Skeme Reflects On West Coast Unity & Being Influenced By Dolla

posted November 05, 2013 10:56:00 AM CST | 3 comments

Skeme Reflects On West Coast Unity & Being Influenced By Dolla

Exclusive: Skeme looks back on "Pistols & Palm Trees," his work with peers like Kendrick Lamar & Nipsey Hussle and why the late Dolla had such an impact on him.

When people think of Southern California within the culture of Hip Hop, they’re often referring to Los Angeles. The label of “Los Angeles” however, can be confusing to those on the outside. While the boroughs of New York are clearly defined and represented in the Rap world, Los Angeles’ cities and borders are often unclear. Within Los Angeles County, artists who have been paying dues are now springing to the forefront left and right. Long Beach—the city that brought you Snoop Dogg, Nate Dogg, and Crooked I—is now the home of Vince Staples. TDE has artists from Compton (Kendrick Lamar) and Carson (Ab-Soul), cities that once brought you Dr. Dre and Ras Kass, respectively. The city of Los Angeles has legends, and up and comers alike—from Ice Cube and Murs to Nipsey Hussle and ScHoolboy Q. Right outside of South Central however, lies another city often not represented—Inglewood.

“Like a motherfucker,” Skeme responds, when asked if he feels the need to differentiate Inglewood from the rest of Los Angeles. “I know some L.A. niggas. That ain’t my thing. I’m not a South Central Nigga. I got a lot of love for a lot of niggas over there, but I’m from Inglewood though...period. And I’m gonna let it be known. I don’t think I made a song yet where I didn’t say the city’s name. It’s every time; I want motherfuckers to get it. Like I’m gonna let a nigga like T.I. scream, ‘Bankhead’ every two seconds, and I can’t get mine off? I’m finna do that.”

Fresh off releasing “Bare With Me” with the assistance of DJ Skee, Skeme is not taking time off to let that sit. December 17 will mark the release of Skeme’s second retail project, Ingleworld.

“A lot of personal shit…a lot more personal shit,” is what Skeme says listeners can expect from Ingleworld. It’s been three years since the release of Skeme’s Pistols and Palm Trees (October, 19, 2010), and Skeme hollered at HipHopDX about the journey from that point to where he is now and the current West Coast scene.

Skeme On Being Humbled By The Response To “Bare With Me”

HipHopDX: You just dropped “Bare With Me.” How do you feel about the response you’ve been getting with that?

Skeme: The response on “Bare With Me” has been amazing. It was real humbling. With the few tapes before, we got the streets of LA, and a lot of people would follow it. But now it’s like seeing a lot more mothafuckas from other regions really fucking with us and riding with us; it’s a dope-ass feeling. Coming out of this wave of niggas all from The Coast and dropping joints, I wanted to be a part of that for sure. It’s dope to be in the mix.

DX: Last time we talked to you, we were talking about Ingleworld. What prompted the decision to drop “Bare With Me,” before Ingleworld?

Skeme: A lot of business opportunities fell in the lap of Ingleworld. With my recording process, a slow day is like five songs, and at max, I’ll get like 12 off. So I’m writing and recording these joints, and when we come down to making Ingleworld, I’ve got like a hundred songs. Everyday I’m getting bashed like, “Nigga where the album at? Where the songs at? Where’s new music?” So, fuck it. We put out “Bare With Me.” Those are the songs we either couldn’t clear samples for, or songs we did and it was a little bit under what the project was. Some of them records just don’t fit the project that we trying to make or the sound we trying to captivate with the whole joint. They were still good records, so it’s like, “Let’s put together something for the people.” It really wasn’t nothing else but that. It wasn’t a business decision or anything like that with “Bare With Me” coming before Ingleworld. It was exactly what the name of the tape was. This is what goes on, so y’all see it’s not exactly easy to pick 14 songs out of a hundred.

DX: Let’s take it back, what got you into rapping?

Skeme: It’s always been a thing with me. My grandparents raised me, so I wasn’t an early five-year-old kid with the raps. But then pops got around when I was like 10, so it was like constant. When I started hearing all those records, I started memorizing the joints and all that. Pops made a joke out of it, like, “Damn, why don’t you make your own shit, since you like to copy everybody else’s shit?” So I went with it, and now we’re here. All my first records was like shit though—a bunch of bullshit. I think we getting the hang of it now.

