just at one genre, because they really have just a specialty. For me, I really try to be diverse in all of them. It all turns my head. Like, doing a rock type of record is natural for me as doing an R&B record.

BS: I know Michael Jackson was a huge inspiration for you.

CK: Absolutely. He was the king of blending genres. You couldn’t really categorize his records. You couldn’t say it was an R&B record, a Hip-Hop record, or a Rock record. His songs would have Rock guitars, and pop drums.

BS: Where were you on the day of his passing?

CK: I was actually in New York, and on the computer reading my emails. When I looked on the TV, and the Internet, I just didn’t believe it for a couple of hours. I was actually in shock for the first few days. That was the biggest lost in the music industry—possibly one of the biggest losses ever—if not, over the past 30 years—because he was that influential.

BS: It’s crazy, because just recently, I realized, you wrote the “Hold My Hand” record for Mike, and Akon. What was the process for writing that song?

CK: You know it was real unfortunate that though I wrote the song, I was never able to work him in person. As for the process of the song—I wrote the song, and Akon produced the track. This track was supposed to go in the direction of Whitney Houston; so that questions out why I was writing songs for Whitney Houston, so I was sort of hoping you caught that. As for the song, it sort of got bigger, and bigger. Since Akon produced it, he heard it, and loved it. So he decided to use it. At the time, he and Michael were working on some new music. Michael heard it, and loved it. He wanted it done right away. By the time it was done, it became a duet with Michael & Akon on it, and I had backgrounds on there still. It was beautiful accident basically. I’m really grateful to say that. I thank god. I lived a dream even though I wasn’t able to meet him.

BS: That’s an interesting story. You know, with you working with all these big time artists in the studio, was there ever a time you sat back and watched as a fan, more than a songwriter, or just a fellow co-worker?

CK: You know, I rarely get star struck. When I’m in the studio, I normally have my game face on so strong. My goal is to get the most possible performance out ever, and you really can’t do that if you’re a fan. There’s always a time afterwards—always after wards—never in the moment, because there’s no time to do that in the studio when you’re trying to get everything done. You know, Whitney Houston was definitely one of them. Another one was R.Kelly, which I’m an equal fan of as well, and I’ve worked with him. I think he’s dropping October 13th, but, like I said, that’s all afterwards, when the music is done.

BS: You spoke slightly on this in regards to Whitney Houston. I was reading a quote, and she was praising you as far as your skills are concerned. Have you ever thought about taking it a step further, and pursue a career of your own rather than songwriting?

CK: I definitely think that would be a natural progression. I wouldn’t want to force anything. I’m a singer at heart, and a singer at birth. I’ve actually been singing longer than I’ve been writing because singing was my first love. I mean, if the opportunity was right, and I had a great team behind me, backing me up, then absolutely.

BS: Since we’re speaking hypothetically, who would you want to be on your album?

CK: Oh man. (laughs) That’s the hard part because I’ve worked on so many albums. It’s like: “Who do you have? Who do you not piss off?” It would be hard. I would have to do a triple disc. I don’t know. But, another thing is, I have so much to say myself, that I might do it with no features. But, we’ll see—time will tell. Actually, ask me that question when I’m cutting it.

BS: (Laughs) I’m going to hold you to it.

CK: Trust me. I want you too. (laughs)

BS: I got you. As far as songwriting is concerned though, has there ever been a time you were like: “Oh. I don’t feel like going to work today. I don’t feel like writing this type of song.” Did that ever happen to you at one point?

CK: Never. I always try to remind myself that so much given much is required. I definitely feel like I’ve been given a gift in music with my voice, and writing. I have an awesome job. I have no room—no place—to be complaining. If yo’reu doing what you love, you shouldn’t be complaining period. I’m so grateful that I’m doing what I love, and what I love is able to pay the bills, so no complaints here.

BS: Speaking of paying the bills, I need some confirmation on this one: Do songwriters get paid more than artists on a track?

CK: Uhhh. That’s actually a question I can’t answer, because I don’t know. I mean there’s so many different ways to make money. Obviously you have your publishing, but artists have the touring, the marketing, and all those types of stuff. That’s a good question, because I don’t have the answer to that one…(pauses) That doesn’t say hit songs doesn’t make money for everybody.

