|Posted by SOUTH PARK COALITION on October 27, 2009 at 1:26 AM|
RapReviews.com Featured Interview, October 27, 2009
P: For those who don't know, tell us a little about your history in the rap game, when you started rapping, et cetera.
K:Actually, I jumped in the game in 1983 if you're speaking about when Ifirst started writing. If you're talking about getting into theindustry side of things that was 1986 when I first started makingrecords. That's when I first took it seriously as far as making aliving, so I've been in the game for 22-23 years now. P: You mentioned getting into rapping back in 1983, what was the hip-hop scene in Houston like back then?
K:In 1983 there wasn't a scene! You had some people rapping on streetcorners, in clubs, and at talent shows but it was all smaller. This wasall until someone actually put out a record. There was a group that hada record called "McGregor Park," dedicated to this park we have inHouston that was real popular especially on Sunday people would comeout and hang at the park. But outside of that, the scene was in itsinfancy at that time. The scene really did not get popping until acouple of years later, maybe 85 with Kiss Jams. There was this collegeradio station called KTSU and they had this show called Kiss Jams everySaturday morning and that crew that they had was so dynamic! In termsof expanding hip-hop and breaking these new records and playing a lotof the stuff coming out of New York and LA, not to mention the factthat as new artists, the local artists could always walk into the radiostation and they would play it on the spot. That was the first platformwhere you could really be heard.
P: Back in '83, who were your influences? What rappers influenced you to start rapping?
K:Well around that time I was influenced by the old pioneers back in theday, that was the Sugar Hill Gang, Kurtis Blow, and Run DMC. Thoseearly pioneers of rap and hip-hop were the people that influenced me. Iwould learn the lyrics to they songs word for word, performed theirrecords like they were mine, and that was one of the things thatinfluenced me to start writing. I just loved what they did and was justtrying to do it myself and never looked back.
P: You mentioned you dropped your first record in 1986, what record was that?
K:I did a song called "Rockin' It," I was in a group called Real Chillback in the day. It was me and a friend of mine called GT and anotherfriend of mine called Preppy Jay. We all went to school together,middle school and high school. We did all kinds of battling back in theday against each other, but we befriended each other around high schooland decided to form a group. That record that we dropped was the firstrap record to come out of South Park, to my knowledge. It was one ofthe building blocks of rap in the city. The record itself didn't makemuch noise as far as record sales, as far as popularity wise, but likeI said, relating back to Kiss Jams, Kiss Jams would play it all thetime. It was a good experience for us and allowed us to travel aroundthe country and promote it. It was our first experience with that.
P: When did you decide to start the South Park Coalition?
K:Well, I had it in my mind in '86, around the time we put the recordtogether. We actually didn't make it official until '87. In thebeginning we only had 5-6 artists in the South Park Coalition and theyall consisted of guys who went to school with me. Then it grew to 7-8guys that I hung out with and we all hung in the same circle. Once westarted branching out and being cool with guys from other areas webefriended those cats and added them into the mix. That strengthened usbecause there were so many hard rappers in city of Houston at that timeand the competition was so great. Prove yourself anywhere you might be.If you got caught up in a battle or someone tried to prove you weren'teverything you said you were cracked up to be. The majority of themeventually ended up becoming a part of the South Park Coalition. That'swhat expanded us.
P: Now the Coalition is quite famous and quite large, go into some detail on some of the members and their history in the game.
K:Oh yeah man, just to name a few. Ganksta Nip and myself we had a rapbattle in '87, if I'm not mistaken it was the winter time of '87, Ijust remember it was real cold that day so it had to be winter time.Before that we had been enemies, we were arch enemies, it was justanimosity. So that battle lead to mutual respect for both of us becausewe went so long and so hard against each other that no one couldactually say who won. Everybody said "Man, it's a tie!" So everyonewanted us to keep going more and more rounds. That just gave us respectfor each other that neither one of us may not have had at the timebecause we were both set to the fact that we were the best. When Nipcame in he brought in all people that went to his high school. Hebrought in A.C. Chill, Murder One, and Klondike Kat, so he brought hisside over. It made us stronger. Later on I met Rapper K and he took meby Dope E's house because he said he wanted to do some recording. Dopegot cool and we brought him in. Dope was real skilled in production andas far as rapping and DJing too. That strengthened us man and the Dopesigned to Rap A Lot and when they put their record out they wererepresenting the SPC. Now they were representing us on the globalscale. Point Blank, PSK-13, all them other cats came into the circleand started putting out albums. That started that whole phenomenon andinterest in the South Park Coalition. We were different from everybodythat was out at the time, nobody was doing what we were doing, nobodywas rapping the way we were rapping, no one had that large or diversemix of emcees. None of them sounded like the other one. You just didn'tsee that back then.
