Quotes About Hip-hop

'Hustle & Flow' came out, and I was really rooting for 'Hustle & Flow' because, you know, it was a hip-hop movie, and it was a good movie. It was well acted.

I got Ice Cube his start. I also launched Eazy-E.

Growing up in the '90s, I just loved 'Ice Ice Baby.' I knew, and still know, every single word to that song.

I'm happy to be for people what Scarface, Ice Cube, and Rakim have been for me.

Oh, my dad listens to a lot of 2Pac, Ice Cube and WC. That's what he was listening to a lot when we were growing up. He's always been a fan of hip-hop.

Come on, I'm from Iceland; I don't do hip-hop.

I kind of idolized older punk-rock and hip-hop bands, and I was, like, 15 when I started the Beastie Boys. And what business did we having doing that at that age?

I never imagined that Hamilton would be turned into a musical, much less a hip-hop musical. I think I can safely say that that's the last thing I would have expected.

In my opinion, some of the hip-hop records that come out, people are willing to compromise. I'm not.

I wanted to appeal to people who've never really listened to hip-hop or really given it a chance before. I've also tried to incorporate all my favorite lifestyle things in the music. Of course, 'Fashion Killa' is one of peoples' favorites because it just expresses how much I like fashion.

What is American education? What should our students be taught? Is hip-hop something that is worthwhile and useful for students to learn? Of course, if you're learning it from KRS-One, I would say yes.

In the early '90s, Too Short was like one of the first dudes who kinda discovered Lil Jon. So I always used to see him at concerts and we'd pow wow - a good dude, you know?

Soul music is soul music. It can be wrapped up in a neo soul package; it can be called hip-hop soul. But soul is soul, and it's been around; it will never go away.

Biggie and Big Pun were the best storytellers of the '90s. I would get wrapped up in the narrative of what they were talking about.

When I first started making music, I was pretty drawn to hip-hop beats wrapped together with super-good lyrics. The most important thing in that is wordplay, so that stayed with me when I started writing songs.

I had a sister who was killed in a motorcycle wreck when I was around 4 years old. My parents adopted her son, and so my nephew became my brother. He was three years older than me, so through him, I was exposed to hip-hop.

If you watch wrestling, you now know the hip-hop culture is being represented with wrestling. For the longest time, the cultures have almost been parallel.

Wrestling has grown so big... it's almost a culture. And it's a culture of all types of vibes, just like hip-hop has all kinds of vibes and rap has all kinds of vibes.

I make hip-hop, but use Doom as a character to convey stories that a normal dude can't. You have writers that write about crazy characters, but that doesn't mean the writer himself is crazy.

For me, graffiti writers were always the fascinating eccentrics of hip-hop culture. What they do is secretive by definition, and not remunerative in any way.

Graffiti writers were the most interesting people in hip hop. They were the mad scientists, the mad geniuses, the weird ones.

I got into DJing and making beats when I was about 17. I was always fascinated by the four elements of hip-hop: you know, writing, rhyming, breakdancing and graffiti.

Hip-hop from the beginning has always been aspirational. It always broke that notion that an artist can't think about money as well. Just so long as you separate the two and you're not making music with business in mind. At some point, it has to be real when they touch it, when they listen to it. Something has to resonate with them that's real.

Whether looking at pop music, hip-hop or R&B, it's rare to find an artist who hasn't been touched or affected by the power and soul of gospel music. In fact, many of today's popular artists such as Whitney Houston, John Legend, and Katy Perry started their careers in the church choir.