In this interview Supastition talks about racial politics in the US ('Black Bodies'); childhood memories of the Ku Klux Klan marching through his North Carolina home-town; Nina Simone, the role of interludes and why hip-hop is more than just a game.
Behind the rap-stereotypes of shining cars and female body-parts (the subaltern's distorted Capitalist dreaming), there is another world of emcees/producers who understand what they are doing as part of a continuum and expression of culture.
And it's here that you find a kind of yearning. Artists wanting to be heard, alongside a complaint that they have been forgotten, or overlooked. This defines hip-hop as a genre, perhaps you could even say this is its sentimental core. Whereas many, if not most rock stars express desire, turning it outwards towards another girl, another planet; in hip-hop, the archetypal MC is seeking respect, asking to be recognised. How explicit the need is.
One of the best examples of this cultural interplay is North Carolina-born, but now Atlanta-based MC Supastition. Honesty and sincerity is something essential to his art. It shines through.
What follows is a record of our almost hour-long conversation, where Supastition described how his most recent record Gold Standard (Reform School Music/World Expo Records, 2015) is a new start of sorts, but also other subjects too; such as the importance of interludes in his music and his take on how it feels to be an established artist in a music genre that has an unquenchable thirst for the new.
MB: With Gold Standard, it's got various producers on it, but what really struck me was that it had a very confident sound; a very distinctive record compared maybe to some of your earlier releases; were you aiming to get a particular sound with that release?
S: I've done a lot of releases and I really feel that with Gold Standard, well, it's the one I can kind of boast and be proud of - for a lot of years, a lot of things weren't working out the way I wanted them to, but with Gold Standard it is one of those records where everything came together. I had a plan to do a tour, of 70 plus shows and I started working with a producer by the name of Praise, so I had the fire under me. So with that record it sounded a lot more confident and it's not as pessimistic as a lot of my other releases.
MB: It's really interesting you used the word confident, because the words I wrote down (when listening to it) were 'straight, confident, consistent (and) unified' - maybe compared to some of your other records. From the first track to the final track (you get a sense) it's the same artist, the same sound, even if you're working with different producers. I mean, were you inspired by any other particular hip-hop album when you were putting it together?
S: When I was putting it together, I was listening to a lot of albums that really strike me as inspirational like Little Brother's The Listening; Blu and Exile's Below the Heavens and the Brother Ali/Jake One record Mourning in America, Dreaming in Color. One thing I like about them is that they all have a consistent vibe from beginning to end. I think out of my albums that fans like, like The Deadline it has a similar vibe, even though I'm working with different producers, I want a cohesive sound. I learned that you can't just choose a lot of hot beats and make a lot of dope songs with them, that don't make a great album, that just makes great songs, I wanted to put together an album and have everything laid out. I had all the production set aside before I even got started writing the songs and I think that helps a lot too.
MB: I think it's interesting you referred to The Deadline because that's probably the other record that I'd compare Gold Standard to, where, you know the first track is completely, you know 'I'm here; I'm ready to be heard' that kind of thing, and I felt like Gold Standard had the same feeling, you know it had no doubts, or uncertainty, it's pushing that sound of – as you say maybe – like a new beginning, but it's also very political as a record. You've talked about your interest in 'concept albums' before, would you say this is a concept album and if it is, in what way?
S: Yes, it's a loose concept album, I wouldn't say it's a concept album in the sense in all songs pertaining to one particular subject, but for this record it is – Gold Standard just the title is saying that there are a lot of people in the music industry that basically brag and boast about a lot of things, but they have nothing to back it. With this record, I'm saying I've been here professionally since 2002 and after ten plus years in the industry I feel confident that speak about what I see. That's why you have songs like 'Gold Standard' and 'Know my Worth'. The concept behind it is, just be confident and proud of who you are. I'm not a twenty year old rapper any more, I'm confident and cool being a married man, a great father, a great friend and a dope rapper.
