Rap Quotes - Page 39

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Contrary to popular belief, maybe, I'm a really friendly guy, I guess, and I really like meeting people. And I'm not really super impressed even if you're my hero; I can just rap with you and we can hang. I'm not gonna like sit there and bite my lip and ask questions about certain songs - okay I might do that once or twice. But it's just, like, two people hanging out.

Back as kids we used to kiss when we played truth or dare, Now she's more sophisticated, highly edu-ma-cated Not at all over-rated...I think I need a prayer To get in her boots, and it looks rather dry, I guess a twinkle in her eye is just a twinkle in her eye. Although she's crazy steppin', I'll try to stop her stride, 'Cause I won't have no more of this passin' me by.

I think you gotta always do things that keep you excited in an [rap music] industry that's so bullshit. When you know that you have so much energy and so much to give, it would be a shame if the facilitators of that aren't enthusiastic about you doing it, because you've been doing it for so long. So you just gotta figure out ways in this insane business to keep it fresh.

In the long-run I think we lost some of our audience because of noise. I don't think people were ready for it, OK? And after we did it nothing really happened, but then 4-5 years later when there was a rap-rock emergence, we were already over it. We could have made Bring the Noise part 2, Bring the Noise part 3 - but like I said we're a METAL band, we didn't want to do that.

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.

Men who cannot believe in the mystery of our Saviour's redemption can believe that spirits from the dead have visited them in a stranger's parlour, because they see a table shake and do not know how it is shaken; because they hear a rapping on a board, and cannot see the instrument that raps it; because they are touched in the dark, and do not know the hand that touches them.

Armed and dangerous, ain't too many can bang with us Straight up weed no angel dust, label us Notorious Thug ass niggaz that love to bust, it's strange to us Y'all niggaz be scramblin, gamblin Up in restaraunts with mandolins, and violins We just sittin here tryin to win, tryin not to sin High off weed and lots of gin So much smoke need oxygen, steadily countin them Benjamins

Not only the brothers on the street but the middle class brothers are also identifying with the gangster rappers because of the extent to which this music circulates. It becomes possible for the - not only the young middle class men, but it becomes possible for young middle class white men and young men of other racial communities to identify with the misogyny of gangster rap.

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.

Everything that’s out now…rap wise and music wise in general [is whack]. I mean, you know whack when you see it. So I’m on a crusade against whackness, and I hope no whackness comes my way. That’s my move, my mission for this record: to combat whackness on all fronts – to make sure that people know what quality music is. It’s not so much about message, but have something to say.

It's the principle of it, I get a rush when I bust Some dope lines oral, that maybe somebody'll quote. That's what I consider real in this field of music, Instead of puttin' brain cells to work, they abuse it. Non-conceptual, non-exceptional, Everybody's either crime-related or sexual. For those who pose lyrical, but really ain't true, I feel: Their time's limited, hard rocks too.

What's when you rap and don't appreciate the art? What's when you sell out just to get a start? What's when you make bullshit just for the charts? What's when you rap, but it's not from the heart? What's when you're hardcore, then you turn pop? When you steal ideas to get props? When you sell out to be on top? What's when you front like you're hard, but you're not? That's a gimmick.

In terms of content, a lot of rap is crap, with all the sexism and homophobic bullshit. It's incredible how rappers are always preaching nonconformity - you know, "I'm just gonna go my own way and be my own man and blah blah blah" - but they're the first ones to do so many things that they have to do. They have to do that hip-hop thing, a certain way of walking, and it's so conformist.

MCs get a little bit of love and think they hot, Talkin bout how much money they got...all y'all records sound the same. I'm sick of that fake thug, R&B-rap scenario, all day on the radio, Same scenes in the video, monotonous material. ...Y'all don't hear me though: These record labels slang our tapes like dope. You can be next in line and signed, and still be writing rhymes and broke.

