Shoutout to Murder Dog magazine. This possibly was one of the most intensified, no holds barred interview I’ve ever read. I don’t know if Saigon was having a bad day but whatever it is, He was VERY angry this day and spoke with such brashness about his peers, his position in rap, the record industry and the community. This is Saigon speaking his mind. This is DEFINITELY a must read.
What made you go in the direction of mix CD’s instead of putting out an album?
Because when you do mix tapes you have total control. No one can tell you what to put on there. You got 100% control. That’s what’s wrong with these record labels. All they care about is radio hits and numbers. In this day that’s what it’s all about but at the same time, Hip Hop is an art. I like to try new things. I like to be different but they don’t want different. They want cookie cutter. They want to find something that works and run behind it. They want to see this pimp thing is working. That’s why you got everybody doing the pimp thing right now. Because it worked for somebody else and everybody else is trying it. That’s what’s fucking Hip Hop up. These White muthafuckas and these labels that don’t really know nothing about Hip Hop is saigonwhat’s really fucking Hip Hop up. If you turn on the radio, you gonna hear the same eight songs over and over. It sucks.
Record labels never learn.
I’ve seen it happen to so many people. That’s why I’m not so big on the majors. I’m not dying to get signed right now. I don’t really give a fuck. I’m building my brand up so big that by the time they come sign me they’re going to have to give me what I want. They are going to have to let me do what I want to do because there is a popular demand for Saigon. People want that shit. They fuckin’ up by holding back because they are all dick riders. It’s like with a girl. If you got a bad chick or a down piece, then all the other girls want you. If the girls see you with a beautiful girl then all the other ones they want to know what you got. It’s the same thing with these labels, they’re like bitches. If one label comes trying to get you then all of them come.
They don’t have a sense that you are good unless another label wants you. People who run record labels are retards.
Because everybody is afraid of getting fired. Nobody wants to take a chance on a new artist because nobody’s job is safe in this music industry. You be making a hundred thousand dollars today and tomorrow you be fucking fired.
Were you dissing a lot of other artists in your mix CD’s?
About me dissing people? I speak my mind. I’m an outspoken person. I don’t have no personal problems with no rappers and shit like that, but if I think a rapper is a bad artist or he’s doing something that I don’t agree with. I grew up in prison. I went to prison when I was fifteen years old. I went to prison when I was young so all this gangsta shit that these people are glorifying and are trying to make it seem like it’s good, I lived that. That’s my life. That’s the life I lived. I’ve been in prison cutting people and fucking people up. And before that I was in the streets shooting people. That shit ruined my life almost. Luckily this Hip Hop shit is working out for me because I don’t have no education, I got two felonies on my record, and I could never go get a real job. I was influenced by Rap. I was influenced by Mobb Deep and the Onyx. These muthafuckas influenced me when I was a kid, and I meet these niggaz and they pussies. And that shit hurts me, because how many kids are being influenced by 50 Cent right now. 50 Cent is not running around shooting people like he said in his record. He’s running around with security guards. He’s not saying that in his records. And the kids see him and they’re like, “yeah, gangsta!” A child’s mind is like clay. They’re mad impressionable. When these muthafuckas hear these records they’ll go out and get hyped, get drunk and do something stupid, because they listened to a 50 Cent record. Meanwhile, 50 Cent is somewhere in his mansion laying back and chillin’, and this kid is going through the system, ruining his life.
People get the wrong idea about what’s really going on.
I speak on shit like that. I’m not going to sit back and act like I don’t see that. It’s the same thing with female rappers. Every female that’ll show her ass and get half naked and talk about her pussy and how good her head game is. That shit is fucked up because these little girls look up to you and that’s why there’s so many young hoes in the street. They want to be Lil’ Kim and they grow up being little trick-ass. I feel it’s my job to talk about that.
MD: I respect that you didn’t wait for major labels. You did it independent. You hardly see that in New York because in New York everyone is waiting to get signed to a major deal.
Fuck ‘em. You don’t need no major deals. You do at the end of the day, you have to fuck with them some way. But if you’re hot and your music is good, do it yourself. You’ll make more money independently. Majors might give you eighty cents an album. You got to sell a lot of records to make any kind of money. Not only that but they spend so much money on making these major labels artists that you have to recoup all that money. You won’t see any revenues from your record sales for a long time, unless you’re selling millions of records. But if you come out and you go gold, you’re broke still and you’re living in the same house. Meanwhile, if you independent and sell a hundred thousand, you made almost nine hundred thousand dollars.
