Quotes About Hip-hop

I started dancing when I was 3 in Toledo, Ohio, and started hip-hop dancing at the age of 7.

I am a big music guy. Hip-hop, R&B, old school, jazz.

I love old school music, that's just always been my thing.

You don't need a band to do hip-hop; you only need a DJ.

Hip hop fans are obsessed, and they're geeks about hip hop. Comic book fans are also geeks, and when you can meld the two, then you open the world up to, I think, communities that will just take to each other.

My first jam was at Hotel Diplomat opening for Hollywood.

Hip-hop is the people. What the people are moving toward is what hip-hop is. I think people are moving toward a freer way of thinking. Openness.

Fitzgerald coined the phrase the 'Jazz Age,' and now we're living in the Hip-Hop Age.

I enjoy writing rhymes and sitting alone in a room listening to beats. It's pretty amazing.

Hip hop has the urgency and rebelliousness that early rock n' roll and punk had: a level of rule-breaking and flirtation with danger. It allows you to break the rules.

I don't know how much I'm connected to the hip-hop scene, but I definitely lend from that urgency.

In the late '80s and early '90s, there was a slightly retro drum sound that was popular in hip-hop music called the 808 bass drum sound. It was the bass drum sound on the 808 drum machine, and it's very deep and very resonant, and was used as the backbone as a lot of classic hip-hop tracks.

There's been lots of theater that uses hip-hop in it, but more often than not, it's used as a joke - isn't it hilarious that these characters are rapping. I treat it as a musical form, and a musical form that allows you to pack in a ton of lyric.

I like to rap about things that are funny but mostly things that are relatable. I remember there was this one song with Ja Rule, and I forgot, exactly, but it was with Ashanti, and there's a line in it that was like, 'She hit me up on AIM.' But that wasn't the actual line; it was something else, but I was like, 'Oh my God, he uses AIM!'

Everyone uses grime as a footstool, but imagine Biggie Smalls started doing hip hop, and it started going well, and then he started making RnB: there would be no hip hop!

Tupac, Biggie, Jay. Your usual suspects. These were the people that was played in my household.

A lot of Utah State when I was there, there was a lot of California guys. So, you get a lot of Cali music, you got a lot of dance music, I think the Jerk was popular back then. It was a lot of the music that you can dance to with your teammates. A lot of hip-hop, rap, R&B, it was really fun. It was live in there.

When I was a critic, I reviewed Public Enemy's 'Muse Sick-n-Hour Mess Age' - this is back in '94 - and I called it a 'Dante-esque spiral of the hip-hop hell.' I idolized Chuck D, but I just hated that record, and I did not hold back. Chuck didn't freeze me out. Every time I met Chuck, he always treated me with the utmost respect.

I came up in hip-hop, where people value the ability to tell it straight.

Something that distinguishes my solo work from normal rap production is that it has a lot of melody - it's not just cutting up a song and having someone rap over it.

My father very early on had both short and long-term strategies in his approach to raising his children, so my father was disturbed by the extent to which I was interested in both hip-hop and sports.

When I do a song, it is more or less for the radio because I've got to do it - that's what I have got to do to win - I always go home and write two street songs.

What I'm doing is British. It stems from the same culture as U.S. hip-hop, but the way we dress, the way we speak, the way we perform is so different. It's U.K. street culture.

Hip-hop is so saturated with the same old same old that people always expect the guy to actually be the guy. They want you to be real and straight from the streets and all that.