You got to realise that when I was 20 years old, I had a house, a Mercedes, a Corvette and a million dollars in the bank before I could buy alcohol legally.
In L.A., we listen to everything. If it's banging, it's banging - we don't care where it's from.
There's never been any bad vibes between me and Snoop.
I've always hated authority from an early age. And authority have always hated me.
Mission accomplished, we didn't have any problems as far as violence goes.
I've sold a lot of records. Did I keep other artists from eating?
Somebody approached me about working with Michael Jackson, and I did say no because I like working with new artists or people that I've worked with in the past. I can develop them from the ground up. There's no set standard that I have to live up to or anything like that.
When we started Aftermath, we had something like 20 artists, and it was driving me crazy. I couldn't sit down and focus on any of it. Plus, it was doubly hard because you ended up crushing these people's dreams when you had to let them go.
I like working with new artists.
I'm always going to talent scout and try to find new artists to work with.
Kendrick Lamar is the real deal. He's a real artist, and he's gonna be here for awhile because this guy is seriously talented.
One of the first people that believed in me, the first person to invest in my talent, me and this guy used to argue all the time in the studio, but at the end of the day, we both realized that we were after the same goal, and that was to make great music. And I'm talking about Eazy-E.
It's always weird when people approach me to make an investment. I tell them, 'I don't need any more money. I'm good.' Then I wait for their expression. That part is entertaining, because people look at you like you're crazy when you say you don't need any more money. Who says that?
If you're not sincere with it, you shouldn't say anything at all.
You just have to find that thing that's special about you that distinguishes you from all the others, and through true talent, hard work, and passion, anything can happen.
I have social anxiety.
I've been living the American Dream for over 25 years - just being able to do what I do, be creative, and make money out of it. It's incredible.
When the ideas are coming, I don't stop until the ideas stop because that train doesn't come along all the time.
I've gone seventy-nine hours without sleep, creating. When that flow is going, it's almost like a high. You don't want it to stop. You don't want to go to sleep for fear of missing something.
An instrumental album is something I've been wanting to do for a long time.
I had between 20 and 40 songs for 'Detox,' and I just couldn't feel it. Usually, I can hear the sequence of an album as I'm going, but I wasn't able to do that. I wasn't feeling it in my gut.
I realized at a young age that sequence in an album is almost as important as the songs that are on the album.
I sequence during the entire recording process. The sequencing changes as I'm recording and as I'm listening. From when I'm, like, four songs in, I start trying to figure out which song should come after which. Which is important, and it changes as the album goes.
'Straight Outta Compton' is the album I'm least happy with. I threw it together in six weeks so we could have something to sell out of the trunk.
I'm never gonna stop music, it's like air to me.
I was the biggest Public Enemy fan - I think it's what inspired the aggression of N.W.A. We just took a different route lyrically.
In fact, I would advise against anyone doing reality shows. I won't be doing 'X Factor' just yet.
Engineering and mixing are absolutely key. Once a song is done, for me personally, it's usually two or three days to get the mix down.
No matter what type of equipment you have, you still have to have a certain talent to be able to make a good record.