This has always been my life and no one else's, and that's how it's always been since the day I came in it.
In the studio, we adhere to a strict colour code. Developed over decades, the colour code consists of a finite and precise colour palate... The whole world as we experience it comes to us through the mystic realm of colour.
I booked my first studio at like 12 or 13. Somewhere in that season of my life, singing along with the radio became me wanting to be on radio, you know. And writing Langston Hughes replica poems became me wanting to write like Stevie Wonder.
I can't usually stomach a project after I finish it, but for those days and weeks and months that it's new to me, I do listen to it, and it might change over time, but it's about function.
It started to weigh on me that I was responsible for the moves that had made me successful, but I wasn't reaping the lion's share of the profits, and that was problematic for me.
In art, at a certain level, there is no 'better than.' It's just about trying to operate for yourself on the most supreme level, artistically, that you can and hoping that people get it.
I need to know how many records I've sold, how many album equivalents from streaming, which territories are playing my music more than others, because it helps me in conversations about where we're gonna be playing shows or where I might open a retail location, like a pop-up store or something.
It's about the stories. If I write 14 stories that I love, then the next step is to get the environment of music around it to best envelop the story, and all kinds of sonic goodness - sonic goodies.
I feel like I was writing as I was learning to talk. Writing was always a go-to form of communication. And I knew I could sing from being in tune with the radio.
You gotta make sure the listener is listening to you, so if you put it into a song, often times, if the song is striking enough, then you can really deliver the story most effectively while keeping the ear of the listener the whole time.