Quotes of All Topics . Occasions . Authors
All the skateboarding brands that I was into had graphic T-shirts. In the '90s, there were different styles that went along with the different influences in skateboarding, whether that be hip-hop or rock and roll and grunge. And that's what I was into, so I was following all that.
I said 'Whoa, little hottie, I'm not DeLorean, Gambino or Gotti. I don't deal coke, And furthermore you're making me broke. I'll put you in a rehab and I won't tell your folks.' And what do you know, In 18 months she came home, And I let her back in... And now she's sniffing again.
Linkin Park has been a band for such a long time, for me, in my eyes. I was 16 years old when I first heard them. I heard 'Hybrid Theory,' and I was floored at what I was listening to. It was angry yet melodic, it had hip-hop and it had - it was just different, good. Good songwriting.
Justin Broadrick has stated that the drum machine sound was heavily influenced by hip hop artists in the late 80s, particularly the beat on “Christbait Rising” which Broadrick was quoted as saying, “It was my attempt at copying the rhythm sample on 'Microphone Fiend' by Eric B & Rakim”.
Every time I want to impress someone about samples and hip-hop, I play 'Portrait of Tracy.' It's one of the greatest bass players ever doing a whole composition with only the two harmonics of electric bass; then a three-second loop in it became every great R&B song in five-year intervals.
And from the moment that I saw you, I knew you was trouble, But I disregarded detour signs, And did not stop til you was mine. I guess God was like, 'Aight, fine.' Careful what you wish for, cause you just might get it in heaps. Try to give it back, He be like, 'Nah, that's yours to keep.'
Hip-hop is the streets. Hip-hop is a couple of elements that it comes from back in the days... that feel of music with urgency that speaks to you. It speaks to your livelihood and it's not compromised. It's blunt. It's raw, straight off the street - from the beat to the voice to the words.
The thing about the state of hip-hop is that people are too concerned. I don't think that there's a problem with being too concerned about videogames, especially for me, because I'm not in the industry. I'm just a consumer. But hip-hop is constantly like, "What are you doing for the scene?"
There's no real outlet for making Hip-Hop in Alabama. You need to travel to get heard. You really need to be working though. You need to be going at it every day and getting yourself seen, getting yourself out there on the road, doing shows, making music. It's all about being on your grind.
Throughout the whole Stroll album, I'm breaking barriers. Whether I'm doing acoustic hip-hop, singing my own hooks or singing my own verses... There's always going to be people who don't like it, cause they're stuck in their ways, or they just don't like you in general... but it's been good.
Im a hip-hop guy, and the first time I heard Eminem was in 96. He was on a record with Shabban Siddiq. I was like, Who is this guy? Hes dope! First album came out: awesome. Second album came out: awesome. Third album, I was like, Eh. He started to get really successful. He wasnt mine anymore.
I think we need to sort of broaden our definition of poetry, which maybe it's a good thing that they just gave this Nobel Prize to [Bob] Dylan because blurring the lines of song lyrics and also hip-hop for me is like some of the greatest uses - most innovative uses of language in my lifetime.
Bob Marley performed the 'One Love Peace' concert in Jamaica with the two different warring political sides. There's always been that in black music and culture in general. It's no surprise because black music is such a reflection of what's going on in black life. It's not unusual for hip-hop.
I've always done music to push people to get them to get uncomfortable in their seat so they could wrestle with things. Not to become pew potatoes, just simply sitting there, growing fat with knowledge and not applying it. It's a mixed tape that's really aimed and geared toward hip hop culture.
There's just something about being a young, working class, working poor, person of color in New York City in the 80's that needs to be understood by people outside of that experience. The way I put it is that we created something really amazing, hip hop, when we weren't even supposed to survive.
My hip-hop fans are a little spoiled - they want a particular level of lyricism and energy that I'm known for. When they don't get that, it takes a little time for them to open up to it. But electronic fans are as free as the music. On social media, they were so excited and loud; they're in awe.
I was drawn to love songs, but I was just drawn to great music - no matter if it's hip-hop, pop, R&B or whether it's rock n' roll or country. It could be a Garth Brooks song, and if it's a smash, then I'll love the different wordplay and different melodies. That's what I'm a fan of - great music.
