Dangeruss, "My Fork" (2011)

On why Harmony Korine got in touch:

"From what I understand, they were in Florida and they were looking for an authentic white guy that was really from the hood, that was really from the ghetto. You know what I mean by the ghetto, the black ghetto, the real hood-hood, that had tattoos and whatever, that really lived that lifestyle. First and foremost, there was another rapper in the city [JJ Henry, aka Hard White] who was contacted by Harmony Korine’s staff, to ask and help scout, and I know [Henry]....He submitted like six or seven different people to Harmony, and from what Harmony told me in the meeting I had with them, he was going through them, and when he got to mine, [Korine] saw my video, and he saw me and told everybody just stop, this is him, go get this guy right now. That’s kind of how I was found.
"I spoke with Harmony, I had a meeting with Harmony. He was real cool. He told me he could tell everything was authentic and this and that, that’s kind of how it initially started, you know. He said he was looking for that authentic—he kept using the word, authentic—he didn’t want a fake version or—he wanted the real deal, he saw that tattoos, he saw the people that was in the videos with me, and he could tell that it was 100% real, you know."

On meeting James Franco in Florida:

"James, the day he flew into Florida, he came straight to my house and him and two of his representatives....It was actually one of my [trails off] … apartments that I had...[pauses] going on...things were kind of strange, man. I had things [emphasis his] going on in my apartment, when I brought them through. We sat down, I locked the doors and just kind of blocked it off for a little while. We sat in there for, I dunno, maybe two, three hours. I read out the lyrics to his people, so that he could study the lyrics. I performed the song for him in my living room. I kind of did a mini-show for him, to get my idea how to move, how to hold the mic. The gestures that go along with the song, stuff like that. We hung out for a good part of that day. He a real cool, real cool guy, real down to earth. It surprised me. He seemed like just a normal dude which was real cool, we actually kind of clicked immediately.
A couple days later he picked me up and we rode around the city for a little while. He just filmed me, him and his people filmed me. We went to the studio. I rolled up a big blunt about the size of a baby arm. And I know James, I know James a smoker, mane, everybody knows that. We went to the studio and I had a big old blunt. My partner had three of them already rolled up when I got there. He didn’t even know I was bringing James with me, he just smoke a lot of weed.
My partner had three different blunts rolled up. Three different kinds of exotic kush. We got there, we’re smoking. Me and my dogs smoking. James, because like I say James a smoker, everybody know that, he can smell the kush, and he was like, "Man what the hell is that?" Because it smelled crazy. I went to pass him the blunt, and he kinda reached up for it and then stopped, and he looked at his people, and they were like, "No no no, don’t do it, don’t do it," and he started laughing and he was like "Awww man," put his arm back down like, "I can’t do it, they’re telling me no, they’re telling me no."
"He came to my house for about six hours one day. He came to my house another day about nine in the morning. We hopped in my car. And him and two of his people, they followed me all day til like seven at night. They wanted me to take him to the hood, but I didn’t feel comfortable with that. A lot of people where I’m from, they don’t know who James Franco is. I know who he is because I love Pineapple Express, that was my shit. I didn’t feel comfortable because they all had cameras and shit. I can’t bring all these upscale looking whitefolks to where I go with a bunch of cameras, it’s not gonna work. That’s just being realistic. I can’t walk into the places I go and these people got cameras, they’d be like, "Danger, what the fuck you got going on, boy, what’s going on?" They gonna think it’s police or something. 
"Actually, we hit it off so good, he called me a couple weeks after he left, after he was done with the movie, after he left, he called me, said he wanted me to fly me out to Hollywood, California, he wanted me to be a part of something else that he was doing for a Se7en jeans campaign. He flew me out to Hollywood, put me in a five-star hotel, had private drivers. It was real nice, man, that was a whole separate project from the movie. So we hit it off pretty good, man."

On why “My Fork” wasn’t used in the film:

"We went out to my car to hear some of my music. I played him a couple tracks. Initially, he wanted “My Fork.” I told them I couldn’t let them get that one. It probably would have been a better play for me, because I’ve gotten more recognition off that song since the movie than the actual song that’s in the movie [“Hangin’ With the Dope Boys”]. To me [“My Fork”] is kind of like my little gold piece, my little gold nugget, it’s real catchy. It’s one of them songs you either love it, or you hate it.
A lot of people don’t understand it. They don’t like it because they think I’m rapping about a fork. They don’t understand the context. That’s the song they initially wanted, but I couldn’t let them get that one. So I went to another song called “Pots and Pans.” Which is a little more uptempo, but they felt like James couldn’t keep up with the lyrics on that one because it was so fast. And then I went to “Hangin with the Dope Boys,” and he was like, “If I can’t get ‘My Fork,’ I want ‘Hangin with the Dope Boys.’” I was like, yeah, we can work something out on that one. And then he even later on tried to go back to “My Fork,” he was like, you sure you don’t...? I’m like, yeah man, I can’t let that go."

On why “My Fork” is special to him:

"[“My Fork”] is one of them songs. You make a song and you know, when you’re an artist. When you’re a good artist and you have an ear for music, not just your music but music in general. You know what’s going to be a good song, and what’s going to take off. The second I wrote “My Fork,” the second I heard the beat, the song came to my head immediately. Like the beat talked to me. That tell me, hey, this is what I want you to say, I hear it, I hear my voice. It came together so quick and, to me, so perfect.
I really wish I would have put a better video to it, I just kind of rushed it and put a video together because I wanted to get it out there. If i was to get a record deal tomorrow, I could push that song again and get just as much positive feedback or recognition. It would take off the same way it’s taking off right now. But times ten. Because there’s millions of people who haven’t heard it. The crazy thing is, in the ghetto, in the hood, the people love it. But also it’s a lot of suburban people that really love it too.  I don’t know why."

On recording his mixtape Armed and Dangeruss:

One of the songs that’s on there is called "Straight Up Out the Ghetto," and that song is actually about an incident that happened next door to me, where this guy who lived next door killed two U.S. Marshals and two St. Petersburg Police officers, and he did it while I was in my house. They had the streets yellow-taped off, they were throwing concussion grenades in the house, they had helicopters, they had ATF, FBI, homeland security, armored tanks. They ended up tearing the house down with a bulldozer while he was inside. It was crazy, man, it was absolutely crazy. All you heard was AKs firing for hours and hours. I actually produced that beat too, if you ever get a chance to listen to that mixtape. It’s called “Straight Up out The Ghetto.” That song was based on an actual incident that happened, so that was a little bit of reality on the mixtape.

PAGE 2 of 3