BS: That’s fair enough. As for writing a song for someone else, have you ever implemented your own personal experiences into the records you’ve written?

CK: All the time, all the time. I mean I’ve written stuff that I’ve gone through and what my friends have experienced. Like I don’t try to make the record be about me when I’m writing it, but if I hear a crazy story about a relationship issue, then it’s going to be in a song. Sometimes television helps too. If I saw a storyline or something from a movie, I might just write a song after that.

BS: Have you ever written a song, and afterward, you were like: “This song could possibly be the soundtrack to my life?”

CK: You know what, I don’t think that song has been written yet, and you know why? It’s because I’m constantly growing, and evolving everyday with every song I write. I mean, there are definitely aspects as for songs that I’ve written where I could relate to, and some that I can’t. But, there’s always a little piece of me in every song I write or it wouldn’t’ be real.

CL - Till I Die (Produced By Id Labs) Off The Logic Dropping Soon

Yeah man. I had promised myself I wouldn't drop any new material or even contemplate about even doing another mixtape till 2010, but here I am lol. Three weeks after i dropped Maybe Tomorrow, I'm already a few tracks in for my new joint titled The Logic. Maybe Tomorrow is a teaser compared to this new project. This one will be deeper. I'm definitely going to give you all a sense of where my head is at, and how i function with the pen and pad. Here's a new track which will be on The Logic titled Till I Die produced by ID Labs.

The Logic Coming Soon!

Galactic Love

She's At a Disadvantage Because She Managed To Break My Heart From Another Planet...She's Venus I'm Mars...Her Zenith By Far...Is Directing Her Back To Me...She Already Home, So Naturally...She Following The Blueprint...But I'm On To The Next One, This Is More Than Music...We Were More Than Average...Day & Night I Suffered, Yeah With All The Damage...The Man On The Moon Was Consumed By The Lies...Realized The Sky Might Fall When I Looked In Her Eyes...But Surprise, I'm Magically Still Alive..Still How Could She Be So Heartless, I'm Paranoid Till I Die..

HipHopGame.Com: KRS-One & Buckshot Interview

Sidebar: “If yall niggas want to be pussies, then I’m going to be the Dickhead, and that’s it.” KRS-One & Buckshot do everything, but, bite their tongues when expressing their displeasure for the game, their album being the best of the year, Jay-Z, and addressing the pussies in this insightful, yet entertaining interview.


HHG: I know you guys worked with a ton of artists in your careers. How was it working together?

KRS: That shit was hot. That shit was crazy hot. It was actually a dream come true. You could imagine what it’s like to record with somebody you always wanted to record with. That’s a dream come true. It was brilliant. You see, what’s Survival Skills is going to do as an album is really show what the excitement is about in Hip-Hop with us coming together. When you come together with certain artists, they don’t have the same appeal. Like it was a good project—it was cool, but it didn’t show you anything different from what you already knew. This project I think with its international appeal, with its street-toned yet conscious lyrics, the amount of producers, guest appearances--who grew up with us, really made it dope. It really made it creative.

HHG: Now this question is directed to you Buck. How did the album for you come about?

BS: I like the concept of reminding everybody that the rhymes don’t play a part. I mean we could sit here, and take all the credit, but we’re not. I’m sitting here and learning more and more each day that it’s really a thing of believing in yourself, believing in the creator, and believing in like things like this will happen. It really is that powerful. I wouldn’t sit here and say, “Yeah, me and Chris were thinking about getting on the stage to put together this album, represent what we do together on stage, and give the people what they want.” But, all these things were already in the works of the creator. We’ve been receiving messages, and we’ve fine-tuned that. You know what I’m saying? And we put that together in the form of an album. This is something that people are going to appreciate. This is gonna change the world man. It really is. It’s gonna change the world because the buzz of the album is dangerous. You know, it’s there because it’s unifying both fan bases, both cultures, both everything. Oh my goodness man. (Laughs)

HHG: What was the recording process like?