From folk to tribal to Cab Calloway, Cole Porter, Gershwin to the Rolling Stones, whose first record was all covers, to country-western, bebop, blues, and even the referencing in classic hip hop to cliched love ballads of the '80s or whatever - that is kinda gone, and that's just terrifying to me.
While a lot of hip-hop was inspired by jazz or James Brown samples and was made to be played live in the clubs, I made hip-hop that was made for MCs to eat the mic up. It was an aggressive form of hip-hop. It was made just for hip-hop. It's not made to sing or dance to, though you can if you want.
Like the song "Stereo", to me that's like, kind of hip-hop in that slacker way. There's some slackerisms mixed in with that stuff, but it wasn't really conscious, I guess. When things would get more typical rock'n'roll that was my fallback to go to those kind of lyrics instead of the alternatives.
For me, I actually come from an electronic dance music background: house music, electro house, trance music, even. When I was coming out of school, basically, I discovered Brain Fever, Flying Lotus, J Dilla and all that. That was when I got excited about hip-hop and when the Flume project started.
Be interested in everything. You don't have to adore it. I don't adore hip-hop, I don't think it's great music, but I'm interested, I listen. I watch a lot of new films, I see everything. I still read, I like books, whether they are old books, new books. I'm interested - you gotta stay interested!
I never made beats to make beats; I only made them when there was a record to make them for. That's one of the things that has changed in hip-hop that's made me like it less. It feels much more like it's a producer-driven medium, where there are all these tracks that are completely interchangeable.
There are different kinds of R&B happening today. There's the traditional, more soulful R&B that doesn't get the recognition that it deserves. Then there's the more hip-hop oriented stuff. You got your boy Ty Dolla $ign, people like that, who are bringing more hip-hop elements to R&B, which is cool.
I've been involved in a lot of different kinds of projects. I've been on straight hip hop tours. I've been on underground rock tours. I've been on multimillion selling rock shows. I've been in the jam band thing, and both commercial and underground hip hop. Very few people listen to one kind of music.
There are certain artists that get into the little circle in hip-hop, and everybody is talking about them, and they are buzzing. But they can't go out and sell out tours, perform in front of 3,000 people a night, and things like that. We did things backwards; with Visionary, we got all the fans first.
Save your wack rhymes, hold your female. Pass the Old Gold, trash the ale. Cash your food stamps, get the WIC out the mail. Love to eat shrimps, but I never eat snail, Eat a whole fish except for the tail. Keep food in the fridge so it don't get stale, And when there's nothing to eat...I bite my nails.
I'm a small-time white kid trying to represent hip-hop. If a hip-hop artist comes up and beats me in a battle, who did they beat? A small-town white kid who ain't never been an MC, who ain't never done nothing. Now if an MC comes to battle and they get beat by a small-town white boy, that's MC suicide.
Sometimes you have the trends that's not that cool. You may have certain artists portraying these trends and don't really have that lifestyle, and then it gives off the wrong thing. And it becomes kinda corny after awhile. It's really about keeping hip-hop original and pushing away the corniness in it.
When my time is up in hip-hop, it's going to remain what Afrika Bambaataa thought it was supposed to be. It's going to remain what Kool Herc thought it was supposed to be; what Wu-Tang Clan sees it as; what Outkast sees it as; what Snoop Dogg sees it as. People are trying to forget that brand of hip-hop.
I was listening to a lot of hip hop, music like Public Enemy that was about raising consciousness, and I realised I could feed that directly into my work, using images in a way that was a bit like sampling - taking images from diverse places, exploring the contradictions without trying to hide the seams.
My name was given to me. I didn't just decide to change it one day. But I ran with it to reflect a more peaceful and positive attitude for my new Reincarnated project. The Snoop Dogg name is so connected to hip-hop, and I didn't want to change that. Hip-hop raised me, and I would never turn my back on it.
As an artist, I always just want to grow as a songwriter. I listen to a lot of music. I listen to music all the time, whether it's hip-hop or soul or rock or whatever. I'm always listening to music and trying to learn from other songwriters and how they tap into certain emotions and communicate more clearly.
In some ways it's hard to see electronic music as a genre because the word "electronic" just refers to how it's made. Hip-hop is electronic music. Most reggae is electronic. Pop is electronic. House music, techno, all these sorts of ostensibly disparate genres are sort of being created with the same equipment.