MB: (laughs) ok, and I think the track 'Unorthodox' wouldn't you say it's playing into this theme of providing a statement of who you are and what your history is, would you say that's the key track for that?
S: Exactly, I definitely think 'Unorthodox' is a great example of that. 'Unorthodox' is one of those records where I say, critically I didn't always the acclaim, you know when I release an album I already know they're going to give this album a 3.5, because I really don't have the name to get classic album rating, I don't have promo behind me, but on that track I'm saying I don't care if the critics understand me or not. I'm making records for the fans, you know.
MB: I understand that, but it does seem that things are shifting – Dr Dre has included in his radio show, is that right?
S: Yes, he has a radio show that he does online where he plays different music and some people from Aftermath pick out the sound and the songs they play, so having Dr Dre include it and hearing that some of the people at Aftermath are big fans of the Gold Standard record, having people like Dr Dre and DJ Premier and Da Beatminerz supporting the record, it just makes you feel really, really confident and appreciated, you know. A lot of times when I lived in North Carolina and you'll hear a lot of other North Carolina artists say the same thing, we didn't really get support from radio as a whole, a few people supported us, but basically we had to go to other places abroad, outside the US or other states to feel genuinely appreciated.
MB: The track that they played was 'Know my Worth' right …
S: Right, 'Know my Worth'
MB: This is a gorgeous track, isn't it? You're working with a female emcee, Boog Brown ..
S: Yes, that's my home-girl, Boog Brown ..
MB: She's fantastic, I thought what she added to that track was not so much the lyrics, but the way she raps, is just phenomenal, isn't it? Can you talk a little bit about her?
S: Boog Brown is a very, very dope emcee. She's originally from Detroit, but she lives in Atlanta now. We've known each other for a while, I was a big supporter of her, early in her career, I just thought she was an incredible emcee – not just a female emcee, but an incredible emcee and I always tried to put people onto her music. A few years back she did an album with Apollo Brown, called Brown Study and I was featured on a track called 'Friends like these' and we've always stayed in contact and been supportive of each other, so when I was doing this record I realised I'd never had a female emcee on any of my albums and I was like, why not get Boog Brown on to speak about what it's like to be in this industry as a female where people don't know your worth, or under-value you, so I wanted a female perspective on this as well.
MB: I think it works on a gut-level too, it's not just what she's saying, it's how she's saying it too. She's really fantastic, I mean, if we keep referring to this idea of being confident, she shares that quality, you know. She's really present, I guess is the word I'd use to explain it.
The first track I heard from Supastition's album was 'Black Bodies' ...
With its distinctive repetitive-swirl sample - that manic Soul-based loop that has come to define a lot of contemporary hip-hop production, this time provided by Supastition's long-time collaborator, Praise* - 'Black Bodies' represents a new form of protest music.
*check out this great video interview with Praise.
When I first heard the name of the movement 'Black Lives Matter' I thought it was a bit weak, avoiding as it does any direct mention of those killing scores of unarmed African-American people, mostly young men and teenagers (the police), but now I can understand the logic behind it.
Rather than focussing on those perpetrating the violence, the aim is to state the apparent obvious and by doing this force non-Black people to recognise a basic truth: that African-American people in the USA share the same essential humanity as non-Black people. In the interview, Supastition stressed that his objective with 'Black Bodies' was not to write a 'Fuck the police' song, but to try and put the current police violence in a broader context.
MB: Okay, let's go to the first track from the record that I heard, 'Black Bodies' and obviously I was interested in it for the theme as well as the music. I mean you are originally from North Carolina, Greenville, is that correct?
MB: So as you know, there has been some horrific race-based violence both the police and a white supremacist in North and South Carolina recently, I mean, how do you feel when you see this on the news. You've produced this very powerful track about black bodies, obviously you produced it before the violence, but how do you personally feel when you see these kinds of things happening so close to where you come from?