"Vell," said Mr. Weller, "Now I s'pose he'll want to call some witnesses to speak to his character, or p'raps to prove a alleybi. I've been a turnin' the bis'ness over in my mind, and he may make his-self easy, Sammy. I've got some friends as'll do either for him, but my adwice 'ud be this here-never mind the character, and stick to the alleybi. Nothing like a alleybi, Sammy, nothing."

What's bad for the culture is wack rappers that get held in high regard like they're some great thing because it's the flavor of the month, but everybody knows they can't rap. I don't think it's hard, even for somebody who's not hip-hop, to know that that's not good. When you put them up against somebody that can really rhyme, you go, "Okay, I get it. This is what it should sound like."

We were coming out of the black community with this thing called rap music, which was basically black men yelling at the top of their lungs about what we liked and what we didn't like. It was disturbing to the status quo. It really shook things up. And those in power didn't know what to make of us, but they knew that we had to be silenced, stopped in any way from expressing our outrage.

Little brats yellin 'Trick or Treat' all through my screen door, When y'all should be at home sleep, Instead of at my front porch 15 deep. The jack o' lantern came in handy... I can turn my porch light out like I ain't got no candy. But ain't that somethin? You buy a Halloween costume and a pumpkin, Almost gave your children a heart attack. It's a tradition, but who the hell started that?

For a long period of time, the media covered rap music and hip hop the same way they cover a lot of black people, people of color, you know, the bad news happens to be news. They used to have these little stupid colloquialisms that pop up like, "You know what? No news is bad news!" They trick the masses into thinking that any news is great for you. And I just think that's a piece of crap.

I think what's exciting about doing it as found footage - if we all are being honest, found footage gets a little bit of a bad rap sometimes, but I think that there's a lot of potential in the medium in taking it seriously and in treating the audience with respect and in treating the characters with respect in terms of, why is the camera really on? Where would the camera be when it is on?

The particular skill that allows you to talk your way out of a murder rap, or convince your professor to move you from the morning to the afternoon section, is what the psychologist Robert Sternberg calls "practical intelligence." To Sternberg, practical intelligence includes things like "knowing what to say to whom, knowing when to say it, and knowing how to say it for for maximum effect.

Back in the days when I was a teenager, Before I had status and before I had a pager, You could find The Abstract listening to hip-hop, My pops used to say, it reminded him of be-bop, I said, well daddy don't you know that things go in cycles, The way that Bobby Brown is just ampin' like Michael, It's all expected, things are for the lookin', If you got the money, Quest is for the bookin'...

Leaders trust their guts. "Intuition" is one of those good words that has gotten a bad rap. For some reason, intuition has become a "soft" notion. Garbage! Intuition is the new physics. It's an Einsteinian, seven-sense, practical way to make tough decisions. Bottom line, circa 2001 to 2010: The crazier the times are, the more important it is for leaders to develop and to trust their intuition.

I think the rap community always tells the truth. And I think that it's important that we listen to their voices so we can have a roadmap, because artists - almost every single artist in hip-hop, they paint a picture of society that's overlooked. The misogyny, the racism, the violence, the homophobia, these are things that we try to avoid instead of dealing with. All of that I see it so often.

We thought that using rap would draw a parallel with the protest music from the 60s and 70s that we found through the research for animadoc. When we thought about rap, Emicida immediately came to mind and we decided to call him to create this song bring the audience back to earth and put their feet on the ground. Emicida's song is the only one that has lyrics in actual understandable Portuguese.

A lot of people have that story that they used to sell crack or shoot people; that's nothing new. But honestly, if that was me, I probably still wouldn't be doing that because it's so many people that's doing that. It just gets old when you hear a million raps about how many ways I could shoot you. So I just try to be more creative and come with something new because I actually care about the music.

I got a smile that'll make the mirror crack, And I seem to stay under clouds that's pitch black. So when it rains, it pours, and when it pours, I'm soaked. I contracted lung cancer from third hand smoke, And I'm like the frog that's dying to be a prince, The boy who cried wolf and no one was convinced. The man who hit lotto and lost his ticket, In a rainstorm...and struck by lightning trying to get it.