BS: Crazy.

KRS: Quick, pumped.

BS: (laughs) Man Chris (KRS) is a genius. We did a song called the “Clean Up”.

HHG: I heard that.

KRS: Were you able to hear the album yet?

HHG: I heard half of it. It was pretty dope. I heard the “Clean Up”, and the joint you have with Mary. I heard pretty much heard the first half.

KRS: No doubt. The reason I asked is because as you listen to the album itself, it really is a thirst quencher in every true sense of the word. We went from Mary J Blige, to Knaan, to even us like KRS-One &Buckshot. When you listen to the album itself, I don’t miss anybody. Everybody is where they’re supposed to be. Everybody is coming exactly in where they were supposed to come in at. Like what Buck was saying just now about the most high, a lot of times we get in our own way. A lot of groups man—get in their own way of trying to think their way through instead of allowing themselves to be guided; to ground themselves, and to be led through the process. This is an album that we allowed ourselves to go express our soul. There wasn’t no A&R person on our back. There wasn’t no set of pressures that we had to meet. When it comes to recording, any artist will tell you, when you get the chance to go in and record, and represent the minds of the people, you draw fans. You know, this is one of the better projects I must say. I must say of this year, this is the hardest project out.

BS: Word, word. You know all the artists heard that. (laughs)

HHG: Speaking of “The Clean Up” track Buck, do you think it’s possible that you two collectively can clean the game up yourselves, or, do you need a strong effort from everybody to bring the essence back to the game?

BS: Man, we need an effort from everybody.

KRS: That’s exactly what I was going to say. It’s really everybody’s responsibility. I mean if you want to walk around dirty—not saying they do—but go for it. But now, there’s a Clean Up crew. Everybody knows Hip-Hop needs a little cleaning every now and then. It’s funny because only a few dudes pick up the responsibility of cleaning up. So really, all day we could talk about this album, and with that said, a few other Clean Up Crews have come to mind as well, like Redman & Meth, and Slaughterhouse. Those are Clean Up Crews too. You listen to their albums, and they’re trying to keep a traditional lodge as well. But, you have solo artists as well that are coming. Like, for instance, Erykau Badu is part of the Clean Up Crew. It’s for people who are concerned about Hip-Hop’s state. Hip-Hop is about what it means, how we use it, and how we gotta go. Now, that’s reserved for a group of people, and that’s always been the case. It’s either you’re a civilization builder or you are not. We’re all walking around to be civilizations, but, only a few of us are walking around and are actually building civilizations. In one breath, it’s easily the responsibility of everyone, but there’s only a certain people that are going to wise up, and take that responsibility. That’s why I think that song “Robot” was so timely as a subject matter because we needed a song that went against the grain, against the entire strain of what’s going on, and only Buckshot & KRS could have put that record out. I don’t think anybody else—even Jay-Z—I don’t think he could have initiated that kind of discussion. He probably did think it—no doubt—but to actually come out with it, and be like “This is my lead. This is what my album is going to sound like. This is the subject matter we’re dealing with, so fuck you, and that commercial bullshit.” Now, to come out like that, you gotta either be real with your shit, or you gotta be crazy. And you could take your pick. (laughs) There’s only a certain group of people that even have the heart to do it, because it’s not even heart, it’s true. You should have the courage to stand back and put out the songs that people feel. They need that people music, struggle music, and survival music. That’s why we called it Survival Skills. That’s what it is today. Twelve million people are out of work. We’re talking survival skills. Other cats are trying to take people who are unemployed to rescind their debts. This shit makes no fucking sense. This album is TIMELESS, and matter fact, TIMELY. That joint with Mary J on it, singing about the working class, that’s that subway music right there. These are the things you gotta hear.

HHG: It’s funny because people don’t know this, but you guys were the first to knock the Autotune record with the track “Robot”.

