DX: Even though it didn’t make the album, I thought that one of you guys’ standout songs was “Association,” which he put on the The Nigger Tape [click to listen]. On the hook, Nas says, “Association breeds similarity.” Do you think artists come to you just because of the message you have in your other records and the aura they’ve had, despite your lack of extensive production experience?
Stic.man: Well as Nas has told me, he’s a fan of the musicality in our beats, not just what we’re talking about. Nas has his own thoughts, ideas and opinions, and if you’re a fan of Nas, you know that. I don’t really think it was just that, I think he likes the sound, and that it would probably be a good marriage for the message and the theme of this particular record. We’ve done things with him in the past that haven’t been released yet, but this time it worked out.

I think that people assume that if you’re going to work with Stic.man, that you’d have to make a political record. That couldn’t be farther from the truth. I think everything is political, don’t get me wrong. But to work with me, that’s not a requirement. To me, it’s about being an honest expression, and helping you bring out the concept that you have. To me, that’s an art within itself. People talk about records like “Laffy Taffy” [as negative], but I look at that record as a producer and say, “Wow. That’s a dance record where they rap not only as ‘Laffy Taffy’ in the hook, but in the verse, they’re talking about tootsie rolls and yada yada. They stayed on their context.” I think that’s a good song in terms as a songwriter. I don’t think it’s prolific or our generation and all that shit, but I don’t judge everything by the same standard. It’s a talent to make a dance record, it’s a talent to make a pop record, it’s a talent to make a street record, it’s a talent to make a political record. I respect all of that, and my goal is to be the kind of producer that can be in all of the genres. Not contradicting my own personal beliefs, but at the same time, being a vehicle and expressing my musical direction and my ability to bring concepts to life. Not to be known as, “Come to me for the political,” yada yada. But, if you come to me for my sound and my soul, and my drums, and my ability to bring a concept to life, that’s what I want to be known for as a producer.

DX: Anyone else you’d like to work with?
Stic.man: I’d definitely like to work with The Game, a lot. I think he’s a dope brother on a lot of levels. He’s very talented lyrically, he’s strong with it, he’s got a lot of wit. I like his gear for the music he chooses, and I fuck with his movement. I don’t know how he feels about it, I never met him. But I like how he represents himself. … I wanted to work with Curtis Mayfield, but a lot of the people I really wanted to work with expired before that could happen. Like 2Pac. I got to work with The Outlawz though, still am working with them. I’m into singers, too. M.I.A., we’re reaching out to her for our Information Age album. I’m interested in working with Sade, that’s a goal of mine. As out of the box as that may sound, I’m going to try to get Sade to sit down and vibe.

DX: One criticism that Nas has had throughout his career is his beat selection. Is that something you had in the back of your mind while working with him? Something you felt you wanted to dispel?
Stic.man: No. … I haven’t liked every song Nas ever put out, so nobody’s above criticism. But I think it’s hands down that Nas is one of the best in the game from the songs he’s made. People can say what they want to say if they didn’t like this particular [selection], but Nas is definitely that dude. I [witnessed] it watching him get in the booth, scribble some shit on a piece of paper and masterpiece that shit in one take with no adlibs. It’s a level you’ve got to respect. And people always say that, but I thought Nas has made very good choices about his production throughout his career. If he hadn’t, he wouldn’t have been successful. He’s been making good choices. I think him and Salaam Remi [click to read] are a great match. The “What Goes Around (Poison)” shit. One of my favorite Nas albums is God’s Son [click to read]—he’s got the “Warrior’s Song,” he’s got the “Dance,” “I Can.” To me, crazy records and relevant records, and dope and musical and lyrical. Another thing I love about Nas, some people call it a contradiction. I always love and related to, and saw myself in that he’s like, “I’m from the streets, I’m intelligent, I’m pro black, but I’m bout my money! And I‘m not going to apologize for that. I live in the real world, and business and strategy are definitely a part of that. You can hate on me, you can ‘Hate Me Now.’ But I’m not going to be that emcee that’s got all the respect from the ‘critics,’ but I’m not on top of the hustle out here in the real world like a big boy’s supposed to do it.” I always respected that, and when I’m sitting over in my room with my pad, I felt the same way. Even though we bring a political analysis and we bring that energy to the game, you have to have business and capital to be your own boss, make your own decisions, and sustain out here. … I think he does a good job at letting people know you can be intelligent, you can be about something, and you can reach for the success you want in your life. Everybody doesn’t have to drive a Corvette if that ain’t what you want, but if you want a Corvette, who am I to hate on you because that’s what you want?

When we say “It’s bigger than Hip Hop,” we’re talking about life right now. We’re talking about men, and their decisions, and their philosophies. We’re not just talking about records and record sales, and that’s a beautiful thing. Where else do we have the floor, if not Hip Hop? This is a culture, and I’m just glad to put in my little two cents.