Skeme Calls His “Pistols & Palm Trees” Mixtape A Building Point

DX: A lot of people rap at a young age, but when did you know, “This is legit.”

Skeme: Pistols And Palm Trees...Pistols was the first time.

DX: What was it about Pistols And Palm Trees specifically? Was it the way it hit…the quality?

Skeme: Yeah, it was a cool process making the music. That’s the building point with most of the records. Besides a nigga like Dom—me and him have been working a long time—and that’s when I first got really cool with Kendrick. Me and Nip had ran across each other, and he was supposed to be on “Chuck Taylors.” That’s when we first connected. I recorded the whole joint in TDE’s spot. That was one of the spawning moments for what’s going on. To keep it 100, the shit trended number one in the city, but I was in New York when it happened. That was a dope-ass moment…fun shit.

DX: When you go into a project like Ingleworld, and it being retail, same as Alive & Living, do you approach that differently than you do the mixtape?

Skeme: My process in making an album and a mixtape is all making one project. I don’t say, “This song is gonna be on the mixtape,” until we reach our mark. I say, “We want 120 songs.” Once we get 120, then we figure out, “Maybe these songs don’t fit together like these do.” That’s when we start picking apart what’s gonna be mixtape, and what’s gonna be on the album. I had a strong feeling about five or six, then after that, we let everything else take its course. I think I always plot out the outro and intro first. I know how I want start and finish the shit every time.

DX: Like “Pistols And Palm Trees?”

Skeme: The funny story about the “Pistols And Palm Trees” intro and outro is that was one long song. I didn’t plan on it being the intro and outro for the shit. “Never Change” was really supposed to be the outro.

DX: You’ve been working with Dom and TDE since “Pistols And Palm Trees,” and on Alive & Living you had ScHoolboy on “Kids with Guns.” How does it feel since you guys all sort of started at that point before everybody had access to it, and now you guys are all in the forefront?

Skeme: Most of the shit happens like that, and it’s a humbling thing. It’s dope to have somebody notice and give you recognition for what’s going on. You spend a lot of time paying your dues up, and when it comes to fruition, it’s humbling. To hear somebody tell you or run up on you like, “You’re keeping the coast alive,” that’s big. The album title itself, Ingleworld, we did that for the city. It wasn’t just about me or none of that. It’s really about these guys that are around me on a daily basis. We’re giving niggas a walking, breathing example to feel like we ain’t just stuck in this mothafucka.

DX: Alive & Living also featured Iggy Azalea. How did that all come about?

Skeme: My brother, Roosevelt used to have her in the studio a lot when we was on Pico. We had a little spot over there where we recorded most of the shit. She was in there one day, I came in, and I was just like, “That’s a cute white chick. She got thighs and shit…that’s what’s up.” We released “The Statement,” and “Apeshit/Crazy” is on there, and she’s into that kind of sounding shit, so we seen her in New York. It was CMJ weekend, we had a show at SOBs and me and her was both headlining the joint. She was, giving it up 100, like, “That joint was crazy. I fuck with it.” She reached out, and was like, “I would love to do some shit,” then, “Mo Flow” happened. A funny story about that song—that was supposed to be me, [Iggy Azalea] and Kendrick—but I had already sent “I Remember” like months before the shit. I didn’t even have my verses yet on “I Remember,” but that’s where that talking shit comes from in the front. He was just like talking random shit saying, “Wearing black Pumas / With my hair like Kunta.” These is the homies. This is the shit that we love, and this is what we do.

DX: The project is called Ingleworld, and you’re the first person to represent for Inglewood in a long time. You’re out of Inglewood, and nobody has seen Inglewood since Mack 10. Do you feel pressure with that?  

Skeme: I’m comfortable in my own skin. If I was a guy that was building up some kind of… If I was on some Wizard Of Oz shit, with a big thing going on behind the screen, and it wasn’t the same nigga, maybe then I’d be pressured. I’m doing exactly what I’m supposed to do, and I don’t have nothing to hide. When the niggas in the city see me, it’s constantly like, “Nah, that’s the nigga. He’s our guy…that’s the one.” I don’t feel pressure for the way nobody else is gonna look at it. If they approve of it, it’s cool. To the rest of the world, I got y’all. I feel like nine times out of 10, outside of the coast, they just gonna look at you like L.A. When you coming from here, and the niggas within the city is like, “That’s the boy,” you solid. I never felt nervous about that at all.

