Kardinal Offishall [Interview]
Toronto, ON – On September 9th, 2008, Kardinal Offishall released his fourth studio album, Not 4 Sale under Kon Live/Interscope Records.
His previous album was Fire and Glory which was released in November of 2005. Since then he fostered a nurturing relationship with Akon and his Konvict family, branding himself as an avid member of the team. While many may have assumed he was signed to Konvict since 2005, the deal to release an album under Akon’s Kon Live label with Interscope did not get finalized until October of 2007. “During the time before that, we were just peoples and looked out for each other,” Kardi explains. “Then we stepped it up and decided to take things to a next level with the album. That’s an important part of what Kon does, and what I do and why we always got along so well. We believe in being loyal and that’s always been an important part of me.”
In Canada, Kardinal has been pursuing a musical career since he was a little youth, performing for the likes of Nelson Mandela at just 12 years old. Him and his team, with whom he shares the Black Jays Family title, as well as his Circle family, have been a staple in the Canadian hip-hop industry for over a decade. Throughout this entire time Kardinal’s image and character has always been embodied by versatility and cultural inspiration. With past singles like “Husslin’,” “Bakardi Slang,” “Maxine,” “Ole Time Killing,” “Mary Jane,” and the Ghetto Concept collaboration on “Still Too Much,” he has always maintained the same focus and direction creatively and musically.
On a national level, Kardinal has reached the homes of citizens from Vancouver to Newfoundland blazing paths for other artists, who want to embrace their roots, culture and originality. For years fans, critics, and other artists have built expectations on what he could accomplish – not only for himself, but for Toronto and Canada – and what type of opportunities his success could bring for other artists in his field. Some felt that in the past years, Kardi and other members of the Circle had not capitalized as strongly as they could have to bring Canadian music to the ears of the world. Throughout this entire time his albums, music, appearances, shows and collaborations have been both heavily embraced and scrutinized thoroughly, and knocked down altogether by others.
Yet Kardinal continued to do what the felt was best for his career as a musician first, always representing Toronto every inch of the way.
Fast-forward to 2008 and “Dangerous” is one of the most played records in the country and south of the border. Summer of 2008 caught Kardinal so busy, he barely even had a chance to sit down with us at HipHopCanada and talk about the album… (We weren’t going to let that happen!) On any given day he could be traveling around the world for an appearance, performing for thousands of people, recording, doing press, or all combined. It’s all part of the plan though.
Finally Not 4 Sale is out, and its sale numbers in the first week have been disappointing for some, and encouraging for others. With 12,000 copies sold in the US in the first week, he entered Billboard top 100 at number 40, and Canada’s top 10 with 4000 copies. That’s a great start for someone who’s considered a new artist in the United States.
It’s no secret that people dwell on numbers and based on comments that have been floating around, 1st week sales can cause some people to lose interest in lending support and can cause others to embrace a project even harder.
So should those figures be disappointing because he didn’t reach gold in the first week?
Absolutely not. Look at the caliber of other artists who came out with albums in the same day as Kardinal, only to do less sales their first week out the gate.
Does the fact that he did not sell a whooping 100,000 on the first week mean that he won’t do so in the next months to follow?
Absolutely not. The buzz and love given to the next single will be key but the overall project will continue to build momentum with the right push.
Does this mean that since Kardinal didn’t sell 100,000 records in his first week with all that promotion and a hit single, no other artist in Canada will be able to as well?
Absolutely not. Follow your own path but acknowledge that Kardinal has increased Canada’s presence on the global hip-hop radar.
Kardinal has been looked at as an icon in Canadian hip-hop for a long time, and many have put their hopes for success of Canadian music on him. Yet he is a single musician that has to work hard every step of the way for every album sold, and that believes that his music is 100% a reflection of his own character, and not of an entire country. “I’m not a politician,” Kardi explains. “I am not running for prime minister. I am a musician first. When you do your music, you can’t make music to please everybody. You have to make sure that you are secure as an artist. You have to be confident in your music and that you love the music you make.”
Is Not 4 Sale a true reflection of the type of music Kardinal usually comes forth with? His previous albums like Eye & I, Quest for Fire and Fire and Glory showcase a grittier Kardinal. His patois embedded delivery can still knock your socks off, but his presence on the songs in his current release reflect a more cross-over appeal; a more fun Kardinal; a more mainstream Kardinal. As a new artist to the global audience, it is understandable that someone like Kardinal couldn’t put 14 “Set It Off”’ type songs on one album to please one type of audience. Keeping in mind that this is a global release, he had to make sure that he gave in just enough to get the world to pay attention, but not enough for him to sell himself out.