BS: Man once again, Chris did that years ago. Chris’ foundation is like “Yo. Get out of here.” (laughs). Like yo, I remember I walked into the club, and I don’t remember who got on that, but I, personally, Buckshot, saw when he blew people off the stage. I was there, in the club. I was right there. It was just crazy for me because once again, I was like “Son is an extremist, like me man”. And the one thing you have with extremists man is that everything we do, we’re going to take it to the facts. We’re extremists, and that means we’re extremely good. If we’re warriors, then we’re going to be extremely warrioristic, and shit. When we’re mad, we’re going to be extremely mad. If you don’t get the not so positive sidebars, then you’re going to get it extreme.

KRS: That’s really the level right there. Do you take your craft to the extreme? We’re all doing half-assed, mediocre shit. We’re just trying to get over—one more mortgage payment, one more cell phone payment. We’re just doing the mediocre, trying to get over. That shit need to come to an end for real. I mean that’s on some American politics shit--and to bring it over to Hip-Hop? Come on man. Cats are putting out mediocre albums. Not to diss anybody’s art, but there’s a standard. There’s a standard. We know what Boom Bap is. We have records out that will show you the standards. Here’s what everybody says that’s Hip-Hop. But nope, cats want to experiment, go off the deep end, do shit, and then call it Hip-Hop. Then, they’ll be mad when you say “No. It’s not.” And then, you got a problem, because now, you’re considered bitter and old school. I should just sit back, and let you fuck up the culture, because you’re not saying nothing. And, I’m allowed to be mediocre and average with something that was never mediocre and average? And, I’m supposed to just do that, and you’re supposed to be like, “Well, those days are over.” But what I’m saying is, here we go again, with another one 1-2 punch. We keep putting songs out. We keep putting records out. You know, Buckshot was correct on the fact that my legacy was based off “Get the Fuck Out of Here”, and I will confirm that. No Doubt. I mean if Hip-Hop is going to turn to into a culture—pussy—then I’m going to be the one dickhead running around.

BS: (laughs) I like that shit.

KRS: If yall niggas want to be pussies, then I’m going to be the Dickhead, and that’s it. We’re saying it in your face like, “Yall niggas is wack.” No, we’re like, “How you going to the club, saying “Yeah nigga yeah”, but we here.” Like, how did that happen father? How that happen? Lets really dig in on that for real.
This is what Hip-Hop’s culture is about. It’s all about that extreme part, because extreme is extreme. If you’re extreme with your shit, then you’re not really reaching perfection. Mediocre is mediocre. But go ahead, and get your last question out.

HHG: Well I’m curious as to why do you think a lot people confuse you guys’ concern for the love of Hip-Hop as being a form of resentment?

KRS: Because they’re pussies man. There’s no other explanation for it. There’s no information for it. They’re PUSSIES. When I say they’re pussies, I mean, they’re weak, they’re faggots, they’re punks, and they have nothing to do with Hip-Hop. Even if they have a hit record out, and they’re playing it everyday on the radio, and they’re rapping, they still ain’t have nothing to do with Hip-Hop! We stand up, and say the radio is bullshit. Now if anyone says “Yo. You bullshit, the radio is dope.” That’s your opinion, and you ain’t down with us. We know that there’s a couple of millions of people that agree. The radio is bullshit. Now there’s a few radios that won’t agree. Clear channels won’t agree. Like, “How could we be bullshit? Nooo!” But there’s a couple of millions of people, and you gotta decide, which god you’re going to serve. Are you going to serve the Corporate God, or the Cultural God? That’s what opinion matters. If you’re serving the Corporate God, then get with your program, and serve that god. Serve that god well, and he will serve you well. That’s your corporate life. Now there it is. But, if you’re a cultural person like we are, if you’re down with the struggle, if you come from the lines of the African Bambatta, Kool Herc, Grandmaster Flash, and all the way back down to Malcolm X, Marcus Garvey, and even Harriet Tubman blah blah blah blah blah. Then, you take that shit even further back to Moses, and you’re shit comes from there…then these corporate niggas are motherfucking faggots. Their opinion are irrelevant.

I'm So Secure

She Claims I'm Playing Mind Games, Checking My Phone, Reading My Aim...

Pleading, Believing I'm Mislead Her With Games...

I See The, Tears Streaming Down, As I Try To Feed Her The Names...

