A Quote by Bonnie Raitt
I think I'm a living embodiment of, 'Don't try to push me around or squash me,' whether its how I talk to a record label or in my relationships.
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Remember the Stax label and how if you liked one record, you liked all the others as well? You don't talk to a lot of people who tell you how much they love their record label. I don't care how many records they sell.
I always go to the lowest common denominator for that ingredient. So if I think squash, I try to think what it means to me -- and if it doesn't mean anything to me, I'm not gonna do well when I cook it. So [squash] means to me: fall, maple syrup, cinnamon, and things just come into your head so you can narrow the vortex and make it a bit smaller and you go with something because there's no time.
I value my core fans I got from the hood. I think a lot of things might hit home with them, like problems with the law or how I talk about partying - all the different topics I cover when I do rap. But I also value my suburban fans who take a liking to my music and like the way I change cadences. I appreciate all of them cause both types of fans push me to record all the time, both push me to give my best when I do a show. Both push me to be the best rapper and not just do it as a hobby, but do it as a job and take it seriously and put pride in it.
The majority of the time... the people that are critiquing and bashing me, they're making me more relevant, I would think. If you didn't want me around, then just don't talk about me, and try and make it silent out there.
Don't label me before we get a chance to talk about it. Talk to me first and see what kind of person I am. That's what I like to tell the media: Come talk to me, let's sit down and talk about what's really going on.
I think Cormier is gonna come out and try to wrestle me, try to get me tired, and try to push the pace. I know he might not say that I'm on his level but I think I am and he thinking that I'm not, really.
Commercial success still hasn't come to an artist that isn't signed to a record label. There are very few artists that can succeed without the help of a record label. The role of the record label is still required, it's still necessary.
Let's just cut a live record with three microphones in four days and talk about lizards and aliens. If I had taken that idea to even an independent label, I don't see a label out there that would've said, 'Oh yeah, that sounds great. We know how to market this.'
I'm the type of person that doesn't like to wait for people to do things for me, and I never want to feel stuck. Why sit around and be like, 'I wish my label would book me some studio time,' if I can just buy my own studio equipment and figure out how to run Pro Tools and record it myself?
It doesn't really matter to me what the rest of country is doing. I'm not caught up in trying to make a record that sounds like everybody else. That, to me, is a record label's absolute biggest downfall.
How well I walk my talk, and not talk my talk, determines the quality of my engagement, of all my experience with what is quite personally my God. I'm my greatest teacher, and within me, I have the power to push myself deeper and higher.
As a young boy - I was 20-21, around that age - I didn't think I was being treated right. It can affect anyone, not just me. It was about how I bounced back, how I had to think and sit down and try to move on. Not let that defeat me.
My faith in God is everything at this point. Also, my family and friends that I've had around me pretty much my whole life and my boyfriend, we've been together for eight years. I try to keep people around me who've been around me, who've seen me struggle. They know how dedicated I am and how hard I've worked. They know me - not the Jennifer from American Idol and Dreamgirls, but the real Jennifer.
I had older guys take me in under their wing, make me come get in the cold tub with them, make me stay after and watch film with them, of just continuing to try to push me, and talk to me all throughout practices and games, trying to get my technique right, my knowledge and all of that.
I don't get in vote in whether or how people remember me when I'm gone. It's really dangerous to sit around and worry about it too much, for me. It gets me way too in myself to worry about what people are going to think about me when I'm not around anymore.
When I first came to New York I was a dancer, and a French record label offered me a recording contract and I had to go to Paris to do it. So I went there and that's how I really got into the music business. But I didn't like what I was doing when I got there, so I left, and I never did a record there.
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