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I love Snoop. I worked with him on 'Old School,' and he's very accessible. He's very kind. He's always nice to everyone, to the crew. He's always got something positive to say. He's very childlike and loves to come and play. So, I had fun working with him.

My pops and my mom started playing Marvin Gaye and the Isley Brothers and all these people, but at the same time, they always had Snoop on right behind it in the same mix.

In the early '90s, my cousin gave me a Snoop Dogg cassette tape, and the rawness of the lyrics were something new to me.

I've worked with Lil Wayne and Wiz, but I'd like to work with Snoop next. I love 'Paid tha Cost to Be da Boss' and 'Doggystyle' and pretty much anything he puts out. And Ice Cube - like, all the legends.

I used to do the beat box. A friend of mine, he was the rapper and after, we'd be doing a block party or something or a house party, and he's gettin' all the attention and I'd end up with a handful of spit, you know, from doing the beats.

I did a couple songs with this hip-hop guy named Tim Dark. He was working in the same studio I've been working in, he heard my music and he said, aw man, I've got to do something with you.

I grew up listening to a lot of early '90s hip-hop. I had the debut Wu-Tang album, Biggie, Snoop, that kind of stuff. Hieroglyphics, the Gravediggaz. I remember D.O.C.'s 'The Portrait of a Masterpiece' was something that had a big influence on me.

I grew up listening to a lot of Snoop Dogg and the Wu-Tang Clan. Actually, I was a huge Wu-Tang fan.

When I wrote 'Marvin Gaye,' my whole intention was to make a record that people would put on a record player... and just instantly make out with each other.

I wrote my first song, 'Conversion', to this little hip-hop instrumental. I went to an open-mic, plugged my iPod into the P.A., and sang over the beat.