Is that enough to make the world buy into him as a package, or are they happy with getting a Kardi fix just by bumping Dangerous? “I think I’m just going to continue to do what I’ve been doing. I think that’s the only that you can do as an artist, just keep on keeping on and deliver everything you’ve got 1000%. With every show that you do you have to rock your new joints and make these fans bigger fans of not just “Dangerous” but of everything that you do.”
I was hoping to sit down with Kardi and ask a few more questions on the album features, his experiences as a major Canadian artist, and of course future plans and objectives. Due to his hectic schedule, I was able to get on the phone with him from NY, the day after the album dropped and ask him some of the many questions I was anxious to ask. He kept it real… all the way real. After some small talk about his schedule I got to my questions.
HipHopCanada: You recently came back from performing in Spain and have also been doing a lot of shows overseas performing for sold out audiences. What do you see as a major difference between the fans there and here back home?
Kardi: That they don’t speak English? That they get half naked… but that’s just how they get down over there. [Laughing] Besides that, music fans are music fans all around the world. People always think that there’s some kind of a difference, but I don’t really see any whatsoever.
HipHopCanada: [Laughing] That’s cool. I’m going to rewind a little bit in your career and go back to the area that you grew up in: Oakwood and Vaughn. In the “Husslin” video, you show a little glimpse of the intersection there to rep where you’re from. If you were to have the opportunity to shoot “Husslin” once again, would you incorporate those same visuals in the video or would you do something completely different?
Kardi: I would never… going back into your life you would never try and re-do things. You do everything for a reason. Everything that has happened in my life has happened for a reason. I think with the “Husslin” video we just didn’t have enough time to maybe go to all the different spots. When I was little I lived in Flemo from the time I was 2 until the time I was 13. Then we moved to Scarborough for about two years and then after that we went to Oakwood and Vaughn. All those different places have contributed to the person that I am today. The only difference with me more times, is that I’m a little bit of a loner. That’s where the whole Circle clique came in, and that’s why we called it the Circle. We pretty much stuck to ourselves. We didn’t really mix up with too many different people and not for any other reason, except the fact that there are too many people with negative energy out there. You already know what it is. The people that were older than me always told me, “Know who your real friends are and understand that you are going to become a product of the people you keep around you.” I like to have a controlled environment. With my Circle clique I knew that with the 12, 13, or 14 of us, I could look into each of their faces and know whom they really were as people and that I reflected them, and that that was a good reflection. I was never one of those people that were just down.
HipHopCanada: Right… that way you were never insecure with the people around you.
Kardi: Mmhmm. I was always good with my crew. That’s like family.
HipHopCanada: Good. Before there was Kardinal Offishall, there was Kool Aid, and before the Black Jays, there was the Young Black Panthers. Tell me about the Jason Harrow back then. You were 12 years old when you performed for Nelson Mandela as a young artist. What type of spirit did you have? What type of inspiration and goals?
Kardi: You have to understand the type of music that was out at the time as well. There was a lot of afro-centricity, and black power music at the time. Besides that, a lot of us were learning our history and where we came from so that’s why we called the group the Young Black Panthers, because we were empowered young men at the time. That also reflected in everything we did, and that’s why we were able to perform for Mandela. We did all kinds of contests as little kids, and we did performances on MuchMusic and that’s back in the day when they used to do mall performances and all kind of crazy stuff. We performed in so many hoods. I think back then it was just 150,000% for the love. Before the industry came in and tainted how I look at music.
HipHopCanada: When did you start looking at the industry in that perspective?
Kardi: I don’t know how old I was, but it was pretty much when I signed my first deal. That’s one of those things that you look forward to in life, but that’s kind of the end of an era. Because once you get in with the big boys, the people that are strictly about unit sales and percentages, you realize that they don’t care about the music. When you start having those people as a main part of the projects that you put out, you have to almost start fighting for your life, because to me, my music is my life. It’s not like I’m an actor on the side or anything. This music is what I do, so it turns to a point where you’re fighting for your life and you’re fighting against people that do not care about the craft or the artist. You have to balance stuff…
HipHopCanada: Did you have a hard time speaking up and being yourself?
