I grew up in New York City in the '80s, and it was the epicenter of hip-hop. There was no Internet. Cable television wasn't as broad. I would listen to the radio, hear cars pass by playing a song, or tape songs off of the radio. At that time, there was such an excitement around hip-hop music.
I heard Q-Tip on the Jungle Brothers' song 'The Promo.' It was very exciting. It was very new. The music and the culture around hip-hop was evolving. I think there's an emotional quality to their music and there's a vulnerability to the music. For me, A Tribe Called Quest was my Beatles.
Right now I'm taking a break from hip-hop documentaries. But I would do it if things lined up.
So to compare the Beatles, obviously the Beatles are the Beatles, but in hip-hop terms, Tribe is the Beatles. Grandmaster Flash and the Furious Five are the Beatles. Big Daddy Kane is Jimi Hendrix. It means that much to people that grew up with it.
The effect hip-hop had on me was enormous. I was exposed to it by happenstance. My father worked at a radio station in New York called WKTU Disco 92. It was the first radio station in New York City to play disco in the late '70s.
I don't even listen to hip-hop anymore. All my friends are white and over 40.
I have pretty ecumenical tastes. I'm interested in a lot of different kinds of music, so I don't listen with a jaundiced ear to music because it's in a certain category, whether it's country or opera or hip-hop or bebop or whatever it is.
I've been dancing my entire life. Jazz, hip hop, ballet. And then there's tap dancing. I love to tap.
I expect the hip-hop audience to be avant garde. I want them to be where I'm at or beyond where I'm at.
The upside of being a part of a post-civil rights generation is that black folks really are more diverse. But the flash point for that diversity is caught up in Hip Hop. So you have a generation that says, 'I'm gonna wear my sneakers, and I'm gonna wear my pants how I like themThen you have a generation that says, 'I did not get bit by dogs for you to conduct yourself this way. Then the younger generation says, 'Yes, you did. This is what freedom means.'
15, 16, I mean, 17, 18, is when I was really getting into the hip hop phase and really studying the things that I needed to study as far as learning about flows and learning about lyrics.
Everyone who raps isn't hip-hop. To be hip-hop, you've got to know the culture. You got to know the history.
The thing about hip-hop is they always want to classify you as one particular artist, but hip-hop is about going outside the box and expressing yourself however you want to.
The moment I made that decision to get in the studio and actually work and study the culture of hip-hop, then everything just started to open up and blossom for me.
Dear Hip Hop, we can't scream 'murder, misogyny, lawlessness' in our music & then turn around and ask for equality & justice.
A lot of underground hip-hop will inspire me as far as rhyme patterns - really wordy, intelligent lyrics.
Pitbull is great with brands. Endorsements with hip-hop artists work because hip-hop artists typically set the most trends... It's every brand's goal to be seen in the mainstream, and hip-hop music has become mainstream music.
Many critics are like woodpeckers, who, instead of enjoying the fruit and shadow of a tree, hop incessantly around the trunk, pecking holes in the bark to discover some little worm or other.
I guess the difference between the Korean hip-hop scene and the American hip-hop scene is that in the American hip-hop scene, you know, they have their Jay-Zs. They can become conglomerates through hip-hop. In Korea, it doesn't happen.
Michael Jackson carried urban America and eventually American society on his vocal cords for a good 25 to 30 years before even hip-hop became the vox populi of America, and then as an adult he shattered racial barriers.
I went down to London with the idea that I was going to do vocals over this crazy, crazy trip-hop digital beat. Within two or three months, I heard Hunky Dory by David Bowie and that changed me in one way, and I realized what I actually wanted was to have an E Street Band - individuals, not session musicians.
For us, selling a million records in 2005 is the equivalent of selling 2 to 3 million records (five years ago). Rock records aren't flying off the shelves like they used to. Hip-hop and pop are so huge. (But) everything's on the upswing for us.
When I die, so does hip hop.
When I fell in love with hip-hop, my favorite rapper was Jay-Z. But I used to like Common and Nas. But I was a South dude. So I grew up on UGK, Triple Six, Outkast, and Pastor Troy. That's where I get my lingo, my slang, my passion.
The competitive nature of hip-hop culture has always had battling involved with it. So you battle with the other artist but not necessarily in business and everywhere else.
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