If you want to speak about different ethnicities and diversity, rap and hip-hop are all over the planet. Every country, from Turkey to Australia, now has tons of hip-hop artists. The music and artistry have moved way faster than the corporatization of the music. You do need organization and opportunity for these artists to express themselves, and I don't think it has to come from a corporate co-signing.

I used to do more melodic stuff, and I used to do more actual rap - like traditional hip hop vocals. I think my method of storytelling has led me to this point, at which I want to pare down my style. I think I give the lyrics more thought, and then when I try to perform the lyrics over the track I'll try it over and over again, and eventually the lyrics will sink into the track by the way I project them.

Skepticism's bad rap arises from the impression that, however necessary the activity, it can only be regarded as a negative removal of false claims. Not so... Proper debunking is done in the interest of an alternate model of explanation, not as a nihilistic exercise. The alternate model is rationality itself, tied to moral decency--the most powerful joint instrument for good that our planet has ever known.

You can't write a book if you've never read a book. And if you've read five books and you try to write a book, your book will mainly encompass the themes and the context of the five books you've read. Now, the more books you read, the more you can bring to a book when you decide to write one. So the more rap I learned, the more I was able to bring to rap when I decided to rap. But this was all subconscious.

There are a lot of new sounds I've gone for, which I may not have been ready to go for in the past, especially moving away from just rapping. I really tried to push my songwriting side on this one. I think that, for better or worse, people have definitely been able to tell. Changing style is always gonna be a love/hate thing for people, but I love it all, and I can't please everyone so that's all that matters.

I met some brothers out from Canada recently who are real cool people. They make Spanish-language music called Cold Blue and I met then at a Lat-Rap conference and they seem like real good peoples from Central America... and that's what it is. It's just based on mutual respect. So when I meet people like that I'm like, "if y'all going to be real with me, I'm going to be real with y'all" and that's all it takes.

Let's travel at magnificent speeds around the universe What could you say as the Earth gets further and further away Planets are small as balls of clay Astray into the Milky Way, world's outasight Far as the eye can see, not even a satellite Now stop and turn around and look As you stare in the darkness, your knowledge is took! So keep starin' soon you suddenly see a star You better follow it, cause it's the R.

The military ain't there for the people's protection, They're just there to protect an investment. That's why people get arrested, electrocuted, molested, Connected streets are infested with those tired of protesting. Traumatized children grown in guerrilla garrisons, 9/11 generations pale in comparison. And you will learn a lesson repeated through history: That no matter what you think, occupation is not victory.

Well, the first thing I do is I try to listen to whatever rapping is already on the track. I listen for cadence and melody to see how the track's already been written, and to make sure that whatever flow or flows I decide to run with, or patterns or melodies that I decide to put into the song, that they're not already in there. Then I try to see if there's a different part of the subject matter that I can talk about.

Gangsta rap often reaches higher than its ugliest, lowest common denominator, misogyny, violence, materialism and sexual transgression are not its exclusive domain. At its best, this music draws attention to complex dimensions of ghetto life ignored by most Americans. Indeed, gangsta rap's in-your-face style may do more to force America to confront crucial social problems than a million sermons or political speeches.

Whatcha gonna do to this? You may be older than me, but you're new to this. Cause I been out there, queen of MC's, When your man was walkin' round in mocknecks and Lee's. While you were over here perpetratin' a fraud, I was overseas on the charts with Boy George. You're the beginner, Shante's the winner, Havin' other competition for dinner. Sit you on the table with a plate and cup, Say grace...and then eat your ass up.

There are so many millions of records out there, you should always be playing old and new together. This way, people can respect what the early elders of certain musical tastes have given to what we are now, and where we're going in the future. I don't care if it's rap, metal, whatever. You still should play Beatles records mixed with Limp Bizkit mixed with Foghat mixed with Creedence Clearwater Revival, stuff like that.