Of Who, or What, Is Consuming Her Mind...

She Says Who?...I Said No One. Stop Losin' Ya Mind...

She Says Dude, Nah Hold Up. You Abusing My Time...

I Said, If You Trust Me, You'd Know Better Than That

Bitch Checking Facebook, I Should Dead Her For That

Relying On The Internet To Address The Issue

Never Lied, Never Cheated, Unless I Did You,

The Way That You Did Me...

Never Lied, Never Cheated, Don't Thank Me

Would Never Hide Any Secrets, Don't Blame Me...

Because Baby Girl I'm So Secure With Me

Only One Whose Been Through Hell and Back Baby Was Me...

CL - Maybe Tomorrow Mixtape/Prequel Waiting For Tomorrow Mixtape

It's finally here. My mixtape is finally here. I feel a sense of accomplishment and entitlement with this tape. I personally think this tape is an exceptional body of work, and I understand everyone is entitled to their opinion, but i feel with this tape,it will really open the eyes of many. I've banged this mixtape out in a matter of 2 months, and I really treated this mixtape as if this was an album considering i used original beats, and concepts. I've had people from Labels, Websites, and even PRs give the boy props. If you wanna hate, by all means, feel free to. Otherwise, listen to the tape, and enjoy. All feedback is appreciated. Without further adieu, here's my mixtape Maybe Tomorrow.

Shout Outs to Ballerstatus.com...HipHopGame.com...WeGoinin.Com...

Link for CL - Maybe Tomorrow Mixtape

http://www.megaupload.com/?d=UH4Y71A7

Link for CL - Prequel Waiting For Tomorrow Mixtape(Premixtape For Maybe Tomorrow)

http://www.megaupload.com/?d=36IBTXQJ

CL - I'm Down Freestyle (Maybe Tomorrow September 1st)

Ballerstatus.com: Trey Songz Interview: Ready For Takeover

Tremaine Neverson. Trey Songz. The man is a rare commodity in this insipid game. He’s like the sprinkles to your vanilla ice cream, the 24 inches to your new ride. How would I know? Ask every teenage girl whose estrogen level is bursting with furor every time the man’s name is uttered through the TV set. Rather than remix songs in a languid manner, Songz has vivaciously enlightened people with his impressive catalog of tracks ranging from Jamie Foxx’s “Blame It”, to T-Pain’s “Can’t Believe It”, to Jasmine Sullivan’s “Busting Windows.”

He might not have received the accolades. He might not have gone diamond, but, Songz has undeniably provided his listeners reasons as to why he was chosen as Ballerstatus’ “Hottest R&B Artist in The Game” this past July.

His latest endeavor entitled Anticipation sparked the attention of men and women alike. Tracks like “Yo Side of the Bed, & “Scratching Me Up” gave fans of Songz a good reason to be patient, and await his highly anticipated--no pun intended—release album Ready, scheduled to drop September 1st.

Ballerstatus was able to sit down with Songz, as he discussed being crowned the top singer in the game, if there’s a difference between Trey Songz & Tremaine Neverson, a Best of Both Worlds album with Drake, and more in this exclusive interview.


BS: A while ago Ballerstatus named you the "Hottest R&B Singer in the Game.”Does that title provide additional pressure for you to really follow through on this album?

TS: Oh most definitely. For the fact that Ballerstatus has a big following and a lot of people—a lot of people around the world too--agreeing with that—made me feel real good. You know at this point, the pressure is on period. You know, whether they named me number one or number ten, it’s going to be the same pressure for me because I put that pressure on myself to be the best.

BS: Normally when a person receives accolades, they tend to relax. How do you remain hungry and maintain that grind that got you to where you’re at?

TS: Ah man, it’s the will to be great. It’s my desire to be the best at what I do. I actually love my job. I love making music, and I love proving to people that I’m worthy of being mentioned with the best, with the elite. It’s always been a goal of mine just to make sure within myself I stay persistent, and to never let myself down. With that being said, I go hard. That’s the only way for me to go.

BS: A lot of people said since you didn’t have the awards to back you up, that you shouldn’t have been the top dude in the game? Do you feel awards should be accounted for a person’s success or quality of music?