S: The thing with me is it's not anything new, cause growing up in the South, growing up in North Carolina, I remember in Greenville, North Carolina you used to see the Ku Klux Klan march through town, you know things like that. I was in school and white people would call me nigger, you know different things like that, it's just what you would see growing up, you'd go to a store in a small town and people wouldn't want to serve us, or want us in the store; or we'd walk into a restaurant and everybody would look at us like we were crazy. It's something people don't speak about, I'm not from a major city in North Carolina. Greenville, North Carolina is kind of like a college town, a small town, so I'm used to a small town mentality and how people look at you, so when I see stuff like that (the violence) in North and South Carolina, well there's always been a lot of things happening like that. It's one of reasons why – I mean I love that place – but it is one of the reasons why I'd never want to live there, because there are so many things behind the scenes.
So when I created 'Black Bodies' you know, I didn't want to create a song because everybody else was doing a song, particularly I held my back and waited because I wanted things to die down and as we decided to release the song I realised it was always going to be relevant because these situations keep happening. There's always an unarmed black person getting killed somewhere around the world. I had read an article talking about when the US because a moral authority, a lot of the situations in the US where they basically bully people with the acts of genocide and different acts of that nature and I just wanted to dig a bit deeper in 'Black Bodies'. I didn't want to do a 'Fuck the Police' song, you know because when it comes to me if something happens to me or my family, first thing I'm going to do is call the police. You can go a lot deeper – look at the history of America, the judicial system, systematic oppression, it goes through a lot of different things.
MB: I definitely agree. But let's slow it down a bit here, because what you said was really quite shocking before, you're not so old, so when you're talking about the Ku Klux Klan and the racism you experienced growing up, are we talking the 70s or the 80s, or?
S: This is the 80s – the mid to late 80s.
MB: Oh God.
S: I remember being at school and getting suspended because a white guy called me nigger and we ended up fighting. This was like junior high school for me. A lot of people from small towns it's their mentality and a lot of times, these cities and towns are so segregated; a lot of people in my town had never seen (people different to themselves); they only knew blacks, whites and Hispanics. The first time I brought my wife to my home town and my wife is Asian, she is from Laos and I remember the first time bringing her and people were referring to her as being Chinese and I remember thinking these people hadn't had much exposure to different cultures. It was one of the reasons why I wanted to move away from small towns like that.
MB: Obviously this is very striking and shocking for me, I mean I come from Australia so I'm not so naive, I've grown up with a huge amount of awareness of race-based violence in my own country, but the idea of the Ku Klux Klan marching through the town in the 1980s is mind-blowing, I mean they had absolutely no shame, even at this time in the 80s, I'm amazed.
S: Yeah, there were a lot of things going on. We are technically still in the South – as a child I didn't really understand it. They had the white hoods on and the robes, but it would be in the newspapers – you know, announced, the Ku Klux Klan will march through Greenville on this date and different things like that.
MB: It's insane.
S: Once you look back, when you're older and understand it, it amazes you. I can't believe I witnessed and lived through all this stuff was still going on at that time. A lot of people think it ended in the 60s and the 70s, but all this goes a lot deeper than that.
“MB: The thing that is very interesting for me is your choice of the title ‘Black Bodies’ because it’s maybe the media, certainly the police and people in authority often see people of colour as just being bodies, rather than being human. When you were thinking about that title, what ideas did you have when you chose that title for the track?
S: The inspiration is just like you said it’s the way people don’t see African-Americans as being people, a lot of times (white) Americans treat dogs and animals better than they treat African-Americans, they have more compassion for animals than us. And it’s something that I’ve noticed when you look the news and you see people dying in America they don’t show dead bodies laying on the ground, when they show countries in Europe and places like that they don’t show bodies on the ground, but when they show African nations and people dying and starving they show actual dead bodies, the people, it’s almost as if they are de-sensitised. This is one of the reasons why I wanted to call that track ‘Black Bodies’ because when you notice this, if you look at it a lot of times they have massacres in Africa, you’ll see it on the news, the bodies laying there. It’s like they’re being treated as if they’re less than human sometimes. They would never show – any massacre that happens in America, they never show dead bodies laying on the ground.”