Skeme Details Southern Ties & References To Malcolm X & Huey P. Newton

DX: Speaking of things you represent, and looking at your earlier projects, like “The Statement,” you may get labeled as an “L.A. Rapper” or “a gangster rapper.” Where do the conscious references in the music to Malcolm X and Huey P. Newton come from?

Skeme: That’s from a solid sense of being an African-American male, and knowing what can be stacked up against you. [That’s from knowing] what they want you to do, what they expect you to do, and who you plan to be. People weren’t born and raised in L.A. with parents born and raised in L.A. Most of our parents come from the South, and it is what it is. If a mothafucka was brought up, and didn’t hear about none of these names, I would love to be the person to introduce you to it. But it’s still sick at the same time. It’s like, “Why wouldn’t you know this kind of shit?” It’s a long line of prideful shit. I look at them being trailblazers for something that was new, being that some of the shit they might have did might not have been politically correct. But it’s what had to be done for shit to be changed. So I always got respect for that kind of shit, all the way down.

I was looking at a movie, The Butler, and it was dope. I liked seeing Forest Whitaker’s character saying that his son wasn’t no criminal, and that he was really a hero for what was going on. To watch them same kind of situations, like G pops will say, “Aw, them niggas got they pants sagging.” Niggas will be looked at, and a lot of times, we get criminalized for being us. In the same sense, we come from the same background of niggas. It may not be the respectable image that y’all got, as far as the rest of the world, but at the same token, we are doing something. A lot of kids are looking at us like they might be able to be somebody because we was. We come from the same position, and we in the same city. Y’all can catch me at the same park. It’s like, “We not leaving y’all.” That’s the point of all of those references along the way. I feel like that’s the duty we got as artists.

DX: You spoke about parents being from other places, but your music is solidly West Coast. That’s unquestionable, but it sounds like you have a Southern influence. Is that where that came from?

Skeme: Like a motherfucker. I spent a lot of time down there. I feel like a lot of cats will listen to music from other places, and that’s how they grasp it. Nine times out of 10, if you’re in another region, and your hear music from another region, it’s because it’s now bigger than just that region. Most niggas didn’t hear about a nigga like 2 Chainz until “Spend it.” We was riding with him when it was “Fuck Da Roof,” and we was fucking with him on “Trapavelli.” I spent a lot of time down there—a lot of days, summers, winters down in the South. We definitely got the foundation down there and got love out there. My pops is still out in San Antonio right now. Rest in peace to my big bro Dolla, who was straight out of ATL. That was the guy that was supposed to make it from out there. All my folks—my grandparents and shit like that—are from Alabama. I got a lot of family down in New Orleans, and we really took a lot of time down there. I can’t stress that shit enough. We spent a lot of time down there; we still do frequent trips down there.

DX: In L.A. in general. It seems like people are from these neighborhoods, but it was never spoken on. Now it seems like it’s real out in the open. Why do you think that change has come about?

Skeme: I don’t know how everybody else works, but I know that same list of collaborative people I work with, it’s all honesty. I’m not gonna lie to you, and I’m not gonna hide the fact. We gonna give you every bit and piece of it. If it’s fucked up, it’s fucked up. And if it’s good, it’s great. But, we gonna give you everything. It’s not gonna be like, “Oh, we’re from Inglewood” and make you think you can come over here, and it’s Disneyland. Nah, I wouldn’t paint that picture, because that’s fucked up. Then I’m gonna lead you here, and then you’re here, and this is not Disneyland at all. Sheer honesty. We don’t want to hide the facts.

DX: Then, back to what you were saying, before, it seemed like the whole west was cloaked in blue. Now, it’s seems like there’s a noticeable shift. Do you think there is a specific reason for that?

Skeme: I don’t know. Maybe the Blood niggas is just…I don’t know. For sake of not making the shit look bad, a lot of Blood niggas had a lot of influence. When Game hit the shit, a lot of niggas in the industry wanted to be with bro. That’s cool too. I think part of it happened with the whole Wayne situation, plus Mack 10 was over there. It was like constantly pushing a nigga in that direction. And, bar none, a nigga will get the game twisted and think the West Coast is the only place that got a hood...on the set. But it’s other sets—in Memphis, Tennessee there’s Avenue Piru. A lot of older niggas got the misconception that these niggas ain’t really ‘bout it or they give a fuck about us being from L.A. Nah, nigga, this the hood out here, period. I think it’s just a coincidence; I’ll strike it up to that.

