Hip-hop, you're close to 50. When can we grow up?
In the split second from the time the ball leaves the pitcher's hand until it reaches the plate you have to think about your stride, your hip action, your wrist action, determine how much, if any the ball is going to break and then decide whether to swing at it.
Watch your attitude. I don't mean to sound like so much of an old head, but there is another generation behind me, out there, doing it now. I find that, with the whole hip-hop generation, there's a lot of attitude. Whether it's confidence or arrogance or whichever, I will always say to a young guy, “Nobody wants to work with an asshole.” You know, you can still be a great player. You can still play all of the baddest licks in the world. But if you don't have a good attitude, nobody's going to work with you.
The new-school hip-hop generation exists with a mandate to 'keep it real'; this has to do with embracing a hard-nosed truth about the world and letting the chips fall where they may.
And finally, I just felt it was crucial for some of us in the hip hop community to speak up on the issues of teen suicide, bullying, and the overall anti-homosexual sentiment that exist within hip hop culture. I felt so strongly about these issues and this song that I had to do a video that would command some attention, even if it makes some viewers uncomfortable.
Hip-Hop aint dead, it just had a heart attack.
Hip Hop can be a very powerful weapon to help expand young people's political and social consciousness. But just as with any weapon, if you don't know how to use it, if you don't know where to point it, or what you're using it for, you can end up shooting yourself in the foot or killing your sisters or brothers.
Marie Calloway has a very specific literary personality that the reader is intrigued by: she's masochistic, loves to experiment, is quickly bored and intermittently self-hating, very hip, rebellious. Figuring her out is a gripping adventure.
Think chest/hips/ push, or CHP, when it's time for uphill running. Chest up, hips forward, push strongly off each foot.
If Hip Hop has the ability to corrupt young minds, it also has the ability to Uplift them.
A lot of times, when people say hip-hop, they don't know what they're talking about. They just think of the rappers. When you talk about hip-hop, you're talking about the whole culture and movement. You have to take the whole culture for what it is.
One thing I always loved about hip-hop music was the raw, boom-bap element - it felt powerful and manly.
Hip-hop as a culture itself goes through stages. It grows - it's breathing, living. I've noticed that we usually start off conscious, then we wind up very highly sexual, and then we thug it out. Then things get a little funny again, with comedy and that kind of thing.
I know that I'm freer as a hip-hopper than as an executive. Even as a black man, I enjoy more freedom as a hip-hopper than as a black man. That, s controversial to say, but it's the truth.
Hip-Hop is being spoken through spirituality... Meaning that you'll be able to listen to it spiritually for yourself.
There's a Universe Instrument, where we apply Hip-Hop to astronomy, and we flush out the chemistry of Hip-Hop. We also flushed out the astronomy, to see where Hip-Hop is read in the stars.
I think that hip-hop should be spelled with a capital "H," and as one word. It's the name of our black people culture, and it's the name of our identity and consciousness. I think hip-hop is not a product, but a culture. I think rap is a product, but when hip-hop becomes a product, that's slavery, because you're talking about people's souls. To me, that's the biggest problem.
When I say hip-hoppers, I mean black, white, Asian, Latino, Chicano, everybody. Everybody. Hip-hop has united all races. Hip-hop has formed a platform for all people, religions, and occupations to meet on something. We all have a platform to meet on now, due to hip-hop. That, to me, is beyond music. That is just a brilliant, brilliant thing.
I think that all journalists, specifically print journalists, have a responsibility to educate the public. When you handle a culture's intellectual property, like journalists do, you have a responsibility not to tear it down, but to raise it up. The depiction of rap and of hip-hop culture in the media, I think, is one that needs more of a responsible approach from journalists.
Hip-hoppers are not interpreting what hip-hop is, and when we do interpret it, we interpret it as something immature, unorganized, and outlaw.
It's just hypocrisy on hip-hop's part to cry racial profiling when your race is on TV acting like fools.
If I were to critique myself - step out of KRS objectively and look at him - I would say that KRS has introduced the concept of being hip-hop, not just doing it. The concept of rap as something we do, while hip-hop is something we live. The concept of living a culture. Don't just look at hip-hop as rap music, see it as a culture.
I'm actually a huge fan of hip-hop. I like hip-hop music. I love rap. I like cabaret music, as well. I just love live music and bands.
I always knew that I had to direct. That was something I'd wanted to do. Finally, I was just looking at the situation and I said, "I wanna document hip-hop, as an art form, seeing how a lot of people don't take it seriously."
Rapping is a vocal delivery, so you can do it without being part of hip-hop and not knowing what hip-hop is about.
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