P: I have noticed that the South ParkCoalition is made up of many different styles, from Dope E's politicalrap to Ganksta Nip's psycho rap, was that planned?
K: I meannah, that's what made it so beautiful because everybody was just doingwhat they did. Now Dope E, he grew into the conscious political rapjust based on his life experiences coming into that particular wealthof knowledge as I ended up doing later on myself. When I battled Nip hewas rapping the way he raps right now, you know, he was doing thepsycho rap. When I met Blank he was just hard edge, hard nose, hardcore, reality based street lyrics. Same with myself, I've always been afan of lyricism and that aspect of rap. So everybody brought thesedifferent personalities to the table and those ingredients made one bigrecipe. It was just a natural , it wasn't like we sat down in a roomand said, "Okay, you're going to be the political rapper and you'regoing to be the gangsta rapper."
P: You mentioned that you yourself did some growth, what was K-Rino like 20 years ago and how is he different now?
K:20 years ago I was a lot more fiery than I am right now, because mycompetitive nature in rap was to the point where I just wanted tochallenge everybody. Everybody that I saw that rapped, it didn't matterif you wanted to be my friend or not I wanted to battle you and takeyou out, decapitate you. I was in high school, I was probably in mylast year in high school, probably 18 or 19 years old. I was just aloose cannon man, like a lot of us at the time. And I wrote every daybecause my passion for the rap game was so intense that I ate, slept,and drank rap music. I breathed it. Even though I had experience inbusiness side of it, I hadn't been as deep into it as I am right now 20years later. I'm the not same guy anymore, I look it now more as abusiness, though I still got love for the art form. I'm more to thepoint where I write when the situation calls for it. Back then we werewriting with no aim or purpose, we were rapping with no aim or purpose.So that's probably the only difference. Also, as far as experience, Idid not have then the experience that I have now. I had a song where Ispoke about if I could combine the me then and me now it would be amonster, because it would be the experience mixed with the passion thatI had for the game.
P: When did you drop your first solo album?
K:I dropped my first solo album in 1993 when I did "Stories From theBlack Book." I had done the Real Chill group before then. Then me andDope E were in a group called COD and that dropped in 1990. That wasafter I left Real Chill. After that, Nip and Dope signed with Rap A Lotand did their solo thing so I started my own label with my father, thatwas Electric City Records in 1992. Then we dropped my first solo in1993. We had real good regional success with that and sold a lot ofrecords and got radio plays. That was my first, first taste of solofame and I never looked back after that.
P: What ended up happening with Electric City?
K:Well what it was is that we carried it on for about 8 years all the wayup to 2000. My dad wanted to do something else, he wasn't into themusic anymore like he was back then. I was still doing it so I decidedto carry it on and take over the label, but I decided to put more of myown personality into it and changed the name to Black BookInternational, which is my label now.
P: And during that time, you've dropped how many solo albums?
K:Awww man! I've lost count. From that time to now I don't know, becauseI've done a couple of group projects that I include. As far as my wholecatalog and pure, strictly solo albums it's up in the double digits,the high double digits, but I don't know the exact number.
P: How do you get prepared for the next album? What do you do, or what is your though process going into a new album?
K:I mean, it's a natural process. It's very rare when I sit down and say"OK, it's time to do a new album." It's more of a situation where Itake a break after an album I had just done and then once months andmonths pass and the inspiration just comes and I start getting ideasand concepts and they just come to you. Rhymes come here and there andbefore you know it you've accumulated enough material you say "Okay,it's time to work on something new." I think time tells when to do it,it's not something you do yourself.
P: When did time tell you to start working on "Solitary Confinement?"
K:Awwww man, about 3,4,5 months ago. What the deal has been lately isI've been coming out with complete projects at a whole faster pace thanI had in previous years. I can remember a time when it would take me 4or 5 months to put out an album. All the way from "Time Traveler" tonow I've been knocking out albums in record time. I mean as far asrecording wise, I've been recording projects in three weeks to a month.Literally, that quick of time. The writing process may take a littlelonger, it may take me a couple of months to get the writing done, butas far as recording I've been knocking that out with the quickness."Solitary Confinement" I started writing for that about 4 or 5 monthsago and just took off with it. My brother works fast and I work fast.