TS: I think it’s definitely quality of the music. I think awards play a part of what’s peoples’ perception of what success is you know? You know I think I was named number one by Ballerstatus this year because it’s apparent that I’ve worked harder than any other R&B artist out this year. I’ve been consistent. Awards and things of that nature are things that the public plays on occupation, and entertainment to show. You know what I mean? I would love to get these awards, and I feel that I will. But, I don’t think they determine the quality of an artist truthfully.

BS: Anticipation was a big release considering hardly any R&B cats provide their fans with mixtapes. Do you think R&B artists should consider doing mixtapes like rappers do for their fans?

TS: I mean, I think they should do what works for them. I have a hip-hop mind state. I think like a rapper. You know Anticipation is pretty much an album that sets the mood for love making and things of that nature. But, it’s still the marketing nature of a rapper because rappers never worry about how much music comes out. If you think about Wayne when he first came out, people thought he was crazy because he probably had so many songs out that you were like “Yo, he’s gonna kill himself.” And still to this day, he’s good. (Laughs) You know what I mean? Some artists still put samplers out. They still put samples of their album out. Anticipation is the sampler for me, which happened to be an album within itself. Like I said really, quality and persistence is definitely the key to win people over.

BS: You slightly just touched on this, but because you have the ability to rap, and sing, how much of a threat do you feel you pose on your fellow peers?

TS: I think I’m quite of a threat myself. (Laughs) As an artist you’re supposed to think so. If you’re an artist and you don’t think of yourself as a threat to anyone, then you’re not a real artist. If you’re an artist, and you don’t have that competitive spirit, then you won’t be a threat to this man, or the next man. It’s like what are you competing for? I think other people are threats as well though you know what I mean? I just focus on my lane, and work on perfecting my lane. I like to think of myself in a lot of cases as a horse in a race. When horses race they have blinders on. They can’t see the horses next to them. So I don’t focus on what’s going on with anyone else. I stay in that lane, and I run as hard as I can.

BS: You know Ne-Yo surprised people when he did freestyle on “A Milli”. In a freestyle battle, who do you think would take it one on one, you or Ne-Yo?

TS: Me.

BS: Why’s that?

TS: Just cuz I’m me and he’s him. I’m sure he’d think he would win. You’re supposed to think you would win. I don’t think I’d lose.

BS: Matter fact, give me a percentage of rappers you think you could rip today in a battle?

TS: The percentage of rappers I could rip in the game? Most of them, I’ll say that. There’s a lot of rappers out there. You know, even in my mixtapes, I ain’t rapping. I’m actually putting lyricism to melodies. I think of myself being pretty witty and clever. I know a lot of rappers who could put words together, but I’m singer man. (Laughs) So I don’t even play with those antics. (Laughs)

BS: Nah I dig it. Since you’re big on doing remixes on a lot of records, I’m curious, which song in particular was your personal favorite to do?

TS: A favorite remix of my own? Ah man. A personal favorite of mine is actually Kanye’s “Bad Newz”. I actually rapped on that record. I mean most of the records I’m singing on. I sing and rap, but I actually sang on the Kanye parts of that record, and rap at the end of it. I think that record means a lot to me from what I was talking about at that point of my life. At that point I was going through stuff.

BS: Another track I know you remixed but decided to put on the album was Drake’s “Successful” record. What made you decide to remix “Successful” and put it on the album?

TS: Well actually Drake came and hit me up about it man. He said he wasn’t putting it on his album Thank Me Later. It’s actually going on the retail version of So Far Gone; which is actually coming out in a couple of weeks. But, he wasn’t going to use it for his album. A lot of my fans would hit me up telling me; Man, that’s what I love about twitter. Just to give you a sidebar. You could hear directly from the fans, and what they want. You could give music directly to them, and if anything goes wrong, you could talk to them directly. But, a lot of my fans would come and tell me “You should put a verse on “Successful. Why haven’t you done “Successful “over?” I was like, “That’s my homie’s song.” Then initially, Drake came up to me with the idea like “Nah dog. That’s your song. I’m not putting it on my album. So it’s going to be a waste. So it’s going to be a big record with no one to go retrieve it.” So we put the verse on there just to give me a little more presence on the record for it to be on my album. You know we actually just shot the video for that verse as well.