MB: You're absolutely right. I know this from having worked in newsroom, they just wouldn't receive the same 'feeds' of the dead bodies, in Paris, or wherever it may be. Are there any particular books, or writers you've read that have offered some interest or inspiration in terms of this thinking of yours?
S: A lot of different books; I mean there are so many different books. I read books from all over and absorb knowledge, you know, sometimes you've just got to sit down, turn off the internet and pick up a big book. A lot of friends recommend books for me that I should check out, when we were on tour, Blueprint gave me a big list of books he likes to read …
MB: Just coming back to the location of it, the North/South Carolina connection are there any other things you'd like to add, I mean one of the reasons why I was interested in speaking with you was the fact that you're from the place where so much of this violence has gone on recently; I mean, Walter Scott being shot by a police officer in the back, when he was running away, is there anything else you'd like to add to this?
S: There's not very much more to add, I mean I just wish people would have more compassion and like I said in the song, 'Black Bodies' these police officers, they not held to the same standard as the average guy, I mean people talk about black on black crime, when someone gets killed in the neighbourhood, but these guys (the police) are not held to the same standard – they hold a position of service and so when we see this happen, it's a big disappointment, I mean we think you're supposed to be there to protect us, if we can't trust you, who can we trust?
Sometimes you hear a track and it draws you in; something about it connects with you in a way that is difficult to express. Supastition's 'Best Worst Day' from 2013's The Blackboard record is like that for me. (For days after listening to it on repeat, it remained with me; it was as if I could still hear it playing out in the recesses of my memory as I went about my everyday life).
“When I woke up today I felt incredibly refreshed feeling more blessed than ever with no head full of stress I was comfortable but calm in my warm spot didn’t even abuse the snooze button on my alarm clock sun’s shining through the burgundy drapes my lady wasn’t next to me, I guess she’s working today I’m accustomed to looking her in the face at 7 AM one particular person you see day out and day in anyway ..”
'Best Worst Day’ was an idea that had been floating around in my head for years. I could never find the perfect beat that matched the idea that I had. I wanted something heavenly and atmospheric to deliver the story. This is a hip hop version of the movie ‘Sixth Sense’ where I spend a day not knowing that I had already passed away. Originally, the song was going to be similar to Ice Cube’s today was a good day but I decided to add a few twists to make it more interesting. I love the art of storytelling and this came out the way that I envisioned it. I first heard the beat on the Dirty Art Club instrumental album and asked them if it was cool for me to record a song to it. Madwreck (who has mixed or produced on every album of mine) gave it the thumbs up along with his partner, Matt Cagle.'
Supastition, writer's note for 'Best Worst Day'
That 'perfect beat' Supastition is referring to is glorious, sublime. But more than this what works so well in this track is the way the producers (Dirty Art Club) sensitively echo the movement of the song; so that at the start, around 33 seconds when he refers to the sunlight and then to his wife (a person who has a very important presence in his art, as a recurring point of tender reference) the music opens up, expands somehow, with great delicacy. It's very beautiful.
And then again later almost exactly two minutes later, when he refers to hearing his music on the radio ...
“I stepped outside wondering how could this day have gone
but then a Chevy passed by with my song on
the local radio station they had my song on
that’s when I knew something was horribly wrong, homes
‘cause they don’t play no local music if it’s homegrown
a motherfucker gotta be dead or long gone,
shot up or murdered? wait… what!
I jetted back in the store, I’m searching for the Charlotte
feeling faint, nauseous, and nervous
no wonder why nobody even noticed me, paid attention, or
I started panicking as I was thinking back again
stiff as a mannequin like “yo, this can’t be happening”
picked up the paper and the caption read after my name
in bold black lettering… local rapper slain. damn”
... a similar feeling happens again. (You can sense the happiness of that moment in the music). Such production where the music both reinforces and comments on the music is a wonderful thing.
At the end there is this very other-worldly interlude where Nina Simone, referring to herself as 'one' in a very regal (and slightly strange) manner, with her plummy vowels, speaks about how she wants to be recognised in her own country.