P:"Solitary Confinement" is coming out October 27th, what is the conceptfor that album? What can fans expect when they pick that up?
K:Well, I mean basically they can expect the same thing that theynormally get any time they purchase a K-Rino album. As far as thosefamiliar with my work, they know that my work is always rooted in twothings, reality and lyricism. That hasn't changed even with this album.I tackle topics that are going to be relevant in the world today andthat can help in transforming somebody's life for the better. I want toturn someone into an introspective individual and say "Okay, I canrelate to this and pull something from it." On the flip side of that,just certain songs on the album are where I just kind of like to workout lyricism and bring that style of rap as far as the word play sideof things, people really appreciate that side of the game. There havealways been fans who want that style of rap coming from me. So"Solitary Confinement" is no deviation from what I normally do. Everyalbum takes on its own personality and this album, I don't want to sayits dark, but it is deep. There are a lot of introspective things goingon to make you look inside of yourself.
P: Being from where you are from, where to you get the inspiration to keep trying to motivate and uplift people?
K: Imean, it's just that, the things that you go through and the personalexperiences. For some people, it can depress them, the bad times it candepress when it should be used as a teaching tool especially when youcome through it. Because it is like "Okay, you know what? I canactually speak on this as a qualified individual." You can say "I wentthrough this problem, I made it through this problem and I can educatesomeone or I can prevent somebody from possibly going through it."Experience is the best teacher, it's all about being able to relate tosomeone, especially on paper and through music in a way you can connectto a person and make a difference in them for the better.
P:Do you ever feel your at a cross road or conflicted when some times itseems people in your own circle, like the South Park Coalition, don'talways get that message?
K: I mean, it's a situationwhere any time you're speaking on topics that's based around real life,in this day and age where the music industry is based on a lollipopworld, neverland, and just fairy tales and frivolous garbage that theyplay on the radio and you see on the video shows, it is always gonna bea struggle to get your message across and to make sure your message isfelt. That's not supposed to stop you from continuing do what you do,you're still supposed to go forward with it. There is a scripturalsaying that many are called but few are chosen. So, your message isgoing to be heard by a lot of people, but it's only going to be a fewthat accept the message and take it in. Your job is to just deliver,whether it is a total stranger or somebody in my circle, my job is tospit what I spit, that's what comes from my heart, people can take ithowever they want.
P: You mention the scriptures and it isclear from your music that religion is a big part of your life. Was italways your intent to put that into your music or did it develop overtime?
K: I mean, I've always been rooted inspirituality, that's just how I was raised. I was raised in the Baptistchurch through my grandmother and my mother. God has always been thecenter of our family, so even in my deviation the remembrance of God isalways there. Even when I started coming across different knowledge anddifferent theologies like the Nation of Islam and religion of Islam,which is what I follow now, I felt the obligation to pass on and teachwhat you know. Once I came into that body of knowledge I was doublefired up to express it through my music because I felt that was one ofmy purposes in life to do anyways. So definitely, without a doubt, Itry to make sure that I inject spirituality in my music. I try to do itin a way that is not too preachy and will not make people rebel againstwhat I'm saying. I'm not throwing fire and brimstone at you that's toohard because anything I say in a rap I try to make sure I got ametaphorical mirror up when I'm writing. Anything I say I relate it tomy own self. When I speak on certain things I like people to know thatI'm talking to myself too.
P: A few years back Chamillionaire made noise by committing himself to not cursing on reacord, I've noticed that while you do curse on record, it is not as pervasive as it is in most rap records today. Is that intentional?