Kardi: Nope. Never. And that’s why the album is called “Not For Sale.” That has never been a problem for me…Even with this new situation linking up with Kon…We pretty much had 80% of the music done before I even signed the deal. It’s one of those things where if we’re going to do this we have to do it my way. I have a certain legacy that I need to keep and a certain energy and fire and culture that I have to represent, so if I have to do this I’m going to do it where all the parties are happy and I don’t have to sacrifice everything.
HipHopCanada: Did you feel a lot of weight on your shoulders with this album?
Kardi: Nah. You know what, really and truly, at the end of the day I’m sure it’s one of those things where artists don’t realize it, or some artists where we come from don’t realize it, but when you do your music, you can’t make music to please everybody. You have to make sure that you are secure as an artist. You have to be confident in your music and that you love the music you make. After that, if by default, it happens to please a lot of people, and you end up representing people naturally and they see where you’re going, that’s a different story. But the thing is that you can’t go into the studio and be like, “Oh man I’ve got to make something to make sure that XYZ is cool or whatever.” It’s has to be my music first. I also do my music by myself. I don’t like people around me when I’m doing music. I want it to be something I can listen to 10 years from now and still be happy and proud about it. So people are always telling me I have the weight of the city or the country on my back, but it’s not really like that. To me I am a musician. I am not a politician. Maybe if I were running for prime minister I would feel the weight of the country. What’s really dope is that the music is going out there and it’s blazing new trails and creating new opportunities for people to go out there. It is opening the door to a lot of people to say they’re from Toronto and others not to screw up their face when they hear that. At the end of the day, any Toronto artist or any Canadian artist is not going to get on just because they’re Canadian. They’re going to need to have the music that’s going to back them up. With Akon, the opportunity presented itself when he opened up the door and people were checking for me. If I didn’t have the music to back me up, they would not give a fuck.
HipHopCanada: Some fans and critics of your music have said that the Circle in general was given opportunities earlier in the years, and they have dropped the ball in the sense that they didn’t do anything “sensational” and crossover to an international or worldwide scale. Do you feel in the past years since your Eye & I release dropped you HAD an opportunity and maybe it slipped, or everything wasn’t there together to make it work in that scale?
Kardi: First of all we were not given any opportunities. We made every opportunity that we had. That’s one thing that they need to know. We were not given shit. Number two we didn’t drop the ball for shit. These people don’t realize the amount of work that artists like Saukrates or Choclair have put in. These are people that (whether they respect them or not, it’s a different story,) have ran around various circles around the world and have penetrated further than any artists they can mention off the tip of their tongue. As far as timing, that’s what this world is all about. If you look at Jay Z’s career, he was out since 1988. But Jay-Z broke when Jay-Z broke because it was his time and that’s what the music business is all about. I would like for people to be just a little more educated about this music before they try and speak out on it based on what they read on XXL magazine. There’s a lot that goes into this game. A lot of the hot guys now have been around for-ever! You can’t just say that every artist dropped the ball because they didn’t blow up. It’s all about timing and about the climate of the music industry. Maybe in the climate before they weren’t ready for Canadian artists to blow. Even with my man Akon; Akon is the best example. When Akon came out with his first album and had “Locked up” as the first single, that album sold 13,000 in its first week. That’s it. Where most people would say “Aww man, Akon dropped the ball, this nigga is whack,” he just kept it moving and kept hustling and made sure that that album sold platinum plus and now he’s a multi-platinum artist. There’s a lot of stuff that happens in the industry that a lot of people have no clue about, but they always like to yap their mouth about. There’s a lot of work that goes into it, a lot of hustle and grind and believe me when I say that my crew was not given any opportunities. We made opportunities. Same thing with me; people say that Akon was the one who made it possible, but that’s not all there is to it. If I didn’t have the music to back it up, it wouldn’t matter. Music has to be the foundation of everything you do.
HipHopCanada: I just wanted to give you a chance to speak on that, because I don’t think you’ve ever been given the chance to…
Kardi: It’s not that I haven’t had the chance. I’ve had plenty of chances to, but it’s one of those things that don’t really have any relativity in my life, but since we’re doing an interview, sure we’ll speak on it. I’ve had plenty of opportunities to speak, but I just speak on things that need to be spoken on, that’s all.