In an interview with his late friend Praverb, Supastition said: 'I’m all about lyrics and wordplay, man. I listen to cats like Royce, Elzhi, Phonte, Brother Ali, Shad, and brothers like that. If you’re still rhyming ‘hat’ with ‘scat’ and simple shit like that then I just can’t get inspired by that. That’s music for the lyrically challenged!' Before adding: 'At the same time, you gotta be able to make a decent song too.'
Here in this track we can see the skill of Supastition's wordplay, via the half-rhymes and repetition of consonants, or repetition of words with the same number of syllables; in the movement backwards and forwards, the clever use of tempo to provide contrast. Here, too, with the Nina Simone interlude at the end we can see something else that I believe is a defining element of his art: that is the use of interludes in a highly literary, rather than purely musical, manner.
MB: Can you talk to me about the producers who worked on Gold Standard?
S: The main producer on Gold Standard is Praise he's from the DMV area (DC/Maryland/Virginia area), he had worked with Pharoahe Monch and Torae, Skyzoo and people like that. A good friend of mine before he passed away, Praverb said that there is this producer you've got to work with, check him out, he's amazing. He sent me a link to his music and I thought this guy is incredible, before we could actually set up songs, Praverb passed away so Gold Standard is dedicated to him. Praise is the main producer and probably going to be the main producer for a lot of my upcoming projects too. Rik Marvel who is from Germany, originally from North Carolina, but he lives in Germany now. He's real dope. Veterano - he's from Cali. Jonny Cuba, Ollie Teeba from the UK as well. My man Croup from Germany as well. I try to stick with my usual suspects, keep it in-house. Also MoSS, he's an incredible, incredible producer he's worked with lots of different artists – DJ Premier, Elzhi, Joe Budden, lots of people like that. One of the main things I like to do is with with new talent that a lot of people aren't chasing yet. People I think are dope.
MB: Tell me how you work, for example, with Praise when you're putting together a track …
S: With Praise, usually he'll make a bunch of different tracks and send them to me and then I'll go through them one by one. In previous years, there'd be producers who'd put out 20 or 30 beats and they'd send them out to all their rapper friends, or artists they're trying to sell beats to, basically like a buffet and everybody is trying to get to it before the stuff is gone, so by the time I'd get to it I'd get the left-overs and I'd feel like I'm making a record from the left-overs, but with Praise or Croup, they specifically make beats tailor-made for me and then together we'd work it out. I like working like that. I mean, would you rather have a short-order cook, or would you rather have a chef that prepares meal for you?
MB: Croup, I mean he goes quite a way back with you, doesn't he? I remember he did an amazing interlude, if I remember right, 'Crazy' ...
S: Yeah, Croup did the entire Honest Living ep he produced every track on that, he also produced 'Adrenalin' on The Deadline so we've been working together since 2003/2004 – he's been really active, he paved the way in that personal approach in the industry.
MB: One thing that really strikes me in your music, across your records, is that you're really quite thoughtful in the way you use samples, in terms of spoken-word samples. I mean, say for instance in the middle and at the end of 'Black Bodies' … Can you talk to me about this, is it something you come up with, or the producer comes up with, who is behind these spoken-word samples?
S: Usually I go through them, I listen to different audio and interviews and different records and go through them and I piece them together the same way my favourite records from the 80s and 90s piece them together. I used to love the way Pete Rock records, Pete Rock/CL Smooth records, would bring in random samples. A lot of times I go through and find something related to the topic that the song is on, find a beat that will match up with it. I think it just provides better transitions when you're going through; rather than the song fades out and the next song starts … I just think that gets old after a while. You just add to it, by finding different things to complement it. I take the time. I'm glad you noticed that, because I'm not sure a lot of people did; I always try to add some random samples …
MB: I think it is probably – I mean you've obviously got great wordplay etc – but I think it is most distinctive aspect of your work. It's something that is quite striking and I think, well, you've referred to Pete Rock here, but what I would say is the difference is that Pete Rock's sample/interludes are driven by the music, while I think what really comes through in your work is that you're driven by the idea, or the words (in the sample). It's quite lyrical. Do you think that that's a fair comparison; you use the word random, but it doesn't sound random, it sounds well thought out.
