Everything goes so fast that you wake up suddenly after 5 years and you just feel like you want to talk about different [things] than everybody in the group, you want to talk about your own things.
If you just had an inspiration at night or with a girl or whatever and you want to talk about it, you don’t necessarily want to share it with everybody . . . That’s the first thing that made me want to go solo; I wanted to talk about my own things, I wanted to try to be creative [in] my own way.
In North America, hip-hop and urban music are much more developed than it could be in Europe, except for a couple of markets like France, for example, or Germany, they’re a little bit more aware.
You have a lot of educating to do hip-hop wise in Europe. When you tour, when you go out there, most of the people that come see you at the venue listen to a lot of different kinds of music, not only hip-hop; they’re not heads. From time to time you’re going to do a little concert in front of three or four hundred people that are only hip-hop heads and they’re going to understand and know all about the gimmicks and the swagger but the rest of the people are just regular European people that listen to pop [or] rock & roll.
The difference is that they [Europeans] don’t have that culture about hip-hop as a lifestyle, a way of life; for them it’s more of the new trend, the new music that you have to like.