Quotes of All Topics . Occasions . Authors
I don’t think that early hip hop stood out to be a social critique. A lot of fans of mine think that hip hop’s ultimate responsibility is to critique social structures.
Ain't nobody making music to not be heard and the easiest way to be heard is to be on the radio, but you should never compromise who you are, your values or your morals.
What is Norah Jones' style? Is it just the albums that we've heard? She has a rock group where she plays guitar in, downtown in New York, so do we really know her style?
Being called 'conscious' is a great thing to be, but it's the connotations and preconceived notions that come with the buying audience about what conscious music can be.
I am not a prisoner of conscious, but people try to make me one sometimes. It is both a gift and a curse. It's a high honour but can create limitations - I have to be fluid.
Hip hop is at its essence a folk music, because it speaks the language that people are still speaking at ground zero, it speaks the language that people speak on the streets.
My fans like to be romantic. I feel like I'm creating at least at the same level or even a higher level of creativity than I was at twenty-one. I've gotten better as an artist.
I not only wanted to showcase lyrical skills but also continue to drop knowledge on the hiphop community. Im looking to elevate through my music, and through my music I educate.
I not only wanted to showcase lyrical skills but also continue to drop knowledge on the hiphop community. I'm looking to elevate through my music, and through my music I educate.
We're in an illusion about what our role is in world politics and foreign affairs, and our policies are killing and destroying and doing a lot of things that we are not aware of.
I take certain steps to make sure I'm relevant artistically. I always have new music and a reason to be on the road. I'm not just playing 'Get By' over and over. I have 12 albums.
I think that I am seeing the Internet and seeing technology take and seeing how the work I do through music directly affects people's lives better than any politician I've ever met.
Nowadays rap artists coming half-hearted, Commercial like pop, or underground like black markets. Where were you the day hip-hop died? Is it too early to mourn? Is it too late to ride?
My parents are my biggest influences. My parents and my city. Brooklyn, New York, New York City, the community I grew up. I don't feel like I'm special in that. I feel like that's everybody.
So I think hip-hop is moving and is going to continue to move in the direction of rappers just being honest with themselves, whether you're talking about Common and Mos Def or Nas and 50 cent.
Harry Belafonte hit me to the Dream Defenders and I liked what they were about. When I asked them how I could help their movement, they said, "You can help by coming down here; you can tweet."
I have enough rhythm to blend at this point. I have enough rhythm to blend one song into another. But man, I have such respect for the art of deejaying. I hesitate to even call myself a deejay.
The founder of Crunk Feminists is a Christian. If you claim to be a Christian, but then you attack somebody for saying you should approach a problem with love, you're not being a true Christian.
The beautiful thing about hip-hop is it's like an audio collage. You can take any form of music and do it in a hip-hop way and it'll be a hip-hop song. That's the only music you can do that with.
There are staples to my show. I have to be conscious about switching things up because I know people who saw me last year will say, 'He did that last time.' But if certain things work, they work.
As far as being on a major label, some labels get it and get what they have to do, and some labels don't. I don't think the label I'm on necessarily gets it, but I think over time they're gonna have to.
As far as my New York influence, one thing I'm proud of in my career is, I rep Brooklyn, New York all day. But people don't look at my music as New York music. People consider my music underground music.
But Rawkus is integral to what I do, because the cats who started Rawkus are the first ones who really saw my vision, and gave me a platform to get it out there, so I'm definitely totally grateful for that.
They hope for the Apocalypse like a self-fulfilling prophecy Tell me when do we stop it? Do they ask you your religion before you rent an apartment? Is the answer burning Korans so that we can defend Islamics?
I support the idea that artists have to make a stand. I'm with that - you're putting the discussion on the table and you're letting people know. You're being brave as an artist and responsible to the community.
These niggaz ain't thugs, the real thugs is the government. Don't matter if you Independent, Democrat or Republican, Niggaz politickin' the street, get into beef, Start blastin'...now a new cat is executive chief.
You know, I've learned a lot from every person I've collaborated with, from Madlib to Jean Grae and Hi-Tek, to Mos to DJ Quik, to even somebody like Jermaine Dupri. I've taken something important away from every experience.
I like collaboration because, first of all, I'm good at writing lyrics. I don't know how to make beats. I don't play instruments. I'm not a good singer. So even when you see a solo album of mine, it's still a collaboration.
