How could you possibly call something science fiction at this point unless it has to do with something that hasn't been done? When I write about 'Drones over Brooklyn,' it's not like I'm making something up. Drones are policing American cities.

Darkness does not truly have sway. I think that it's weak.

I've never had a huge collection of records; I've never been a beat digga. I never been one of these guys who drives cross-country and knows some one-legged sailor who has a boat parked off some pier with a thousand Russian funk records that he stole from the Red Army in 1972.

I had a boom box with a dual cassette deck and a mic, so I used to make pause tapes. I think a lot of people started like that because it was all I had. I would just take rap records that I liked and just loop the beat by pressing pause and record and make, like, five minutes of these beats.

If there's any credence to the guy who wrote 'Drones Over Blkyn' a year before drones were flying over Brooklyn, then listen to me: we're going to be in fascist police state.

I grew up on listening to, like, Mantronix and BDP and EPMD and Kool G Rap and Ultramag and Public Enemy and Fat Boys and Run DMC and a lot of those early records, those Rubin-era records. Those were always snare- and stab-heavy records.

My videogame mind died after they stopped making wonderful escape worlds - every game just turned into me training to be in the army. But I used to love the Oddworld and 'Abe's Exoddus' and 'Abe's Oddysee' for Playstation.

I don't ever really feel guilty about music, quite frankly. When you're younger, you think that anything you don't like, you have to hate. I'm so far beyond that perspective. Although, I will say I resent Bruno Mars for making me like him as much as I do. I wish that he wasn't so likeable.

Personally more so than shock, I think, rap music has to be born of rebellion.