I really didn't try to make an effort to make urban music, but I am a product of my inspirations.
What is missing in a lot of urban music is perspective. You hear a lot of regurgitated perspective. It's a lot of: out at the club. Had drinks. Patrón. Big booties. It's this regurgitated idea of living in this, I don't know, one-night-stand moment that always starts at the club and Patrón. And so perspective, perspective, perspective is what I'm an advocate of.
I think everybody don't know what color I am. It's like, "He's not black enough. He's not white enough. He's got a Latin last name but he doesn't have - he doesn't speak Spanish. Who are we selling this to? Are you making urban music? Are you making pop music? What kind of music are you making?"
Canada can be tough for urban music.
Part of my affinity with urban music comes from being on 'Kids Incorporated,' 'cos we used to sit around and listen to Chaka Khan and Prince, and I got influenced by all that. Then gangsta rap got started, and I was infatuated with that - maybe that's why I'm fascinated by guns.
I have a very pop voice, but there's so much of me I associate mostly with urban music, so I try to blend the two.
Dizzee's just my childhood hero. He's definitely the inspiration. He's got himself to a very good place. He's defied the expectations of what British black urban music was like. He was the first person who made the rest of Britain realise it wasn't just a one-album-type situation. You've got to take your hat off to somebody like that.
In North America, hip-hop and urban music are much more developed than it could be in Europe, except for a couple of markets like France, for example, or Germany, they're a little bit more aware.
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