Skeme Attributes His Accessibility & Work Ethic To Dolla

DX: Since you mentioned Dolla earlier, what kind of influence did he have on you and your music?

Skeme: At the time when I met Dolla, I was 16 or 17, and I just graduated high school. When you first start rapping, you have this false sense of what you gotta be as an artist and how you’re supposed to be because you a rapper. When I got around him, he’d be like, “Cuz, I’m gonna be me.” That’s exactly what he would say everyday, “Cuz, I’m gonna be me, on Mansfield Crip.” And that’s exactly what he’d do. We’d pull past the shit, and see this nigga at Oki’s Dog on Pico, like this nigga didn’t just have a number 10 record with T-Pain. The nigga was like, “Nah, we gonna do this.” It would be wild shit, and Mom’s would be hot, ‘cause he’d send like three cars worth of chauffeurs to my house to go to the studio. She’d be like, “That damn Dolla sent those people over here to my house.” He was a solid nigga. He laid the foundation for what we keep going in the music today.

As far as being a dude across the board, I’m a lot more touchable than most niggas is. I allow myself to be one with the people. I’m not finna hide off and act on some holier than thou shit with my fans, or people that might gravitate toward my music. I’m right here. You can touch me, talk to me and all of that shit. I think dude instilled that, and another thing was the work ethic. Dude would be in the studio, and make like the whole “Miseducation Of Dolla” mixtape. We was in there for damn near seven or eight of them songs, and dude would make like five or six in a night…just keep going. He’d be doing pull-ups and shit, smoke some weed, go back in the studio and keep working. I had never seen no shit like that. Prior to that, I’d pay my $35 for the hour, go in there, do my little three songs I wanted to do, then we out that bitch. Dude would be like, “Nah, we gonna sit in this mothafucka all day. Send whoever else to get the shit that we need, but we gonna be in here all day.” I think dude just got me used to that kind of mode of shit. For the record, I really feel like that shit is fucked up, and dude left way too early. Dude was really like one of the people who I felt like the world needed to hear. He really had what we got going as far as being a street nigga, but still having the conscious side of shit. Even a nigga like myself or Nipsey; I really ain’t seen nobody else in that same bracket that really came from the street and got some shit to say that might actually help a nigga. A lot of people are trying to condemn everybody else to the same shit hole we came from.

DX: Recently, you brought a kid into this world. Does that affect your music? Do you look at your music differently now?

Skeme: I look at my work different. I don’t have time to waste or anything like that, and I’m dead serious about mine. Before it was, “I know how to rap, and I got that sense of arrogance like in a true fashionable way.” I’m definitely gonna tell a nigga, “You not fucking with me, period.” Ain’t too many niggas I’m gonna be like, “Well you, maybe…” Nah, it’s not gonna happen. I’m still gonna be that same nigga, but now I take a little bit more time with my records, and a little bit more time with the business strategy behind putting the music out. We caught “Pistols And Palm Trees” on the humbug, and it just so happened that the shit hit. This time around on “Bare With Me,” we knew what we was doing. And when Ingleworld comes around, we know what we gonna do December 17.

DX: In terms of business, your movement has been independent. Do you want to go with a label?

Skeme: I’m a businessman, so we gonna open it up to any kind of business that’s here. If the business model that your company is holding ain’t gonna stack up with my brand, then that’s cool too. If we can’t, cool, we’ll catch you on the later tip. At the end of the day, I’m gonna explore every avenue, and we not gonna turn nothing down. We’re gonna hear your conversation out, and I want you to hear mine. And if we can find something in the middle and work something out that’ll work for both of us, cool. What we not gonna do by any means is let a nigga tell us what’s gonna happen. For what? I think that’s the part that a lot of new cats up under us is gonna miss too. We feel like we don’t say that enough. We might say, “Fuck a label.” But if the label is willing to play ball with the artists and figure out something that’ll work for them, then it’s not a “fuck you” situation. It is, “Fuck you,” however to the niggas that think that you can just tell us what to do. We control the market.

If you’re an artist that got the gumption to go ahead and get to your fans, get to the people that’s gonna purchase your music in the first place without having to deal with that, then the only thing the label is gonna be able to do is make it bigger. I don’t see myself going broke no time soon. 

Skeme Commends Kendrick’s “Control” Verse & West Coast Lyricism

DX: So who are you feeling in the Rap game right now?

