“I don’t really concentrate on Urban AC or whatever. I don’t concentrate on genres or how people section off songs for radio.”

Using what you have always enhances what’s to come no matter if it’s an album, song, artwork or whatever.

I just sing the song and I sing it with conviction, meaning and I get into the mood of every song I do no matter how much time I have in between.

You just do you like when you’re doing any other song. It’s nothing different. Some people are like “How’s it like working with Kendrick Lamar?” and really, it’s like working with anyone else that I work with.

R&B is everything. Hip Hop, Soul, Gospel and Classical Blues are everything. All of that makes sense in BJ The Chicago Kid and what we do.

So from Jazz, Blues, R&B, Soul, Classical and Country music, Hip Hop has introduced us to a little bit of everything.

I embrace everybody, but you work everybody and each song at a time to who it is for. I believe that’s how you build a palace. You build a palace one block at a time and then you’ll have what you want. That’s how it goes.

I thank God for Hip Hop because Marvin Gaye didn’t have that and he was able to be that dope. For us to have that and more, I feel like it is up to us to be as dope as we can possibly be.

I’ve got some cool features with some cool people coming out but I can’t speak on it right now.

Hip Hop has introduced us to a lot of genres that we probably wouldn’t even listen to in our own homes from our parents.

There’s no unicorns that pop out the ceiling and no glitter that pops out of my pocket. It’s just regular people in the studio doing what we do.

I’m part of this show called “Shots Fired” that is premiering on FOX. It’s right after the Super Bowl. It’s a pretty incredible show. I’m pretty much the voice of the show, so the voice of the opening credit record and the songs in between is pretty much my voice.

A lot of people don’t understand the building phase. They don’t have the blueprint, but we do. With us having the blueprint and knowing what we want to build, it’s not how it’s supposed to be built, but what we want to build. I think it makes everything easy for us to stay focus and have that tunnel vision.

Using what you have is always creates more opportunities for the future.

I just make music from my soul and let it be.

And radio definitely doesn’t; they want that positive, uptempo thing.

I’ve always said that if you have songs on the radio and get played, you’ve got to have a tour to support that.

On the Greek frontier, one wasn’t sure what came next. So, don’t trust the telephone. Or the newspapers. Or the radio. Or tomorrow.

Telling people that I wanted to make dance music, or be on the radio, they looked at me like I was crazy because there was nothing like that in Lichtenstein when I was getting started. That’s why I went to Germany, because there is industry there.

I’m a music fan, and I can listen to the radio, or music, without thinking, “How am I going to screw this up?” [Laughs] If I’m really actively trying to think of a parody, then I’ll have my antenna out, and be a little more proactive about it.

You still have Top 40 radio now, but it’s 40 different stations. There aren’t many hits that everybody knows, and there aren’t many real superstars.

Francis Ford Coppola did this early on. You tape a movie, like a radio show, and you have the narrator read all the stage directions.

The thing that interests me least about the radio business is the radio business. But I’ve had to learn a little bit about it. It’s not rocket science: You get ratings, that’s good.