MD:A lot of major artists might be on the radio and on TV but they’re broke. Independent artists are not on the radio or TV, but they are making money.
Exactly. Like artists like Cormega. Cormega’s eating. You don’t see him on TV. He’s not a big star but he’s got a big house, he’s got a car, muthafucka’s comfortable and got a bank account. All from being independent and selling a hundred 50 thousand records. Everyone has to have a big ego. They want to be the number one on TV, the magazines and everything, but they are broke. I hate to use this word but it’s the whole nigga mentality. A person with the nigga mentality, they would rather have on some dirty ass name brand clothes than some clean shit that’s no name brand. They would rather have on a dirty Gucci shirt than a regular clean White tee shirt. Just because it says Gucci on it. It’s sad but true.
Your new CD, Warning Shots, is it a mix CD?
I put out three mix CDs in the streets. I took all the best songs from the three mix CDs and put them on one super compilation.
What was the first mix CD you put out?
The first one was called Yard Father Part 1. It had twenty five songs on it. It was pretty much all me. Rough got one song on there. That mix CD sold like twenty-five thousand copies. That got my name buzzin’. Then I put Part Two and that shit did real well for me. People were fuckin’ wit me. I started getting in magazines. I did XXL. I did Source like eight times. I was on the cover of Elemental. I did a lot of press just off mix CDs. I even did Rolling Stone three days ago off of mix CDs. People were coming to me. I didn’t even have a publicist. I never knew what a publicist was until I did this Warning Shot thing. I never knew what they did. I never knew what it was. Muthafuckas used to come to me and say there was a big buzz on me and they wanted to do a story on me. The streets love. I get respect in the street like I’m a Jay-Z or a 50 Cent. On a national level they don’t know me like that because I’ve never had a major label behind me, but when I go to the hoods where the people know me, they love me and they respect me because they respect what I’m doing. I could fill a club up in New York. If I perform in New York, it would be full.
What was the second mix CD you put out?
The second CD was called The Yard Father Part 2. That did very well. That did better than the first one.
Did you have any other tapes out?
DJ Self had a mix CD called Saigon Vs. 50 Cent. They had me going against 50. Not dissing at each other but they had half of the tape with me and half of the tape with him. Because he felt like I was that next dude coming out that could probably take 50’s spot. He put out the mix CD. He called me and told me what he wanted to do. I sent him a bunch of music and that tape came out hot. People love that tape. It wasn’t even 50’s big hit record. It was 50 before he even got a deal. It was shit he had out before he was with Dre and all that. That did better than all of them.
Is that still selling on the streets?
Yeah. It’s still on the street. As a matter of fact people are still calling me for that shit right now. I’m not punching up no more because I don’t want people to confuse it with Warning Shots. But I still get hundreds and hundreds of orders for them CD’s.
How did you select the songs for the Warning Shots CD?
I go by the streets. I let the street decide what they like. I put out music and then I get the response from the people of what they feel is the best ones. I took all the ones the people like the most from when I do shows and shit like that, and I put them all on one. Warning Shots is better than every album out right now, to me. It’s diverse. I don’t just stay with one style. I show people I got mad different styles. I show people you can rap about different things that mean something, social things like “Kiss the Babies” and “Shok TV.” Then you got songs like “Stocking Cap”, and you know ain’t nothing sweet about me. I’m not Talib Kweli. I’m not Mos Def. I’m still that muthafucka that will smack you in your face if you get out of line. At the same time I’m about teaching my people and elevating the people. There’s something for everybody on there. A lot of times people stick with one thing, one theme, and they stick with what works, with chicks, or this or that, but I give them a little bit of everything on that shit. There’s already 17,000 preorders for Warning Shots. We still have another month to come out. I’ll probably have 50,000 preorders before that shit comes out. I’m gonna eat off this shit. When all the labels come the price goes up, my stock only goes up.
How do you get the name Saigon?
I got the name from reading this book called “Bloods” in prison. The book was about Black soldiers in Vietnam. When they used to go to Saigon, the Vietnamese, the Viet Cong, they used to drop pamphlets. They used to go to Saigon to fuck with the prostitutes and to get drugs. The Vietnamese used to drop pamphlets to the Black people that “This ain’t your war. Go home. Our problem is not with you, it’s with the American government and the White man.” They were telling the Black people that they were over there fighting them and they don’t even have civil rights. They were fighting for a country that wasn’t even treating them fair. A lot of those Black soldiers ended up staying in Vietnam. They don’t tell us this shit. The history books don’t tell us that. A lot of Black soldiers ended up having families over there and staying over there.