K: Well,when I first started rapping I didn't use any profanity in my raps whenI was young. I used to massacre people cleanly. When I got older, goinginto manhood, you start that type of language and sometimes you misuseit. If there is such a thing as using it properly, there is such athing as misusing it. Now I had to grow into the understanding of thedifference between cursing and content, because I'm more focused oncontent than on the fact of whether I'm cursing or not. Because I canuse a bunch of curse words and say something very positive, but I cannot curse at all and say something very negative. I can say "I pushedyour mama down the stairs, kicked her in the face, spit in her eye, andurinated in her mouth." You didn't hear one curse word, but the contentwas just terrible! I commend any artist that weed out the profanityfrom their music because you are supposed to do that. You are supposedto enhance your vocabulary to the point of not having to use thosewords because usually that's why people do it in the first place.People feel like "okay, I really have to express myself, I have to getthis F word into the song." You have to challenge yourself as anindividual to try to get your message across without having to use theword. Over time if you look at my music and look at "Stories from theBlack Book" there maybe one, maybe two, but I just know there is oneclean song on the entire album. Every song was cursing on it and somecursing didn't even belong there, it was unnecessary. So as timeprogressed I realized that I was more intelligent than that and Ioperate in circles where you use better language. I speak to kids. Iperform at churches, I perform at juvenile detention centers, I performfor older people and I have to be able to speak without hearing thatkind of language. So you grow out of it, I mean you still hear itsprinkled in some of my songs but if you study it you will see agradual decrease in the profanity from project to project. I commendanybody who does it and I think everybody should work towards itbecause I see a lot of younger rappers now where every other word is acurse word and that's not cool.
P: What about the N-word specifically? I have rarely heard you use it, what are your thoughts on the word?
K: Imean, I have used it, but I have never used in the kind of context thatit is normally used in or that that rap fans are accustomed to hearing.If I use it I use it in a way to let you know I'm not using it in thatway, if that makes any sense. It's a word we need to distance ourselvesfrom, because even though people like to say "well, n-i-g-g-a, that's astreet word, that's our word, we put our spin on it" it stilloriginates from n-i-g-g-e-r and we know that word is a negative word.That word is a word the enemy used to bring us down, to degrade us, andto insult us. It's an issue that's not agreeable to us. Now it hasbecome fashionable for everybody to say it, the Blacks say it,Hispanics say, whites even say it. The whites will come around you andsay "hey, what's up my nigga." I mean, that's what you hear and we haveto weed that out because we instilling that in our younger generation.They growing up feeling like it is no big deal. We have to go andresearch that word and research all of the negative effects it had onus as Black people and we have to take pride to not use it amongstourselves to make other people feel like they have a path. They aregonna use it behind closed doors anyway. A racist is gonna use itanyway, we gotta make that it gets back to how it used to be where youwouldn't dare say that in our presence. .
P: Is it ever achallenge to get that message across to your international fans who maynot understand all those cultural and social factors you just mentioned?
K:I mean nah, because for me it's about me being me and me being who Iam. The thing about those international fans is that they know me andthey are familiar with my work. Only the few that may not necessarilybe familiar with the whole body of my work, they may not understand,they may be just bandwagon cats who jump on because everybody else isgoing to the show. But the people who are truly familiar with my work,when I go overseas, when I've seen whole crowds of people reciting myword s lyric for lyric. You can't script that, you can't make that up.These people truly are familiar with my work, so they know what I'mabout. It would be foolish of me to represent one thing when I'm in thestates and I'm a safe place and in my own circle representing onething, and then to go around another set of people who may not beinvolved in what I'm involved in and then I change up because I'm inthat circle now. "Oh, well, you know I'm not actually in the Nation,I'm just kind of with the Nation." I can't do that. Whoever accepts methey accept me for who I am. If they have some understanding of whatI'm involved they will know for a fact that it's nothing but goodanyway. Sometimes people take different beliefs and differentphilosophies that on the surface may be controversial and they takethose things and run with it without even understanding orinterpretation of what it means. I don't have a problem with sittingdown anyone and explaining to about what I believe to the best of myabilities. So they will understand, if they have any sense in theirmind, they can say they understand it even if they don't agree with it.
P: Did it come as a surprise when you found out you had somany international fans? When did you become aware that you could sellout crowds in other countries?
K: I didn't become awarethat I could sell out crowds until I actually went over there andstarted selling out crowds! I became familiar with the internationalfan base way back to the early 1990s when I started releasing solostuff, but I still didn't know it was as big as it was. This was beforethe internet jumped off and gained the popularity that it has now. Thiswas before the time where every household had internet. We'd get a fanletter every now and then from Germany, every now and then fromAustralia, or Spain somebody would send a letter. Or you'd pick up amagazine and somebody had written an article in a magazine from Brazil.But that was just isolated incidents. You appreciate it, but you don'treally look at it like, "Okay, the whole country is really on us likethat." It wasn't until I actually went to Finland in 2005 that I got achance to see the full, full comprehension of it and experience itfirst hand. At that time I knew we had big fan base in Germany andAustralia because the internet was in full spring then, because I wouldcontact these people and had contact with these people. But even thenit was 15 or 20 different people or 20 or 30 different people. But togo over there and it is a packed building and they all came to see you,that let's you know just the reaction. You go over and feel like youare Michael Jackson in this country and that's when it hits you.
