I wanted to pay homage to Kim. I feel like she is like the Madonna of the hip-hop world to me. Her style is iconic, and I wanted to show homage and pay homage to that, so when I called her, I told her, I’m like, “Listen, I want you on this record, but I just want you to be Kim. I want you to be the girl that was squatting down in a leopard thong, be that Kim. And I told her, I’m a fan, and as a Lil' Kim fan, that’s the Kim that I wanna see. That’s the Kim that I wanna hear. If I heard a Remy Ma & Lil' Kim record, I want Remy Ma to be the Remy Ma that Big Pun met, and I want Lil' Kim to be the Lil' Kim that B.I.G. met

I was working on something else, and I was like, “Wait Joe sent me a beat.” I told the engineer to pull up the beat that Fat Joe sent to me. I actually started my second verse first. Because the song “Queen Bitch” is just so dope, I’m like, “I got to get that flow in there somewhere.”

The verses are two separate lengths. I don’t really care. Before, I used to try to format everything perfect, 8 bars or 12 bars or 16 and then the hook. Now it’s just like however many bars I write, that’s how long it’s gonna be. So If I end up with a 8 and a 24, that’s just what it is. I knew how I wanted the flow when I started writing. I’m listening I’m like, “No, this would sound dope if Kim was on the hook.” Evan was like, “Really? You think she’ll do it?” I was like, “Yeah, I think she’d so it. What are you crazy? Of course, I talk to her all the time. That’s my peoples.” I really didn’t think she was gonna do it.

I was just talkin' shit. But I was like, “Of course, what are you talkin' ‘bout, matter of fact I’m call as soon as this is over.” In my head I’m like, “How am I gonna get her to do this?” 'Cause I just knew it would sound dope. I knew how I wanted it to sound. I didn’t even do my ad-libs. When I did my verse, I left space. I’m like, “I want her on my ad-libs like uh-huh, oh, wha.” Then I laid down my verse and nobody was there. I never really go to the studio with anybody. I don’t like people’s opinions. I don’t like people hearing it while I’m making it until it’s done.

After I lay my verses down, I call Fred the Godson. He was in the studio next to me. I’m like “Yo, I want you hear something. I want you to listen to it and imagine Kim on the chorus.” The shit come on, he like, “Oh, this is crazy.” I’m like, “I know, just shut up. Listen.” So he start listening. I’m doin' my verse, he like, “Oh, this shit is outta here. This is crazy.

A couple of days later, I called Kim, and it actually was really easy. She’s like, “What? I with you, you know that. It’s nothin', What you want me to do, send it over?”

She had already hit me up to do something. I went to her studio, and we was just chillin'. I explained to her how I was fan of her music for years, and as a Lil Kim fan, how I wanna hear her, and how I think I’d be so dope if she just took it back to the essence. Fuck what everybody’s doing right now and what everybody sound like now and tryna be current. I just want her to just go in, for the chick that was on the cover of the Hard Core album. That’s who I want you to be. I want you to be like, “I’m coming in as the girl that Pun thought was the nicest.” And I want you to come as the girl that Big thought was the nicest. After we finished die laughing, cracking jokes all night, playing til 4 o' clock in the damn morning be able to get anything done. We finally got around to actually working on the record. I don’t really like hearing stuff before it’s done. I get something called demo-itis, where you’re used to hearing it not mixed, not mastered, everything raw, and it sounds weird when you get it mixed. When it came back, and it came on and the beat drops, I was just like, “Uh.” I was like, “Oh my god, I am so happy. This just sounds so perfect.” Then we did the video and, which was also another amazing experience. The stars just was aligned.