Are you originally from Upstate New York?
I lived Upstate for eight years. A lot of people who know me from that time think I’m from there. I lived in Brooklyn when I was younger. I lived in Virginia and I lived in New Jersey. I come from everywhere. That’s why sometimes you see magazines that say I’m from Upstate, and sometimes they say I’m from Brooklyn because that’s where I grew up. I say I’m from Upstate though. It’s safe to say I’m from Upstate. I’m from Rockland County.
Where were you born?
I was born Upstate and I moved to Brooklyn as a kid. I used to live with my mother, and then my father took me. My father’s in Brooklyn. He took me when I was young and brought me to Brooklyn. Then I moved back Upstate. Then I moved to Virginia. Then I moved to New Jersey. Now, I’m back to Brooklyn.
Where Upstate did you live?
I lived in Rockland County. It’s not really Upstate. It’s about twenty minutes from the City. It’s Mt. Vernon and Westchester and all that.
Where did you record most of the mix CDs?
I did it when I was in Brooklyn.
How long have you been doing the mix CD’s?
50 Cent is the one who put me up on the whole mix CD shit. I don’t mean because I seen him doing it but I used to be in the studio with 50, Sha Money XL, and I seen the way he did it. I was already putting out a mix CD before he even put out his shit. When I seen him blow up, I was like, damn man you can really put out your own shit. I had Kayslay and Whoo Kid, they hosted my first mix CD. They didn’t even put it out. I put it out myself. All they did was come to the studio and talk on it. I had to learn how to distribute it. I had to learn how to go put it in stores. I did all that shit pretty much on my own, me and my man Gotti. That was in beginning of 2002 when I came out with my first mix CD.
When did you meet 50 and Sha Money XL?
I met them in the end of 2001. 50 was supposed to sign me when he got on. We had an agreement, Then we got into a big argument because I said something to him and he didn’t like the way I said it. I was like, fuck me after that because I came to him like a man. I said, I respect what he was doing. Because I didn’t know this nigga growing up and shit like that. I just met him. I had just come out of being in prison for seven years. I said I need some help trying to get through this rap thing. He had just signed with Eminem and was about to top off, and I was like, “Yo, why don’t you help me?” He was like, “I got you, I got you. Whatever you need.” And then when it started topping off, I never heard from that nigga again. I said fuck it. Man, I’m gonna knock you off the top.
Why were you in prison?
I was in prison because I shot up a party. I shot two people in this club. It’s kind of ironic. You know the rapper Shyane. I went to school with this kid in Rockland County, Upstate. He’s like a year younger than me. We went to school and we had a mutual girlfriend. Her name was Dawn Richardson. I was going out with her. She broke up with me for him. She dumped me and started going out with Shyane. Shyane ended up knocking her teeth out. You can print this in your book because this is a true story and Shyane’s going to bug out when he sees this shit. Shyane ended up knocking her teeth out. They got into an argument in school and he punched her in the mouth. To make a long story short, I shot up a party when I was a young kid. I was fifteen years old. I shot one guy and an innocent bystander. And I went to prison.
What made you do that?
The kid had drama with my men. Back then I was on some shit that if you fucked with anybody in my crew, I’m gonna give it to you. He wasn’t no angel. He was a muthafucka who was in the street running around doing wild shit too. It ain’t like I just shot this school kid or church boy. I went to prison for that shit. One day I’m reading a magazine, and I see Shyane in the magazine. I was like, oh shit this is my man, right here. I know this kid. Niggaz were like, nah, nah, nah. Then one day, I’m watching the news in prison and this muthafucka shoots up the club and did what I did. He did the same shit that I did. I got out a month later and I started rapping. It was like we switched roles and shit. I got out and I’m rapping and he’s in prison for shooting up the party. I said, that’s for him taking my girlfriend.
How long were you in prison?
I was in prison for six years and nine months. I went to four different facilities. They move you around a lot. I came out in 2000.
Most of your teenage years were spent behind bars. How was it for you?
I grew up in there. I grew my mustache in jail. When I went to jail, I had a fifth grade reading level. I was a kid, I was a baby when I went to jail. I look at a fifteen year old now, and I’m like, damn I was that age when I went to jail. A fifteen year old kid is a small little kid.
Did you decide while you were in prison that you wanted to rap?
