InGenius was the name given to me by my homeboy when I was still freestyling, for my knack to pull some multisyllabic word into a verse or throw some kind of trivia into my spit.

Without mp3's, much of the underground music I listen to would be almost impossible to find. Sites like SOundClick and MySpace have opened up the world to new sounds, styles, genres, and groups that otherwise might be local phenomenons because they aren't "hot" with major labels or cookie cutter fad followers/bandwagon jumpers.

I would sign with a major label if I was given full autonomy and the ability to do what I wanted, which is largely an impossibility in the industry as it is now. I'd much rather have a sattelite label on a major approach me, or use a label like Koch for distribution while handling my own A&R and finding my own path. In today's market, distribution is far more important than any of the other aspects of the game which major labels handle.

9th Wonder, Swizz Beats, Pastor Troy, Pimp C, The Alchemist, RZA, Madlib, RJD2, Pete Rock

Abilene Texas; Fairbanks Alaska

Behringer B-1 large condenser microphone running through Kiwi cables into a Behringer XENYX1622FX mixer, Dell Duo-core laptop, BCF-2000 motorized fader DAW control, Behringer UMX49 keyboard, Alesis M1 studio monitors, running FL 8 XXL, Sonar 8 Producer edition, Reason 4.0, and for graphics GIMP & PSP and for video Vegas Pro 8.0.

All samples must be cleared by purchasing artist(s) per contract signed by artist(s). Sampled works will include as much information as is possible, but at the least the original artist's name, title of track and any publishing information had by the producer. Included in contract for all sampled works will be clear language delineating the level of responsibility (if any) which the producer assumes in tracking down, negotiating and clearing any samples, but it is assumed otherwise and explicitly implied and written into any contract that it is the purchasing artist(s) responsibility to clear any samples used.