BS: Because you and Drake have such chemistry together, do you think there’s a possibility that you two could do a Best of Both Worlds album in the future?

TS: It’s crazy because on the first record we actually did, on Drake’s last verse he says, “Since Jay {Z} and Kels {R. Kelly} aren’t doing the thang no more, I guess me and Songz are the replacements.” Back then, it was wild to hear him say that. Now it’s crazy cuz’ people are begging us to do an album together. It’s very possible man. I could see that in the realm of possibility. He has to put his album out, which he’s focused on right now, and I’m focused on Ready right now. Whenever the time for that permits, I’m sure that’ll happen.

BS: Speaking of Ready, a lot of people fell in love with Trey Day. Did you follow the same approach when you were making Ready as when you made Trey Day?

TS: Well this album was good for me once again you know because of the internet, I’ve been able to show that I know what people I like from me. And then, I know what I’m doing musically to my label, you know what I mean? Because with Trey Day actually; all albums have been a joint effort. With my two albums prior, it’s been more a tussle with the label to do exactly what I wanted to do. With this album, it’s been more; I always had a good amount of creative control, and I’ve been in a position where I wouldn’t do things that I absolutely would not wanna do. It’s a compromise when you work with a label because it’s a partnership. So I think, what the internet did for me, what Anticipation did for me, what the mixtapes did for me, and what the popularity of me growing throughout the internet without the label having any say on the music being made, I think made them listen to me more in a musical arena. I think the difference is throughout the time span that we’ve been working on the album, it probably changed like four or five times. Initially when I thought of the concept for Ready, I knew I was going to cut my hair. I knew I was going to get in the gym. I knew that this was my third album. I’ve had two before. So everyone who I knew I’ve came in the game with surpassed me as far as accolades and things of that nature that we spoke about earlier. I think Ready was stating that I was ready for things in that nature. Now, I think we actually worked to the point where the definition of Ready is for the world, because everybody is just as ready as I am for the album to come.

BS: Definitely. You brought up the issues with the label, and I was wondering, was the album being pushed back because of the label or did you want provide the fans with different sounds for the album?

TS: Well this album actually, every time it’s been pushed back, has been a decision made from myself, my management, and the label jointed. There’s nothing I ever been against as far as pushing the album back. Initially, when the first decision was made, I was making more music. I had actually turned ready in way back in probably May. Like I said, the album changed up like four times. I think I turned the album in, in May. Then I think we had a June 30th date. Yeah June 30th was the first date. That’s when I started making a lot of the music that was on Anticipation. After I turned the album in, I went back in the studio that week and kept creating music. It was already in my mind to release a mixtape before an album came out. When I started making music, it eventually became Anticipation. It was different from what we’ve had, and it’s what was missing from Ready. You know, I was in the creative space where I wanted more time to make more music. I was still feeling like I had hotter stuff within me. So it was pushed back from June 30th to August 4th. The push back from August 4th to September 1st was actually because of me being a business man. “I Need a Girl” was at a certain point. You know back in the day, the logic was that you get a record, and you try to time when it gets number 1. That was when you would probably have the most audience, and because of that you want to drop then. However, we’re in a different world now. On August 4th, I think “I Need a Girl” was at number four. I think it peaked actually at number four on the urban charts. Audience is very important when trying to sell a record. What an audience is; is the amount of people that actually hear your record. Whether it be from video spins, whether it be from radio spins, it’s whatever. That’s the audience. An artist of pretty good numbers usually has pretty good numbers. For example, his numbers his last album out, he had about 60 million in audience, and then did 125. At the time, “I Need a Girl” was only at 30 million in audience. So as a businessman, I figured with a month more I’d get “I Need a Girl” a bigger audience. Within that month, not even a month now, it’s been three weeks since that original release date, I’ve had four songs in rotation. Now had I released on August 4th, “Successful” wouldn’t have been on the album. “LOL (Smiley Face)” wouldn’t have been getting as many spins as its getting right now. “Invented Sex” definitely wouldn’t have been added to 15 radio stations. So right now, versus one record on the charts, I have a mixtape, four records on the radio, and I have three records in the top 20.