Yeah. I met this kid named Rough, and he was the best rapper I ever heard. I was like, “Yo! Game!” This nigga was so good, he inspired me to want to rap. I started rapping and he said we should start a group. I said, “you want to be in a group with me?” I wasn’t good like now, but my shit was alright. We started a jailhouse group. I started getting better and better. Around 1998, I was like, I’m gonna go home and try and be a rapper.
What happened to your partner Rough?
He’s home. He’s still with me, too. If you look on the mix CDs, he’s on all of the mix CDs I’ve put out.
Is he from your area Upstate?
He’s from Mt. Vernon, as in Westchester.
Do you consider the way you rap to be different from the New York rappers?
I do because what New York rappers are doing is trying to follow what’s going on. Right now, Down South is hot, Midwest is hot, and so everybody is trying to cater to that shit. 50 Cent sounds like a Down South rapper or a West Coast rapper. He doesn’t sound like he’s from New York. He’s not lyrical. East Coast rap is based around lyrics. Down South rap is more how you say it, than what you say. It’s more rhythm and melodic.
Where do you fit in?
Being that Hip Hop started in New York, New York should always have a prominent presence in Hip Hop. Right now the record labels are scared to touch anything from New York. The record labels care more about where you’re from than what your music sounds like. If I tell a label that I’m from St. Louis, they’ll be quick to sign me because of Chingy, because of Nelly, because of J-Kwon. They see the success that these St. Louis rappers have had. And right now, everything is all about Chicago, because Kanye and Twista is hot. They like, we got to go to Chicago to find that next dude. They’re dumbshits. As soon as a muthafucka from New York makes a lot of noise, they’re going to be like, “Oh shit, New York is back.” And I’m that dude from New York who’s going to bring New York back. I’m gonna bring the lyrics back. You won’t have to sing on every record. You won’t have to fall in love. Every record don’t have to be a female record. I’m gonna bring it back to New York as far as “Hip Hop. Sit out in the Park!”
Would you say you are more of a lyrical rapper?
Yeah. But right now you got to walk a thin line because if you get too lyrical, they’re not going to fuck with you. You have to learn how to make it lyrical and at the same time the average person can say your rap. You can’t come like these under underground niggaz like Aesop Rock and J Lib and all these super underground dudes who rap about the sun, moon, stars and the atmosphere, and all that shit, because nobody cares about that. It’s a thin line you got to walk. I’m good at walking that thin line. I believe I’m good at that because girls like my shit and guys like my shit. I got a lot of messages in my music. I got a lot of shit for people that like to hear something that means something about social conditions and shit. I got shit for muthafuckas that just want to thug it out. I got shit for everybody. My shit is pure, it’s real, it comes from my heart, and that’s why people like my shit. Plus, my story is real. I don’t go on record like Jadakiss who’ve never really been through it in the streets, and kick all this gangsta shit. I tell muthafuckas, “look, I’ve been though it, and it’s not cool to be a gangsta.” A real gangsta is not gonna get on record and be like, “I’m a gangsta! I’m a gangsta!” a million times. John Gotti never got on the news and said, “Yeah, I’m the head of the Gambino Crime Family.” John Gotti said, “No, I’m not in the mob.”
MD: A lot of people look at it from outside and say they want to be like that but they’ve never been in the situation.
You’re right. And they glorify it and they make it seem like it’s something cool. They’re not gangsta and they never been a gangsta. Most rappers have never ever shot nobody and have never lived that gangsta life. And a lot of them talk like they get busy or they did this and they did that, and they never done it. Because number one, if you did that before you was rapping people from your neighborhood are gonna know about you. That’s one thing I give 50 credit for. If you go back to Queens, and the neighborhood where he’s from, muthafuckas will tell you 50 was running around reckless before he got on. He was a wild kid. He used to run around buggin’ out. If you go to Yonkers and you ask about Jadakiss, Jadakiss has always been a rapper. He’s been rapping since he was a kid. He’s a good rapper, but he kicks all this gangsta around about killing and this shit. That’s just hurting our people.
I really hate these West Coast niggaz like Game coming out glorifying the gang culture. Trying to make it seem like it’s cool to be a Blood, and it’s cool to be a Crip. That shit ain’t cool. If you got people like Tookie and Mike Conception, real gang members who started the gangs and then telling to stop doing that, it’s not cool, put the guns down. Then why some little rapper’s gonna come out and try and glorify it when the dude who started, the dude who really killed nine people, is telling you it’s not cool, that’s not a way to live.
