Jamie Foxx worked at Jingles 2000 on the Jamie Foxx Show. At the beginning of the show he worked at The King’s Towers. He worked at his aunt and uncle’s hotel. As the show progressed, and as Jamie got more power to play his music in the show, his character had a job at Jingles 2000. He would make these very robust, awesome musical genius jingles for random shitty companies and stuff. That was his thing.

Me and my girl, we watched Martin and Jamie Foxx every night. I think it was just me relating to him in terms of not being everything that I am today. Understanding that I hadn’t grown. I wasn’t mature yet. I was still figuring shit out. I was with her. She was my Fancy.

I owe her the world because she literally kept me and housed me and fed me when I didn’t have anything and gave me herself honestly and gave me my daughter. So in reality, there’s no way that I could pay her back. But I think the first couple of lines are kind of like from the perspective of most men that are trying to figure out the situation.

Once you have a kid with the woman that you’re not with romantically, I think we all have had thoughts about how do we make that right, like after all the wrongs that you’ve done, after all the time that you’ve been separated. Is there any way to make it back to the graces that you were in when you guys were able to make a child and when you guys were able to make it day after day, living with each other or dating each other. That entire first part is a perspective that I think many people can relate to that have kids.

I’d give everything for my girl. Just for her happiness. Not even for just her safety. Just for her to be happy. But there was a time where I wasn’t giving what I was supposed to give. For a long time. And I could blame it on the pressures of being famous or being a nigga or being whatever, but I just wasn’t all the way right, and we had a lot of shit that most people go through, but just with added pressures of us being who we were at the time. I did a lot in terms of the things I thought would make me a man in the situation, of having my daughter young, but I wasn’t taking every step to be a good man.

My girl brought me closer to God in a lot of ways and restored my faith and grew my faith. The one thing that I was holding back for so long was making an honest woman out of her, letting her make me an honest man and just being like, this is what it is, let’s lock it down. I’ll give anything for my girl. I would definitely kill multiple niggas for my girl. And also, yeah, that’s my portal to God, is my woman.

That’s the phoneticism, you know the baby back and the rib and the spare rib and all that stuff. But it comes from my understanding that woman was God’s gift to a man to make him whole, and from my rib, like me deciding to make an honest woman out of my wife to be and her making an honest man out of me. That’s something that a lot of niggas find themselves stuck at a crossroads. Like, “How can I give up this freedom that I have and this looseness that I have in the world in exchange for something that’s gonna be so stagnant and solid.” If you say it out loud enough times, it makes a lot of sense. Like of course you would wanna be with somebody forever, but that’s where I was stuck.

But beyond even love, beyond even our choices, it was ingrained in me since I was a kid by my dad, because his father was a piece of shit: You can’t be a man waking up wondering where your kid’s at. You can’t get to a position in a shitty enough relationship with your woman where you aren’t living together and you aren’t speaking enough. That’s just truth. I don’t wanna wake up wondering where my daughter is.

When I was thinking about Jamie and the parallels in our lives and how he is so musically inclined and so R&B with it, I felt like there was still a place to soften the blow of saying fuck you so much. That’s what his whole bit is about right there.

Most of the comedy piece is about how when he would play piano for women, he couldn’t play secular music in the house when his grandmother had him learning. He had to play nicer songs, and to show that he does the Brady Bunch and the different R&B versions of it.

But with “fuck you,” because it’s pitched up because of all the manipulation to the sound. It gets to become a repetitive harsh “fuck you.”

So I hit up Jamie Foxx and was like, “Oh, I sampled the joint.” When he picked up the phone, he was on FaceTime with the camera facing the piano. Like, “I’m in the studio right now.” I’m like, “Damn, you know, this is ordained.” And I was like, “Yo, you know, I sampled a piece from I Might Need Security. Before I could finish my sentence, he started singing a new pass at “Fuck You.”

I was like, “Yo, this is gonna be tight.” But the end of the story, he never sent me anything. I didn’t get that shit before I put out the song. So, he’s not on it right now. But the point is, I brought in Peter because Peter knows how to take emotion or tone and make it a sound. And so, I gave him a little explanation of what it was and he took care of the hooks.

Artistically, I wanna build on music and create ideas that are influenced by the greatest things and become even greater things. As a man, I want to build on the kingdom of the Lord. I am a soldier for that shit. And I’m willing to die, because I know I’m going to die, that’s a part of life, but I want to die with full recognition of who my boss is and what my purpose is and was, and that’s me.

As a rapper—at least for me, and I think any creative—you want to be known, you know? You might love fame, you might love a lot of stuff, but you like performing, you like writing because you want to release it. You want people to know that it exists. You want people to know that you exist. I think that’s part of being an artist.

I think that’s part of being an artist, and people might disagree. But with that comes criticism and comes people not liking your music. I would love to be considered trash ‘cause that means at least somebody knows about me. When you can search a name and find that, that’s one thing. But my family hasn’t been exposed to that on the highest level. My daughter wasn’t in existence, and my girl didn’t have any type of spotlight or yearning for a spotlight before we were together, so I want to keep them as protected as possible and as high in spirits as possible.

That’s just one of the ways of the world. They do wanna convince you that you need as many partners as possible and that you are better off, especially as a male, with your individuality and your singleness, that that’s some type of strength. But the truth is, you’re not gonna get no stronger than when you find your counterpart.

Record deals are archaic, just in their design. And it’s based on a system of … how do I word this the right way? It’s just a business that feels a lot like a pyramid scheme, and all the workers at the bottom that are actually the face of the product and the mind behind the product typically end up earning less and not having the freedom or the confidence to work at their highest capacity, at their best. I’ve been an advocate of it from the jump. I believe the same thing about publishing deals. I believe the same thing about protective rights organizations. I feel the same way about production deals. I feel like all artists have a responsibility to be 100% in control in accessing the information about their music. When it comes to creating it, when it comes to being able to see metrics, to being able to see how your royalties are broken down. I think on all levels, artists need to be able to have that freedom. That’s a part of the job. That’s how they work it and work their best.

If you tweak on me, and with these short moments of just condescending actions or gestures, I’m getting on that, we getting on that as a team. And, completely unrelated from us with no connection, somebody else will probably beat yo ass. Or not. I don’t know. That shit doesn’t even have anything to do with me.