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I started making music for fun maybe my senior year in college. I started rapping in high school, but it wasn't anything serious.

Cakes da killa

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Cakes da killa
Years
Started
Maybe
Rapping
High
Senior
Year
Rap
Making
College
School
Serious
Anything
Fun
Music
Wasn

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With a lot of people you think you want to work with, you reach out to them about working and then realize you don't want to anymore because they're a complete dickhead.
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I'm a SoundCloud, online kind of artist. It's not like back in the day when everyone was like linking up physically to do music. But with the album, I did have my first experience with meeting with a producer and us making things from scratch.
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Now I'm in the business and I do have to have these awkward conversations about how I look, how I talk. But I'm still here.
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I write a lot. I used to write a lot of poetry when I was younger, write for my school newspapers. Also reading is very important because you need to be on your word game if you want to be a lyricist.
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I've been working with Peaches for a while as far as doing shows, maybe for the past two years. Everyone else seems to think that this is a new relationship, but me and her have been touring off and on for a while now. I was doing my album and I needed that heavy-hitter.
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For you to be able to rap fast and fit many words into a bar, that's what rap is about, the showmanship. That's the thing we're kind of losing now. I'm not saying that the music now is horrible. I mean, I don't listen to it. The showmanship and creativity in rap is what made it special and what made it different.
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I was doing my music because it was fun, and I always was like, If it becomes a business, or it becomes too demanding, or if people try to tell me what to do or control what I'm doing, I won't do it.
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Every time someone asks me who I want to work with, my answer is always the same: whoever wants to work with me that won't want to get their ego stroked.
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There are two singles I did with Noah Breakfast, [Talkin Greezy and New Phone (Who Dis),] which was a cool experience. So it's cool either way, I think. It depends on the relationship you have with the other person - not everybody is going to work the same way.
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I was just doing it for fun. I was in college recording music as a joke, so I really didn't think that a career was feasible - being able to travel.
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I think what's keeping me making music - the money is great, but I make music for the visibility.
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I am a rapper. The reason why I was against the whole rapper title is because I know so many people who want to be rappers and they're not.
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In this day and age of social media, where everything is so centred around how many Instagram and Twitter followers you have, what's keeping me afloat is the fact that my live performance is something that people can enjoy.
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I think when I dropped The Eulogy is when it became more [about] feedback because that's when Pitchfork wanted to review it and things like that.
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I think it's very important that LGBT narratives are spoken from LGBT perspectives. I think that what I do is important as far as creating a lane for myself to be independent.
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I want to be respected as a writer and, like I said, I was really sick of people saying I was a two dimensional character. I want more to my legacy, I guess.
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In the industry there's this whole mentality of working with someone who can open the door for you, but my whole thing is that I like my work to speak for itself. So I still do have that same mentality.
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It may look like things have gotten better, because everyone is semi-being appreciative. Not appreciative, but conscious of people being gender fluid and all those things.
Cakes da killa