You wouldn’t do what you did at fifteen because you didn’t know better. And a lot of really young kids listen to Rap, thirteen, fourteen and fifteen, who don’t understand. But you know, you went to jail, you did it and you understand it.
I understand it’s not cool. Luckily that guy didn’t die. If that guy would have died that I shot I would never be able to do this interview right now.
MD: Are you working on a full length album?
Yeah, I’m working with Just Blaze. He did a lot of the Roc-A-Fella stuff. He did “Oh Boy”, he did “Roc the Mic”. He did a lot of Jay-Z’s big records. He did Fabulous’ biggest records. He did “Pump It Up.” And now I’m his artist. He recognize what I’m doing. He recognize my talent. He recognized my grind. He’s ready to go out on his own and start a company, and he wants me to work with him. He’s doing most of the production on my album.
MD: Is the full length album going to have a different Saigon than what we are hearing in the mix CDs?
This is going to be the same thing but better quality of beats. My beats are already good but now I got great beats to choose from. It’s all me. It ain’t gonna be that pop happy-go-lucky shit. None of that. I don’t do that. I refused to do that. I spoke to Just about it. That’s not going to happen. Me and him have been working closely together and he understands that I love control. I gotta have muthafuckin control over my music. You do everything else but I got to have control of the music. We might disagree sometimes and we can meet somewhere in the middle. But it’s never gonna be a situation where I’m doing some shit in my realm or something that is a reach only to be a commercially viable person.
MD: Did you make this album while you were in Brooklyn?
Yeah. I live in Bedstye in the ghetto. I walk that ghetto every day and I get love. I stay in Bedstye right in the fuckin’ middle of the hood. Right in the middle of the ghetto. And I’m still there. I love the hood. The hood is where all these muthafuckas claim to be, and half of these muthafuckas never even go to the ghetto. Because they’re scared of being robbed. Fat Joe walks through the ghetto every day because he got respect. People respect him.
In the ghetto there is so much life happening. When you go to the suburbs, it’s dead. Nothing’s going on in those rich neighborhoods. All the windows and doors are closed, you don’t see anyone. When you go to the hood you see life going on.
That’s what made me who I am. Even when I was living Upstate, I was living in the hood. I wasn’t living in no rich neighborhood. I was living in a poor ass fuckin’ hood. There are places in New York that people don’t know about because no rapper ever came out of it. There’s Buffalo. Buffalo is a hood. Rochester is the ghetto.
You got ghettos all over—Newburg, even Yonkers. Muthafuckas didn’t even know about Yonkers until DMX came out. My music comes from the hood. It’s gonna stay in the hood. And I’m gonna bring New York back, my word. I’m gonna bring New York back to prominence. I love what them Down South muthafuckas do. It’s cool and all that, but we need to use this music as a weapon, is what it is. We need to teach the babies and the children of the future. My generation grew up fucked up and if it gets worse than how we grew up, then I feel sorry for the kids coming up now. The Bloods and the Crips in New York right now are off the hook. It has spread incredibly over the past few years. If you go to Albany Projects, it’s all Bloods. If you go to Brownzler Houses or if you go to Van Dyke, it’s all Bloods and Crips. A lot of these muthafuckas is influencing the kids to do this. For what? What good comes out of gang banging? It’s all negative.
Was it like that before?
No. It wasn’t like that. It’s from California. That’s where this shit started out. It’s some dick riding shit. You know where it came from? It came from these music videos. It came from movies. Over here in New York, when I was growing up I didn’t know who the Crips and the Bloods were. I heard about them. The first time we heard about that shit over here was because of the movie “Colors.” That movie enlightened New York people to what Bloods and Crips were. We didn’t know about that. Now, it’s wack. We watched these videos and you see muthafuckas wearing all blue. You got other muthafuckas who only wear red. That’s what making it spread over to here. If you can spread that negativity, why can’t you spread something positive like that. What if the Black Panthers were out right now and these muthafuckas were rapping.
It would have set a positive role. But they don’t let that happen. As soon as people start talking about Malcolm X, they just bury Malcolm X again. You start talking about Huey P. Newton, they will write something bad about him and it’s over.
Right. “Oh, he’s a fraud…yada yada yada,” and nobody’s going to take you serious.
No one has time to sit and read Huey P. Newton’s book To Die For the People.
