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N.W.A were the audio-documentarians of their time. They were trying to shock people with the violence of their language and the subjects they were talking about. The fact that they dressed in guerilla outfits like the Black Panthers made them shocking by their appearance as well.

In the '80s and '90s, I was really interested in, moved by, exhilarated by, and troubled by rap in all the ways a white person from Brookline, Massachusetts should be. That was music that was making trouble, and it was interesting and provocative trouble.

I think it's a mistake where rap music is these days. It doesn't seem to be able to look out of the ghetto and that's ultimately unfortunate, because it defines our limitations.

Few rappers realize the genre sprang from West African griots through Delta slave songs to jazz poetry and the comedic trash talk of 'the dozens.'

The roots of my music start from the ghetto.

N.W.A had something in common with the Rolling Stones and MC5 and groups like that: the voice of rebellion. It's rebellion against your parents. It's rebellion against the system. It's rebellion against society.

I always found very strong images for my songwriting in New York.

I really love rap music. I grew up in the '80s and '90s with Public Enemy, N.W.A., LL Cool J - I'm a hip-hop encyclopedia. But I got kind of frustrated with the chauvinistic side of rap music, the one that makes it hard to write songs about love and relationships.

You go through the Civil Rights struggle, everybody knew the songs - 'We shall overcome.' Everybody would sing it. Music helped us. James Brown, 'Say It Loud - I'm Black and I'm Proud.' They helped black people figure out how to navigate what was a very treacherous place in America for them.

But with rap music - not just N.W.A. - but rap music in general, seeing these artists wearing these team logos all the time started bringing a synergy and energy about having to rep your city, your team, everywhere and all the time.