S: Yeah, it's definitely thought out, when I say random I mean I go through random records – interviews and try to find something that fits …
MB: It seems to me that they're used more for commentary, rather than for their musical content. Do you think that's a fair point?
S: Yeah, yeah, definitely. It's to fill in the gaps and make the transitions between the songs better. It's almost like I do a song like 'Black Bodies' and the next song is dedicated to my wife, like I can't just go from one to the other. A lot of the times, sonically the tracks don't go together, so it's like a dj doing shows or mix-tapes, they always try and choose songs that go well together, with albums it's difficult to do that, so you need an interlude or vocals to make the transition go better.
MB: I know you've said in interviews that you're inspired by hip-hop artists who, I mean in one interview you said; 'I'm all about lyrics and word-play …' and you mention a series of emcees, when you're using these samples it strikes me you're working in the same way, it's quite literary and word-driven. When you're thinking about your art, do you still think that the words are everything, or the most important part?
S: Yeah, definitely, it always going to be the lyrics first. For me it's about the words first and foremost, because I'm a writer. It's always about that – lyrics, word-play, story-telling, concepts; it's everything to me. I want when people pick up a Supastition record for that to be the first thing that they want to hear, what am I going to say next, or what am I going to say that's thought-provoking. If I'm telling the story about my life, I like to deliver it in a way that no-one else can.
MB: Well, this brings me to the track that really impressed me, 'The Best Worst Day' – I think the reason why I loved it so much is that it's so clever the way it's put together lyrically, but the producer as well, he's using music to offer support to what you're saying. I mean it's quite exciting, really the way the two elements work together.
S: The Best Worst Day was actually, if you've heard the instrumental it's from the Dirty Art Club – two producers out of Charlotte, North Carolina. They put out an instrumental album, I heard the instrumental and I thought, look that's a dope song, a dope concept I want to use and this is the perfect beat for it. They were like, cool and they sent me the instrumental for it. I was sitting there and I wanted to do something like the hip-hop version of 'The Sixth Sense' – I wanted to think what it'd be like if I was walking around and people couldn't see me. In my mind, I'm in a store and thinking somebody is racist because they're not giving me service (laughs) or I'm with my girl and thinking she's got attitude, you know what I mean (laughs) in reality. I'm not there; I've passed away. And then when I realise, it's the shock that I feel, like I go through all these events and I don't realise I've passed away until I heard the local radio station playing my song because at that time when I was living in Charlotte the local radio didn't play anybody from the city until you passed away. It's a kind of bitter-sweet thing, it's like hey man, I'm finally on the radio, but hey wait, I had to die to be appreciated (laughs), you know. The follow-up to that is 'The Day After' on the Gold Standard record; 'The Day After' is what happens after I passed away and everybody loves me now. Basically it's the sequel – I think those tracks should be listened to back and back.
MB: It's light-hearted in a way, but it's also got a real punch to it in the lyrics but it's got that feeling of not being recognised and if you listen to a lot of your tracks it's about that isn't it, not being recognised. It's got a real emotional aspect to it as well, I'd say.
S: Yes, it's definitely got that too (…)
MB: Thinking more generally about hip-hop, do you think this is a kind of pressure people on the industry put on themselves, when they refer to hip-hop as being a young man's game, or when they focus on these amazing prodigies like Big L or Nas in the history of hip-hop who were so young when they started. Do you think that there is something in the culture of hip-hop that makes people feel a bit pressured?