P:Going into your music, where do you come up with some of the conceptsfor your songs? Like in "The Debate" where you play the role of bothsides of a debate as well as the moderator, did that just come to you?
K: Well,sometimes concepts come, sometimes you get ideas off of experiences."The Debate" was based on one day I was on Youtube and I saw a debate.I saw a Christian minister debating an evolutionist and I watched alittle of the debate. I didn't watch much of the debate because it waskind of boring, but I started clicking on other videos of peoplearguing and I looked at both sides. I saw a video entitled "how todefeat Christian in a debate if you're an evolutionist" and another onewould say "how to defeat an evolutionist in a debate if you're aChristian." I would read the stuff and I was naturally familiar withthe creationist side of it because I grew up with that, but I wasn'tfamiliar with the evolutionist side of things. So I learned and I juststudied it and I thought, "you know what? That would be a real tightsong if I were to just to do that." Knowing me, I always wanted to dothings in way that no one else would do it or in a way that no one elsehad done. So I came up with the idea to do that and give a fair debatefor both sides. Even though I don't believe in evolution I still wantedto make that I spoke on it the best I could for their behalf. I didn'twant to come out just destroying the evolutionist because I believed inGod. I wanted to make sure that both sides were represented to the bestof my ability and hopefully I did.
P: I know SPC International has taken off in recent years and you've worked withWolftown Records in the UK and just released a collection of songscalled "Speed of Thought," tell us about that.
K: Wellit was a collaboration between myself and Late and Tricksta, theyreached out to me. They were fans and then they sent me some music andI became a fan of their music. And we decided to do a collaborationbecause they showed me love and they've been on a mission to promote meover there and get my name bigger over there. People know me but it'snot like here or places like Germany or Australia. So they've beenworking just tirelessly to blow my name up over there so we have areally good working relationship. We just dropped another projectcalled "Speed Of Thought" on the SPC UK label and we just trying topush this thing and hopefully go over there and do some shows.
K:"Speedof Thought" is a situation where I wanted to give them the opportunityto pick certain songs from my previous albums that they felt would goover in UK, because I wouldn't have good judgment of what type of musicis going to win over there. I just make my songs. They can tell mewhich songs would go over so I just let them pick the songs out on thefirst project. On the second one we kind of just came together andpicked them out and did a lot of new stuff on their production.Tricksta is their producer. I know any K-Rino that's got all my albumsis not going to want to purchase something they've already got, so wealways try to add 4 or 5 new tracks that will be exclusive to thatproject alone.
P: Looking at your entire career, does itever frustrate you to know you've been in the game for so longproducing quality music and yet you are not at the level of some ofyour east coast and west coast contemporaries?
K: Imean yeah, at times it has, I go through stages where I go to thatlevel of thinking. On the same token you have to put everything in itsproper perspective. The fact being number one, whatever is meant happenis gonna happen and no one gonna keep you from it. Also, you have tofactor in mistakes that you made in your own life and your own career.Things where I say "maybe I messed up." In my growth I also look at thepoint now where a person like me could never reach too high of apinnacle in this game anyway because of the belief system that I'munder and the things that I stand for and represent would be in directopposition to the powers that sit in those big seats. I couldn'tpossibly on the level that Jay-z is on as far as status wise andpopularity wise and record sales wise, because I'm a different type ofcat. I'm going to walk into the office and there is going to beproblems when they tell me I can't talk about problems in blackcommunity or can't mention Minister Farrakhan in my music. There'sgoing to be problems if I couldn't do that. So I look at that in theway that I will never reach that level because there is a ceiling on mebecause its only so far that they let you go when you try to be thatreal and when you really care about bringing people up. With that sideof it, it don't bother me at all. I just have to strive to reach asmany people as I can reach in the way that I do it. Latch on to peoplewho want to push that cause with me.