HipHopCanada: Okay… cool. Thank you. You have been nationally and internationally known for a long time, in which you have been co-signed by a lot of majors in the industry such as Pharell and Busta. What is the main difference you feel when being co-signed by your peers, and being co-signed by your fans worldwide?
Kardi: I guess it’s just different because when your peers respect you; these are people who are able to speak on what you do from a first hand standpoint. It’s one of those things where artists say “fuck critics” because critics can say what they want, but they can’t make music. No disrespect to you obviously but if someone like Ludacris, or Andre 3000 were writers and they started saying some shit, then we’d have to listen in a different light to what they were saying because they are able to do what we do. A lot of the times, the people that are quick to open their mouths, are the people that are not capable of doing what we do. It’s funny, sometimes we say those who can do music, do music, those who can’t, become A&R’s at labels. So whenever you get positive stuff from your peers you have to look at it a certain way because it means something different artistically speaking. As far as random people in the world loving what you do, that’s also a different kind of love, and it’s more of an honest love. At the end of the day, nobody has to love an artist. Nobody has to love Kardinal. They are not forced to love me. When you have fans that genuinely love what you do, that’s because you have somehow penetrated, not to sound cliché, but I guess you’ve penetrated their heart and soul for them to really feel what you do on the basic level of music.
HipHopCanada: In an interview on Rhapsody.com on “getting love in Canada due to getting love in America,” you said, “unfortunately, that’s what it is all day, but it’s not just limited to hip-hop.” Being that international appeal is important for sales in general, how will you position yourself with this album in order to sell as an artist without becoming a “one hit wonder” with Dangerous as an international single?
Kardi: Right now we’re just going to speak on predictions because we haven’t dealt with the second single yet. “Set It Off” is technically the second single, but it’s more of a ‘street buzz’ that we put out there. I think I’m just going to continue to do what I’ve been doing. I think that’s the only that you can do as an artist, just keep on keeping on and deliver everything you’ve got 1000%. With every show that you do you have to rock your new joints and make these fans bigger fans of not just “Dangerous” but of everything that you do. Whether it’s an interview, you’re on TV, whether you’re in Spain or on Jay Leno, or whether you’re doing an underground joint in Detroit, you just have to make sure you’re just spanking everybody and keep ripping to the fullest.
HipHopCanada: On the album you also have a lot of new producers featured. Did you have a vision that they fell in place with, or did you just have great relationships with them and decide to put them on?
Kardi: A bit of both. Some of them I had never even heard of before. Alex Da Kid is a prime example. I had just been in London doing stuff with Estelle and I had met him and he gave me some music. I listened to it when I got home and the beats were just crazy. When it comes to me and producers for the most part… people like Nottz have about 2-3 albums worth of material. Every couple of months I go to Norfolk, Virginia, and we just spend time in the studio and bang shit out. People like Jake One; he would send me 50 beats at a time. Boi 1-da, same kind of deal. I’ve known Kemo forever. For the most part these are people that are just my family that have crazy beats. I’m always open to dope stuff.
HipHopCanada: Did you have a vision as far as wanting your album to sound a certain way, or you just heard a beat and said “wow I have got to have that on my album?”
Kardi: Yeah pretty much. You have to also understand the amount of music that I record is a forward backward kind of scenario. You have to record as many dope joints as you can, then when you’re kind of sizing the album down; you have to have a vision of what’s going to represent you properly. For me I wanted to have a well rounded album. The first process I went through when I went to Atlanta. We went through about 30 or 40 joints and before we even got to those joints, we had already cut it down considerably. When we went through it, there were a lot of dope songs but that maybe didn’t fit in with the rest of the stuff. You want to have the best body of work, so you will choose songs that make the album sound right and not just have a lot of random songs.
HipHopCanada: Okay, so you just record as much as you can and then work on your choices. It’s not like you hear a beat and say “this HAS to be on my album…”
Kardi: Yeah, no, trust me. There was so many, oh man, we did work with Denaun Porter, we rocked over Dilla stuff; there were just so many. Worked with Black Milk, Bishop Lamont, Stat Quo, De La Soul, and the list goes on and on.
HipHopCanada: Do you see yourself dropping something like a mixtape or a sequel…
Kardi: Nuh uh. To me, my stuff is too important to just leak. It would be dope to have the music out there, but I think you would see me put out another album or EP faster than you’ll see me putting out a mixtape. I think mixtapes are dope, but sometimes they are not done properly and it brings down your value as an artist when you make your music just so accessible. It doesn’t make the album as exciting when it comes out.