S: Definitely it's considered a young man's sport, if you're 28, you're considered old. It's almost like it's treated like a sport, when you hit 30, it's like you're over the hill in hip-hop, but I think a lot of that comes from the fact that there is no contemporary category. The demographic is mostly for young minds. I think it goes down to urban culture in general, where everything is trendy and it's much the same for hip-hop. People are into certain things for a certain while. If you look at hip-hop and dj-ing people love it for a particular time and then overall it became a thing of the past (b-boying and things like that). I think the music from myself or people influenced by the boom-bap/jazz hip-hop we feel like our time is limited, so we have to do as much as we do.
And in urban culture too there is no appreciation for history if you look at the African-American culture a lot of people don't appreciate the people who came before them, they'll disrespect their elders. It's like, cool you've paved the way, but we'll take it from here. A lot of times in hip-hop that's how we feel, we've reached a certain age or a certain point and they're telling us we're too old, but I think hip-hop isn't a sport, it's a thinking game. I mean you can't be the President of the United States at 25. You've got to have your thoughts and life experience together and I think with hip-hop as you get older you should get better, you should be more appreciated because you're a better thinker and you've lived a lot more.
MB: It's strange though as one thing that really strikes me is the nostalgia for the past in hip-hop, you have these 18 and 20 year-old kids saying, 'Oh the 90s, the 90s, it's the golden age/the golden era etc etc' – so there's this nostalgia for the music but maybe a disrespect for the artists, would you say? It's kind of bizarre.
S: It's disrespectful … I think a lot of people don't want to admit that they weren't around for some of the best times in life, you know; it's like I was really too young to appreciate Muhammad Ali as people from that time, but there is no way I'd say he wasn't a great boxer (laughs). There's no way I can say he wasn't one of the greatest. I think a lot of time for this generation if they haven't seen it, or experienced it, it's like it doesn't exist. To be honest when I started to listen to hip-hop, the first time I heard Grandmaster Flash, Melle Mel and Treacherous 3 and stuff like that, I wasn't into it, because at that time my mom, my aunts and uncles were into disco and it sounded so much like disco and dance music and it was years later that I started to Run DMC and Slick Rick, Jazzy Jeff and I started to hear it. But I would never say that all that stuff was corny because without all that it would be impossible for me to do what I'm doing now, you know what I'm saying. I think it's real disrespectful a lot of times. But if people don't have a respect for their history or their culture, you really can't expect too much out of them, you know.
MB: At the end of 'Best Worst Day' who was speaking, I've got a feeling it is Nina Simone but I'm not sure.
S: I think it is Nina Simone actually, yeah, when she's talking about how she had to go overseas to be appreciated – yeah, that's Nina Simone. I was listening to a Nina Simone interview and this really touched me because she was originally from North Carolina as well. She was just so inspiring and I could understand that. I just wanted to be appreciated by those around me, the people I'm doing this for.
MB: Just to finish could you talk to me about Nina Simone as I saw what struck me as a funny comment that you made in an interview, someone asked who of the greats would you have liked to have worked with and Nina Simone but then added, I'm not sure if she was into hip-hop.
MB: I mean, what are you're feelings about Nina Simone is she an inspiration for you?
S: She's definitely an inspiration, I caught on to her later in life and became so engulfed in her music. When I listen to her music I can tell the transition she went through, you can hear one song and she's doing all kinds of music – not only jazz, but she's classically trained; she'll give you love and heartbreak songs, but she'll also give you positive, and conscious songs – uplifting songs, songs where she lets her hair down and talk shit and do what she has to do. Just the dynamic of Nina Simone is just so impressive, like I said her being from North Carolina as well along with people like George Clinton and John Coltrane is just so inspiring.
MB: Where was she from in North Carolina?
S: I think she was from Tryon, North Carolina – another small town.
MB: Which Nina Simone track would you choose if you had to choose one?
S: (pauses) Wow, it's actually 'Funkier than a Mosquito's Tweeter'-
talking about a partner and saying you're always rapping about the same old things (laughs). If you listen to that track, I don't know why nobody's ever sampled it and put it into a song, maybe I should sample it and put it into a song, that and of course 'Don't let me be misunderstood' which is one of her most popular songs.