As a producer can you talk about how you approached your collaboration with Nas? To me, ghostwriting, as far as I know, is hiring somebody to write words for you to actually say. That didn’t happen. The way we got hired for Nas’ project wasn’t clear up front. M1 was in L.A. before I came to L.A. and he was like, “Nas wants to bring you out here to work on this project.” I remembered thinking we were just going to do a song together. But I later found out we were there to work in general: production, writing and ideas to help develop some of the songs on the album. So of course I’m thinking, “It’s called the Nigger album so that means you want dead prez type songs together, right?” But it was revealed to me that Nas wasn’t looking for that. He didn’t want us to rap. He wanted help with beats and concepts. And that surprised me because I’m thinking, “You want beats??? Of all the people to make beats for, you want us to make beats?” I was like, “Wow.”
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