I bet you never heard of a playa with no game, Told the truth to get what I want, but shot it with no shame. Take this music dead serious while others entertain. I see they makin' they paper so I guess I can't complain...or can I? I feel they disrespectin' the whole thang. Them hooks like sellin' dope to black folks, And I choke when the food they serve ain't tastin' right, My stomach can't digest it even when I bless it.

The difference between me and other athletes is that I'm speaking on things that I go through that I know other people go through. I think a lot of times the mistake in music if you're broke, rap about being broke, if you're sensitive, rap about being sensitive, 'cause there are other sensitive people. If you're sensitive but you talk about being a tough person that doesn't care about anything, people will call your bluff.

... I think the idea of crossing over is the ultimate expression of being ... Maybe it's time to play rock and roll on disco ... maybe it's time to play heavy metal on R & B, things like that. Certainly culminating on things like Aerosmith doing the rap thing with Run DMC, which if they hadn't done that, or if Eddie hadn't played with Michael Jackson, or if I hadn't done "Hot Stuff", people would have said "You can't do that"

Coming into this, making music, I knew that was something that was going to be held over my head. Okay we get it, you're openly gay, but do you know how to rap? Can you really rap and deliver? And I feel like I have that pressure put on me that other artists don't. A lot of people don't have to focus on being so lyrical and actually putting on shows. Before anyone was gonna tell me I was bad, I was gonna prove that I was good.

I'm a jazz guy and a Bruce Springsteen guy. So I wanted something more current, and edgier, and angrier. So I asked my kid to educate me about hip hop; he has an encyclopedic knowledge of it. And he did so. I found it to be much richer than I would've thought. I think some of the poetry in it is really spectacular. I threw rap into the book. I think I mentioned Kendrick Lamar. I'm really into Tupac these days. I love Nas, N.W.A.

Mindless violence, well let me try to paint it. Here's the 5 steps in hopes to explain it: 1, It's me and my Nation against the World 2, Then me and my Clan against the Nation 3, Then me and my Fam against the Clan 4, Then me and my Brother, we no hesitation Go against the Fam until they cave in 5, Now who's left in this deadly equation? That's right, it's me against my Brother Then we point a Kalashnikov And kill one another.

I don't think I'm more politically-based as much as socially-based. My grandmother died on February 29th, and she kept all of my magazine and newspaper scraps, every interview. I've been in the newspapers since I was about 15 - not for rapping, but for real substantive stuff I was doing in the community, organizing around gang violence in the schools. So I had already made my grandma proud before I was on TV. I've always been who I am.

We have to remember examples of many artists of conscious rap who have been coopted by the Department of State of the United States to be cultural ambassadors in different parts of the world, like Syria, like other parts of the Middle East, including conscious Islamic-American rappers that are representing an international political agenda for the United States through cultures more affable for people of color in other parts of the world.

I like to consider myself a student of hip hop. There's a certain level of certification and wit and craftsmanship that comes with rapping. As rap progresses - it's a young genre - it's becoming way more mainstream, crossing over to different lanes. I feel like it's losing its essence in a way, because it's getting commercialised. I want to keep it fresh and keep it progressive, but I also want to respect the foundation of what rap is about.

I might ask about the first time a person heard a song that they really responded to, like when I asked Mos Def when he first "got" hip-hop and he went into this memory about how hearing someone rap really affected him. He wasn't simply remembering the event. It was almost like he was occupying that space again. When you can really transport an interview subject like that, your readers can feel it and it helps them to connect with the artist.

I wanna feed 5,000 like Jesus, I wanna build a community center where the homeless and less fortunate can come take a shower, get a hot meal and a change of clothes. Maybe not new clothes but some clean clothes. Those are my goals, my raps and goals haven't changed. I'm about helping somebody, I use my celebrity status for the good of mankind. That's what I do, so for all the Hip-Hop people, if they just pull from me the gold, they're missing so much.

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