My forte is the music. But obviously if ya don't keep up with the business, then your kinda doing it for nothing. So I do plan on being well off doing, maximizing what I do now. I heard Jimmy Kimmel describe being in your thirties in hip-hop is like the equivalent to being 300 yrs. old; almost like a dinosaur.
I'm trying to open up my range and really sing more. With The Fugees initially, and even with 'Miseducation,' it was very hip-hop - always a singing over beats. I don't think people have really heard me sing out. So if I do record again, perhaps it will have an expanded context. Where people can hear a bit more.
I am proud of the hip hop generation. They are good business people and, actually, good people. It's strange that the only time the major press talks about them is when someone gets killed or does drugs or something; yet these are the same press people who made heroes out of the Mafia and other crooks, you know.
If you take a guy like a Barack Obama, who's raised millions of dollars from the most donors in the history of this nation, it suggests that there's a deep and profound hunger for a new politics to come forth. And a guy like him has been able to mobilize that and to reach certain parts of the hip-hop generation.
Quentin Tarantino is a hip-hop artist. I told him, "You're hip-hop!" You keep seeing surprises, and a clip here and there, because Quentin is hip-hop. A hip-hop artist will drop a single, leak something over here, and drop something over there 'cause he knows it's hot. He's on the spot with the way he does things.
I had danced with Janet Jackson and P. Diddy so I had done a bunch of hip hop. Really and truly my roots are in modern and ballet but, professionally, that's not really out there any more, unfortunately, so these artists aren't really having a lot of ballet dancers behind them so I had to learn hip hop really quick.
Growing up in New York, there are a lot of tenement buildings and a lot of projects. You don't leave your projects too much. The laundry's there. The grocery store is there. Everything takes place right there. When I got knowledge of myself and thought about moving around the city, hip-hop was something that helped me.
I wanted to do is kind of invoke that and then dive into that kind of repetition as a DJ thing because DJing you hear beats, like "boom, boom, boom, bap, bap." You know hip hop, house, techno. So how do you translate between those electronic motifs and the motifs of the landscape itself? That is what I wanted to go for.
I've loved hip-hop all of my life, but there came a time in my life when my entire life had a shift: where, before, I was just kind of going to church every now and then; then, there was an actual change, where I actually understood who Jesus was, actually understood the message of the Gospel, and my entire life changed.
It's like a paradox. For one side, being popularized rap got better and the other side of it got worse. It's very pop and it's very different now. When you make it as pop and as soft as it is, it lacks its integrity. It lacks its accountability. It lacks a lot of other things that came from that dangerous time in hip hop.
Hip hop dancing is more like choreography and it's more made up and you have to learn it. This, this Krump and Clowning you can't learn, it's just in you, the music moves you, you know. It's raw and organic, you know, it's like whatever comes out of you, you make it up tempo with the rhythm, you know, and it just comes out.
I always make a point to make my records different. Let's say I have a record that's influenced by hip-hop in an abstract way; for the next record, I'd try not to do that. They are all connected in a personal way but it's important not to repeat myself, because then I can always learn something about myself through my work.
Call me what you want b*tch, call me on my sidekick Never answer when it's private, d*mn I hate a shy b*tch Don't you hate a shy b*tch? Yeah I ate a shy b*tch She ain't shy no more, she changed her name to me b*tch hahahaha, yeah, n*gga that's my b*tch So when she ask for the money, when you through don't be surprised b*tch.
White people couldn't do black music back in the day because they weren't funky or bad enough. They weren't from the ghettoes, but hip-hop and R&B changed all of that because white kids want to be down with it. They wanted to learn it so they studied the culture. It's kind of a cool thing because we shouldn't be so separate.
Hip-hop definitely saved my life. Being able to write about the things I was doing, the things I was seein' and all that stuff, putting that on paper and coming into my own as Joell Ortiz. That's why I don't have a stage name, because I chose to talk about everything under the sun that happened to me or next to me in my music.
It was actually the production group that ended up producing the show for us...Every musician, especially in the hip-hop community, you always make these show recaps or vlogs, and essentially what "Touring's Boring" was is, we tried to make our vlogs interesting and almost more like a TV show. That's how we got discovered by TV.