P: Speaking aboutyour message and the things you have going on, I know you have Justice Allah you are pushing as part of the Coalition, tell us about him:
K:Justice Allah was on the 144 Elite project and he just dropped a solo album, "Supreme Mathematics," on his own label. We're actually going tohave a big show out here in Houston and we are going to have a joint album release concert for my new and his new album on the 15th of nex tmonth. His album is on Elite World Records and he actually did the 144Elite album, they dropped that on Dope E's label, Akasha Records. He's trying to get his label off the ground. I dropped 3 projects on mylabel recently. I dropped B-1 – "Off Hook Part 2" and the Kuwait album"Face of God" and the Rapper K album which is under my label. We didn't release it in the stores though.
P: Along those same lines, are there any new members of the South Park Coalition or new projects you are working on?
K:Actually, we got so many people in the click that there's always goingto be people that nobody knows about. We have been on a campaign tobring in new members. We working on some internship type things we havegoing on, because certain people who may not have the experience, we'llbring them in on like an intern basis. We pretty much have to show themwhat we're all about and we have to show them what it takes to be downwith us and slowly walk them through it. We also have a couple of otherestablished individuals in groups that we are possibly bringing in nowthat have always been avid supporters of the SPC and we're going tobring them in. We've got Big Sniper and Re-up entertainment, they'vebeen some real close affiliates over the years and have always reppedus to the fullest. I actually met with them last night and did somerecording with them and I'm actually going to bring them into the SPCon an official basis. Also, with Late and Tricksta, the duo in the UK,I made them official members this year. We lifted the affiliate tag off of their title and made them official members. We got to grow,everybody is familiar with myself and the main members, we have to growso we have to bring in new people that will continue this thing on andbring in new styles. That's the only way in this game to stay relevant.
K:And we are looking for people! So anybody reading this, we looking forpeople but you've got to be real. You can't come in thinking this issome record label that you can sign to with some big contract, yougotta be down with the team. The SPC Showcase this summer wasdefinitely a big part of it. We have a couple of those groups that weare bringing in right now as far as the intern basis. The Showcase wentover well. One of our purposes was to scout groups from a talentperspective first and then meet with them and see where their headswere at and if they would be ready and able to come in and be a part ofthe clique.
P: I know you have your new solo album"Solitary Confinement" coming out this Tuesday, October 27th, is thereanything else coming from the SPC anytime soon?
K: LikeI said, Justice Allah is available now. Murder One just did a projectwith Wolf Town records in the UK and it's available now. Also, MurderOne solo is getting ready to drop. The Rapper K solo is about 2 songsaway from getting done. I was working on that last night. Ganksta Nipjust finished his new project and it's ridiculous! Everybody is stillactive and still doing a lot of work. It's just a situation where yougotta make sure all of our supporters and fans know where locate us.You can always find us at the website southparkcoalition.webs.com,and at any of our MySpaces. If you google my name the first thingyou'll see is my Myspace page. So there's no excuse to not be able tokeep close tabs on us and what we're doing
P: Will all those projects be available on the web site?
K: Alot of them will. We got some guys in the clique who like to sell theirown product from their own base and that's totally fine with us. Butanything we can sell in the store will be available and you can orderfrom the site. And if there's something anything that you know that isout and is not available from any of the SPC members, you can inquireand we'll point you in the right direction and provide you theopportunity to order it from any entity you can order it from.
P: On the website you have the forums where people can talk to other SPC fans as well as with you and other artists right?
K:Oh yeah, we're totally accessible. We're not in the stratosphere wherepeople can't reach out and talk to us and ask us questions personally.That's what the forum was really set up for. It was set up for faninteractions among themselves where they can discuss SPC relatedthings. It is equally important for them to be able to talk directly tous and ask us questions and have us answer it directly. If there issomebody who may not be on the net or get online and you want to knowsomething about them, either me or a couple other cats can alwaysanswer a Point Blank question or a Klondike Kat question. That's whatit is for, the myspace and the web site. There aren't many artistswhere you can actually get on the website and talk to them directly. IfI don't get with you right that second, I will get with you.
P: Finally, is there anything you want to say to the fans?
K:Yeah, all I can say is first of all praise to Allah for the strengthand everything else he provides. I appreciate you for interviewing yourboy, it's all good, it's all love. True fans, make sure you purchasethe album. I had the 1000 list which was project I started where Iwanted to get the email addresses of 1000 people who were truly goingto support the album and purchase the album. I got a lot of goodresponses from that so I'm just encouraging anybody may not have knownabout that and wants the album to just hit me up or go to the site andorder the album. You know, don't burn it, don't download it, order thealbum. I can put a guarantee on it that it's worth your purchase andyou're not going to feel like you wasted your money.