Exactly. Nobody knows about that. Nobody knows about Soledad Brother, George Jackson’s prison letters, or his brother Jonathon Jackson.
Kids nowadays don’t even know who George Jackson was. I’m like, “What the fuck? How you don’t know about George Jackson and you know about John Gotti?” They’ll tell you who Al Capone was, but if you ask them who was Herman Bell or who was Huey P. Newton? Huey P. Newton did his shit when he was only 21. He was a baby doing all this shit. He was a kid.
MD: What gets promoted in the negative towards our neighborhoods.
That’s so fucked up! That’s fucked up shit. And nobody is doing or saying nothing about it. We’re sitting back and acting like we don’t see it because we still got that fear in us. We’re still scared. So everybody’s like, fuck it. And everybody taking the money so they’re like, “Yo, I can’t be positive because that don’t sell. So I’m gonna be a negative person.” Like Lloyd Banks. Lloyd Banks ain’t no gangsta. Tony Yayo, he’s a gangsta. Lloyd Banks ain’t gangsta. It’s some funny shit.
When people say I dis people, I don’t just come back and say “fuck this nigga.” I be like, come on man, we got to keep it real because this is our Hip Hop. This is our shit. Either we’re going to let them muthafuckas take it or we need to take it back and start using it for some good. Because they’re making billions of dollars. They use it to promote every product that they put out from toothpaste, deodorant, to McDonalds, and all these major corporations. If they can use this shit to sell their products, why can’t we use it to fuckin’ clean up our hoods and get fuckin’ crack and drugs out of the ghetto? We can use that shit for that too. We can use it as a weapon.
These rappers are powerful. People listen to what they say. I’m gonna mention Malcolm X, I’m gonna mention Huey P. Newton. I don’t care if I got to give my life. I’m gonna fuck around and lose my life for what I believe in. I just don’t want to die for nothin’. I don’t want to die and nobody know my whole purpose or why I was here. Like Huey P. Newton. The only people who know about Huey P. Newton are muthafuckas who know and care about our struggle. My mother don’t even know who Huey P. Newton was. All they talk is muthafuckin Black Panthers are some radical Black guys. These muthafuckas stand for something. They cared about the people.
Did you grow up in a big family?
I got three sisters and a younger brother. They don’t really even know me because I was in jail for all that time. They always knew they had a big brother but they didn’t really know me. They were babies. My big sister knows me because she’s older than me and she was around my whole life. I was a rebellious kid. When it was just me and my sister, I was cool because my mother had a hands on approach. But as soon as she started having more children, she didn’t have the time to give me the attention that I wanted. So I went to the streets.
I thought people in the streets loved me. I got attention from the streets. I was doing grown man shit when I was eleven years old. I was selling crack and smoking weed. I got an older cousin named Mister and I used to follow him everywhere he went. I got an older cousin named Jaime who is four years older than me, he was like my father. He used to open up weed spots and having me working in the weed spots when I was twelve years old. I would be selling weed and not going to school. I dropped out of school when I was thirteen. I used to have truant officers come and get me. I got in the system. I went to some group homes. My mom couldn’t control me.
Was your father around?
When I was younger, I used to go to Brooklyn. He was around when I was younger but then he had another wife. He used to call my mother a whore and a slut. It made me not like him. To this day, I don’t like him because of the way he treated my mother.
Do you have a connection with your father now?
No. No relationship with him whatsoever.
Where is your mom living now?
My mom lives in Newburg, in Upstate New York. She lives in the hood hood hood. I live in Brooklyn and my mother’s neighborhood is worse than my neighborhood.
Who is Sure Shot Records and who is Abandoned Nation?
Sure Shot Records was a one shot deal for Warning Shot. I’m not signed to Sure Shot Records. We just did one nonexclusive deal. That one mix CD and that’s it. There’s no ties with them whatsoever. Abandoned Nation is my nonprofit organization. I have an nonprofit organization where we give money to the children of people who are incarcerated. We give them money for school clothes and supplies, and things of that nature. And they don’t know that it’s coming from us. They think it’s coming from their father or their mother. That way we keep the family structure together because one of the biggest jokes I used to hear growing up was “Ha Ha. Your daddy’s a jailbird.” That makes you resent your father. I figure if you can get some new sneakers even if your father is not there, and you think your father sent them to you, you can still keep the family structure close. Plus, I’m board member on a book bank, another nonprofit organization that I have with my manager, Glen Fulton. We teach literacy. We give books to kids in the inner city. We give them books and teach them the importance of reading.