HipHopCanada: Why did you feel Rihanna made a better album cut than the Pussycat Dolls?
Kardi: I didn’t actually, to tell you the honest truth. It’s just one of those things where me and Rihanna have a good relationship. But to be honest with you, I don’t know how it technically works, but depending on what part of the world you’re in, you may be getting the album with the PCD version on it.
HipHopCanada: Oh, okay.
Kardi: It really just depends. There is actually, I won’t mention the other person, but there are a couple of different versions of that song. It wasn’t the case that I loved one song over the other. Rihanna’s was the first version I did, and she’s my peoples.
HipHopCanada: So depending on what part of the world you are in, you may still get the version with the Pussycat Dolls?
HipHopCanada: This is your 4th album. Before this was there was Fire & Glory in 2005. Since your first album Eye & I, you have bounced around from one label to another: Capitol Hill, MCA, EMI, and now Interscope. Before Akon, there was the offer with Jay and Roc La Familia. What were some of the things you wanted to keep in mind as far as creativity, direction, and content went with this album, that you learned from previous offers, relationships, or albums?
Kardi: To tell you the honest truth, every label is a label. One time, Bishop Lamont and I went to check Dre in the studio and I was asking him how Aftermath was treating him. He said to me “It’s the same shit. It’s like working at McDonalds or Burger King. Either way you’re flipping burgers.” That’s how it is with these labels. It doesn’t even matter who it is; at the end of the day, a label is a label. You just have to make sure you use every opportunity to the fullest. I know sometimes we glamorize it in the media and make it seem like something other than what it is, but at the end of the day, that’s what it is. Every label has label tendencies. As far as content went, that’s why I do my shit on my own, by myself so that I don’t allow other things to affect how I make my music. I make my music based on regular life experiences; me traveling, meeting different people talking about different life situations. Sitting down and just reading with different people, whether it be artists, at the barbershop, or talking with regular cats that come through.
HipHopCanada: You were singed to Akon’s label since 2005. Was there any doubt to a release and fear of being shelved up during that time?
Kardi: Well I’ll tell you, I haven’t been signed to Kon since 2005. I have been part of the Konvict family, but we just did the business part of things last year, last October. During the time before that, we were just peoples and looked out for each other. Then we stepped it up and decided to take things to a next level with the album. That’s an important part of what Kon does, and what I do and why we always got along so well. We believe in being loyal and that’s always been an important part of me. That’s what was dope about being down with Kon for a couple of years before signing to Interscope.
HipHopCanada: Being that you come from an older generation of artists who all seemed to have the same direction and the same impact in the scene on a national scale, do you see any artists in Canada today creating that type of movement that you saw yourself involved with?
Kardi: Well you have to understand, even if you look outside of our crew, we just came up at a different time where we were sort of forced to act a certain way. Even if you look at the whole Groove-A-Lot foundation, and look at people like Ghetto Concept; we didn’t have a lot of choices. We didn’t have the power of double clicking and having your music sent around the world. We physically had to actually bring our music places, and to do that you had to pool your resources because it was mad expensive. We had a lot of ground to cover. We saw a lot of different people working together, and that’s why we were down with labels like Capitol Hill and Knee Deep Records; because we were kind of forced into having “movements.” Nowadays I hear a little of this and a little of that, but it still seems right about now, with dope artists like the Drake’s of the world, JD Era’s, Richie Sosa’s, a lot of the people are able to do stuff on their own. A lot of them have crews, but it’s a different mentality. It’s where everybody is able to hold their own. That’s kind of dope because it makes you stronger as an artist. A lot of times what we came up on, we were family, but [were] still dependent on each other. I remember when Saukrates got on, we were all like “Oh man, we are all going to make it,” just because Sauks got on. Or when Choclair got a deal we were like “Alright, this is the one!” After a few times we realized that we all have to work for ourselves, and it’s not that these artists didn’t look out for us, but there’s only so much they could do as one person. You’d have to do the work for yourself. You can’t expect people to do more for you than you can do for yourself.
HipHopCanada: It’s just like you said, when Akon opened the door for you, if your music hadn’t been there and your work ethics, it wouldn’t have mattered.