BS: Wow. That was smart. Good move. (Laughs)

TS: (laughs)

BS: I want to go a little different now if you don’t mind?

TS: Sure.

BS: Let’s play a word association game. Whatever I say, you just have to tell me the first thing that comes to mind.

TS: Fa Sho’

BS: Anticipation.

TS: Pre-album.

BS: R.Kelly.

TS: Legend.

BS: “Best I Ever Had” video.

TS: Kanye West.

BS: Lauren London.

TS: Great girl.

BS: Tremaine Neverson.

TS: A great guy.

BS: I was trying to see if you would bite on the R.Kelly one, but that’s all good.

TS: (laughs)

BS: But jumping back to the “Best I Ever Had” video, what did you think about it? Do you feel the video was appropriate for the type of song he had originally?

TS: You know I think in all honesty, if it had been Drake four years ago, I think that video would have been cool. I think if Kanye West would have done that same video for that same song it would be, you know what I mean? He wouldn’t have been under such pressure as Drake, because you know that was his first video. Although he is almost instantly a superstar this year, he has to make sure of his connections with the fans, because that video didn’t mesh. The song made women feel special. The video made women feel the opposite.

BS: Now as for your name, do you ever separate Trey Songz from Tremaine Neverson when you’re in the studio or do you bring them all in one?

TS: Umm in some respects. I mean in music, Tremaine Neverson is all there. Whether it’s a ballot, or whether it’s a mixtape record it’s all there. One thing about when I do music, it’s all me. There’s some situations where on the album yeah I may drop experience but, overall it’s me. The most you get out of me is actually on the stuff like “Yo Side of the Bed”. You know in a man, I mean everyman, there’s so many personalities to us. If you as a man wanted to release them throughout music, it wouldn’t be one beat. It wouldn’t be one key. It wouldn’t be one genre of music you know? So as a man, I release myself through music, and every which way I do, is a different part of me.

BS: I respect that. I know you’ve done a lot of features before, but let’s turn the tables a bit. Let’s say you had to do a record with somebody outside of the realm of Hip-Hop, R&b, and Rap, who would you want to do that track with and why?

TS: I’d probably roll with Maroon 5. I have both of their albums. I love their songwriting. Shout outs to Adam Levine. I love his voice. I think it would be great to work them.

BS: Now I got to ask you before we go, is there a possibility of you making a remix to the track “LOL”, and naming it “LMAO”?

TS: (Laughs) That’s a dope idea actually. I never really thought of that. I shouldn’t have actually told you I haven’t thought that, and I should have said yeah. (laughs). That was a dope idea. If not’s actually a part of the lyricism, it would be the actual remix. I think there’s going to be a remix for that song, because a lot of people dig it. A lot of people dig it. A lot of people have hit me up actually about it. That song is blowing up real fast man.

BS: Any ideas of who you would want on the remix?

TS: Well I actually spoke to Nikki Minaj, because we spoke about doing a record. I told her that I wanted it to be something sexy, something kind of dark and moody maybe. She wanted to do more of a commercial record, a cuter sex record. “LOL” was actually already done, but when she heard it, she hit me up, and said “I love that song. You’re a punk for not putting me on it.” She’ll definitely be on the remix.

BS: I’m curious about Nicki. Do you think people confuse her for simply being a person who’s purely just about sex?

TS: Most definitely. I mean I think she loves sex. I mean just listen to her music, and who’s to say that she doesn’t? (laughs) She’s a great lyricist. I think she’s eager to show that she has more to talk about, because she’s been given that platform to do so.

BS: Man to man, would you hit?

TS: Yeah I think damn right. (laughs)

BS: Since I got the idea for the remix just shout me out on the track. (Laughs)

TS: Yeah, I’ll make sure to shout out my man Carl at Ballerstatus. (Laughs)