Skeme: Me and the homies. If you get in my car—if it’s Rap—it’s gonna be the homies. I fuck with Future’s shit real heavy. I like the way he does his shit, and it’s well put together. I rock with Drake’s music; I ain’t gonna lie. I like the shit that he does. It may be a little soft or whatever, but I like the way that he does it. The nigga puts together good-ass records. At a certain point, you getting into writing them good records for other artists, but you gotta have respect for a song that’s undeniably good no matter the politics. In Rap, we the only genre where a nigga is worried about, “Is he really the nigga on the record?” Nobody is gonna ask if Chris Brown is really fucking a bitch and telling her she’s fine china. We not doing that. With us it’s, “Did Skeme really do that?” Yes, I swear to God. Sometimes a lot of niggas get lost in the shuffle of that. Shout out to the niggas that don’t know how to separate business from pleasure. That’s cool too.

DX: Speaking of Drake, and back to your boy Kendrick…

Skeme: Hey! “Tucked a couple of sensitive rappers back in they pajama clothes, ha ha.” Yeah [laughs], “Hi five,” them is my niggas. I love it. These are the things we said we was gonna do, so I have even more respect for a nigga saying it. Do it. Now we said all these years, “Man, these niggas ain’t fucking with us, bro.” The shit is crazy. We not gonna say that about no niggas from over here. We got a lot of respect for them niggas. But at the same time, I feel like a lot of niggas, from 2007 up to now, niggas was real nice. What the fuck happened? Where is all these nice niggas coming from? Where is the street niggas? I thought all these niggas was real street niggas…these like, gangsters. All these niggas is Meech, but we all friends? We all friendly Meeches? Come on, my nigga! I got respect for a nigga that say it’s all in friendly competition.

If a nigga get on the court, Chris Paul will tell you the same shit. Any nigga that got that kind of dog in him is gonna be the same. If I’m looking at you on the court, and we both play ball, I’m not gonna get out here and be like, “Ah, I’m gonna go easy on you. I ain’t gonna make this layup, ‘cause that’s the homie.” Get the fuck outta here, nigga! I need my check. So it is what it is. It’s not that I don’t like you as a person, but nigga I want all mine.

Maybe it’s some niggas out there that don’t want to be the best. You got it, bro. If you want to be second, then that’s your thing—you got it. I know we was cut from a different cloth of niggas that take this shit serious, and niggas want to be the best at it. I don’t want to walk in a circle of niggas and niggas be like, “Skeme is cool, but that other nigga…” Nah. Not happening. Every feature that I’m gonna do, I’m coming for heads. They gonna roll, every time, and we trying to get off. I feel like me and Nip, we get to the point where it’s like we going at each other. Cool. That’s the type of shit I like though. That’s the environment I want to be in. If we not trying to be the best, then I’m not really trying to work with you.

Skeme Accidentally Passed On Game, Chris Brown & Lil Wayne’s “Five”

DX:  There definitely sounded like some friendly competition when you, Game and ScHoolboy Q got on the reocord from Game’s “OKE” mixtape…

Skeme: I fucked up and picked the wrong song, but it was cool. I was supposed to be on the “Five” record with him and Chris Brown and Lil Wayne. Me being me, I heard the homie mention it, but I say five a lot. So he’s like, “Damn five, you should get on the record ‘Five,’” but then he played “Astronaut Pussy.” I’m like, “This shit crazy,” and I’m knowing this is my type of shit. The next day, my brother is like, “He was just trying to put you on the record with Lil Wayne,” I’m like, “Damn, word?” But fuck it; we didn’t know who was on the record or nothing. I hadn’t even heard the “Five” record, and it was just like, “Nigga, it’s called ‘Five,’ and you call everybody ‘five.’ Why wouldn’t we do that, five?”

It was a good-ass feeling. Game called us to the studio, and we did the record…we did four records. So I’m like, “Alright, one of them is gonna be on the tape.” The day of, the nigga called me like, “I need you to come to the studio, Blood. We ain’t got the one,” I’m like, “Ain’t this a bitch?” I had to go do a verse for E-40’s album. So I went in, laid the “Astronaut Pussy” verse, and he’s like, “Nah, you gotta put another one on this other shit.” [After I agree], he says, “This nigga Skeme doesn’t want to be here.” And that’s why I was talking shit at the end of the “Welcome To California” verse. It was a cool little night. I always like to get off—me, Q, Kendrick—them is the homies. With Game, I came up as a fan. That was probably the last West Coast album I felt was big before Kendrick. The Documentary was one of them ones, bar none. A nigga can’t fight that. 