Kardi: Let me put it this way, just to clear up what people think that it is. Akon is not with me every day. He doesn’t babysit me. We don’t speak everyday. Akon is an international multi-platinum selling artist: one of the busiest men in the world. Kon doesn’t have time to hold my hand. The reason that “Dangerous” was able to pop and everything that I’m doing is working out well, is because I’m always grinding. We get no sleep. We’re out there on the road EVERY SINGLE DAY. Kon may call and check up and be like “Yo how’s it going? How can we improve?” and stuff of that nature. But we do this ourselves. Not to say that we do not get any help whatsoever, but 80% of the time, this is us being out there and that’s why Kon liked what I did and had a respect for what I did. If you look at me, or T-Pain, we are people who are self sufficient and are able to do it without him having to be there every step of the way. That’s why T-Pain was able to launch Nappy Boy. Kon says all the time: “I see eventually when you settle yourself properly and have the right amount of success, you’ll be able to do for others what I have done for you.” So that’s really how it is. We have to go and get it for ourselves. Akon is my dude but he’s got his own career to worry about.
HipHopCanada: You have said that you are an MC first before anything else. What kind of changes do you think this album will bring for hip-hop on a general scale and in Canada period?
Kardi: Really and truly, there’s a saying that “Nothing is new in the world; you just have to put your own spin on it.” I think with the climate and timing where music is going right now, a lot of things are catered towards the South. I’m not saying that there is anything wrong with that, but there is a need for a balance. I have a certain fire and twist that I put on things, based on where I come from that helps us shift back towards being creative and taking chances. If I had to name songs in particular, I’d say songs like “Digital Motown,” “Go Home With You,” or “Family Treat,” do just that. I just think sonically the music that I use and the way that I flow, will give a lot of emcees that come after me a lot of creative license to do things that they didn’t think they could do before, and things that they didn’t think people would accept. A lot of times that’s what it is; you need someone else do it first. And that’s not necessarily a bad thing; it’s human nature. You know the saying “human’s greatest fear is that of the unknown?” As soon as that whole unknown factor is out of the way, it enables certain people to go out there. I think that’s what the album will create nationally and internationally; give people the comfort to free up and be creative and take chances and try different things and make music in different ways.
HipHopCanada: Right. Opening room for originality and speaking on things they really want to speak on as individuals, rather than things that everyone else is speaking on.
Kardi: Yah man, say it. You have got to get it off your chest and not worry about how the world is going to perceive you.
HipHopCanada: Album dropped yesterday. What type of emotions are you going through? Nervous, excited, afraid?
Kardi: Nothing. It’s funny because we did a record release party in NY last night and Lennox Lewis came through and bought a bottle of champagne and I told him this was the only celebration I had done. No matter what the situation is; it could have an amazing first week, it could have a poor first week; all that stuff doesn’t determine the type of artist that I am and whether the project is going to be successful. We’re going to keep it moving and keep grinding it out, until we get the results that we want. Right now I got the label behind me, I got Jimmy behind me, I got Akon behind me and we’re going to keep working it out. at the end of the day you can’t just try and win this thing with the 100 meter spring, although you’d like to. Sometimes you have to be that African dude that has been running for 2 hours before he wins the race.
HipHopCanada: So you’re more than happy then?
Kardi: Yeah man, I’m blessed. If God was to allow me to not see another day tomorrow, Heaven forbid, we did a lot of good things. We’ve been places where I thought I would never be before. In this music we just make everything seem so disposable. This is crazy. This music has taken me to places I had never thought I would even see. Never mind just the music, I never thought I would physically be able to just GO to places. You know how weird it is to be sitting down and have someone like Jay Leno come in wearing a pair of jeans or whatever, just be like, “What up?” You know this dude that you see that’s like an icon to the world, talking to you regular. You know what it’s like to be in the studio and Akon is talking to Quincy Jones, and he’s talking to you like you’re just anybody else? To be in a place like Spain where people don’t speak English and 200,000 people show up on the beach singing “Dangerous?” This stuff that we’re doing right now is a blessing and no matter what people have to say, positive or negative we’re doing something great. And I don’t think God has brought me this far just to drop me off halfway before i get to the finish line. Everyday is a blessing and we always move as such without dwelling on things we were not able to accomplish. Everything has a time and a reason.
HipHopCanada: That’s dope Kardi. Thanks so much for the time and good luck with the album.
Kardi: Thanks man, appreciate it.
Written by Lola Plaku for HipHopCanada
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