Michael Bloomberg is a sensible guy. He's just privileged. He's a goddamn billionaire, and he or his family members have never had to deal with anything as remotely degrading as stop and frisk. So he has no point of reference.
Crunk Feminist Collective, I think, is a noble endeavor, and any group of young women coming together to uplift women, especially being run by women of color, I have no choice but to support that. But they're dead wrong on me.
People didn't really take white rappers seriously until Eminem, because he was better than everybody. Like female emcees, you need to be like Lauryn Hill or Nicki Minaj or killing everything before somebody takes you seriously.
So I just had to step up how I was doing it and the moment that I stepped up and the moment I focused all my energy on that is when things started to happen. So there's a direct relationship between my inspiration and my output.
The only way for me to be an artist is to be honest in my craft. If I veer from that, I'm not giving the investors what they want. Sometimes it's my job as an artist to know what I want to do, even when the fans tell me different.
By the time you get into other kinds of music - R&B, country, or whatever - it becomes something that's romantic. It becomes something unattainable. Never-ending undying love. And in hip hop, we're still taking direct inspiration.
What's more condescending and corny than someone telling you how much more money they have than you and telling you basically, 'I don't care about poor people,' which is a large part of what you hear of corporate hip-hop on the radio.
I think hip-hop is no more misogynistic than America is as a society. I just think hip-hop is a lot more brash, a lot more bold, a lot more loquacious. There are a lot more words that go into a hip-hop song than go into a regular song.
There's consciousness in my music, and my music comes from a conscious place. And when people say that, I certainly take it as a compliment. But my job, in terms of selling my music, is to be universal and to try to get it to everybody.
My kids are the most inspiring thing that pushes me. It used to be because they were born, and I had to take care of them. Now it's because my son raps, and he's better than me. So now I gotta keep up with him, you know what I'm saying?
You'll be fooled if you only get your hip-hop from the mainstream, you know. The things that move people are not just found in the mainstream cultures. And when we talk about hip-hop in general, hip-hop's basically preoccupied with life.
With Prisoner of Conscience, the focus was - I've worked with Madlib, High Tech, Kanye West, J Dilla. I feel like I've worked with some of the greatest of all time. That's been overlooked. That's been overshadowed by the weight of the lyrics.
A lot of these people, these program directors, just like anybody else in the world, even though they're supposed to be leaders in the world, they're followers. They follow what they think someone else is doing, instead of trying to blaze a trail.
When Occupy Wall Street happened, I took my money out of Citibank. I already had problems with all the banks - Citibank, Bank of America - but I was kind of just too lazy to take my money out until I saw how Citibank responded to Occupy Wall Street.
I think once you're in the public eye, whether you're a boss, a teacher or whatever you do, that you're automatically in the position of role model. You have people looking up to you, so whether you choose to accept it or not is a different question.
I think all those artists are artists who are appreciated because you believe their words and you appreciate their honesty in their music. If you don't appreciate the honesty in the music, the beat can be fly as hell but you'll never give an emcee props.
I feel like people mislead themselves when they tell themselves they're into me because of the lyrics. From my vantage point, people aren't into me because of the content, because of the lyrics. Because there's a million of rappers who have great content.
Homosexuality in hip-hop is an extension of homosexuality in the black community. The black community is very, very conservative when it comes to homosexuality, and I don't mean conservative in the good way, like we're saving money. I mean very intolerant.
"Art Imitates life," of course, is that phrase by Oscar Wilde. I called that song "Art Imitates Life" because Oh No was in the studio and he actually came up with that hook. When I was trying to figure out a name for the record, it just kind of made sense.
There just needs to be a gay rapper. He doesn't have to be flamboyant, just a rapper who identifies as gay - who's better than everybody. Unfortunately hip-hop is so competitive that in order for fringe groups to get in, you gotta be better than whoever's the best.
Unfortunately hip-hop is so competitive that in order for fringe groups to get in, you gotta be better than whoever's the best. So before Eminem, the idea that there would be a white rapper that anybody would really check for was fantastic or amazing or impossible.
The materialism, the brashness, the misogyny - everything in hip-hop is amplified. Misogyny is a good example of something that is completely amplified in hip-hop. I do think there is more than enough of a balance, though, for fans who are willing to search it out.