DX: Crooked I recently talked about how before the West wasn’t really perceived as spitters, and people wouldn’t believe that rappers out here had bars. How does that feel that it’s changed now? Nobody sees Skeme and says “Oh, he’s from the West, they can’t rap,” How does that feel?

Skeme: I been working a long time for that shit, and that’s the point. That’s love for a nigga to recognize your talent. That’s what we do it for. Well, that’s what I do it for; I don’t know what everyone else does it for. I want my recognition for the shit that I’ve been doing for years now and the shit that I continue to do. We put the world on notice. Let these niggas know that we can really rap, we really out here and not only can niggas really rap, but we making good-ass records. I feel like a lot of rappers get caught in the cycle of, “We just gonna rap, rap rap.” Man, shut the fuck up! I don’t want to hear that shit all day. I’m singing a lot on the album. I swear to god, I’m singing a lot. Like a lot…it ain’t no soft shit, but I’m singing, you feel me?

It’s not a game. It’s a good feeling for niggas to notice that y’all is spitting, and for fans to be excited about shit again. It was like a point in L.A. when niggas wasn’t excited for nothing out here except Game. What was that, tenth grade? That was big. First of all, you knew where this nigga was, you know what he came from and you seen this nigga in the streets. I feel like A$AP Rocky and them, they’d have moments where they’d watch niggas like Dipset walk through, and it was cool; you got to notice all that. We didn’t get none of that. You wasn’t gonna see Snoop when I was in high school, because he was in Chino. Shout out to Unc, because he was a solid nigga the whole time. But you wasn’t getting to touch him. Right now, you can see me in the Fox Hills Mall. I’m around this motherfucker, Kendrick is around this motherfucker and ScHoolboy Q around this motherfucker. Dom, Nip, Casey Veggies, YG and all these niggas, we touchable. It pushes for niggas to want to be somebody. I done caught a lot of niggas—maybe some niggas who don’t need to be rapping—rapping now. It’s like, “If the homie can do it, I can do it too,” and that’s like, it’s kinda what we telling you, but it’s not really what we want you to do, that’s cool too.

DX: You mentioned Nipsey, who recently dropped “Crenshaw,” which did the numbers he wanted to do and some. How does it feel seeing that, and what do you feel about that situation?

Skeme: It’s beautiful if you look at it how we look at it. If we allow shit to go down, the way it’s going down, you’ll either be deleted out of this shit, and not be able to make money, or you gonna have to conform to whatever the new standard is. What Nip did—and I feel like it’s the most genius shit he could have did—is he made a new business model for niggas. It’s like, “In one wop, I made what you niggas may take four months to recoup off of.” I feel like that was a big-ass move for him. Charging $100 a wop really set a precedent on what it is. A lot of people will not believe in it, and that’s cool too. But, you can’t knock that. What another nigga ate don’t make me shit. So that’s what it is.

DX: When the South was at their highest, there was a lot of unity in the South, and it felt like that’s what kept it moving. In the West, certain artists have issues. For example, your boy Problem...

Skeme: And YG?

DX: Yeah. Do you feel like the unity has to happen? Or can everybody just do their own thing?

Skeme: It doesn’t have to; it never has to. What we wouldn’t want to happen, is the rah rah. A lot of niggas want to be like… The ego shit can go out the window. We don’t need to fuck up money. If I don’t like a nigga, that’s cool too. I’m not finna air it out everywhere. That’s female shit. All that arguing back and forth, I’m not finna do that. We not finna stare off every time I see you. That’s pointless. That kind of shit fucks up the money. I think, with niggas that do fuck with each other, fuck with each other, and keep it pushing. Every man walks on his own two. I feel like a lot of times, a lot of niggas will get caught up in the whole mix up of being a follower to another nigga. My level of loyalty is to my niggas. Even with Problem, YG is my guy just like Problem is my guy. I’m not in that. I’ll tell a nigga, “That ain’t got nothing to do with me, my nigga, I ain’t in it.” I feel like if every nigga approaches it that way, we fine. As long as a nigga got his focus on his self, we’ll be alright. I think the collaborative efforts between niggas, are big for the fans. But at the same token, if a nigga making good music, he’s making good music, whether he throw another nigga on the record or not.

RELATED: Skeme - “Bare With Me” [Mixtape Review]

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