It's just that when you heard hip-hop, no matter where you were, it was a culture that kind of made you want to try to be part of it. Whether you thought you were an artist, whether you thought you could be a DJ, whether you thought you could breakdance, or whether you thought you could rap. It was the kind of culture that had a lot of open doors.
I think when people say 'real hip-hop,' they want it more buried in the streets. They want it more connected to the streets and the grime and the roughness of the streets. They don't want the fluff.
You have the core hip-hop, which would just be beats and breaks, more something like what you hear with DJ Premier. Then you get into the more highly produced hip-hop, which is something like what DJ Khaled does. But at some point, it starts to get kind of pop.
I'm at a point where I don't have to wait for the income from the record to survive, so I'm in a comfortable zone, but I'll make rap records as long as I feel I have something to rap about.
in the mornin' po-lice at my door Fresh adidas squeak across the bathroom floor Out the back window.. I make a escape Don't even get a chance to grab my old school tape
When I first got into the rap game, I had an early dream of unifying rappers.
I think that a rap aficionado, the hardcore rap fan, will always go away from pop, in the same way a hardcore jazz fan will never think Kenny G is really a jazz artist. You gotta kind of know there's always going to be that purist who's going to be like if it ain't beats and rhymes, if there ain't a DJ, then that ain't Hip Hop.
Rapping is a vocal delivery, so you can do it without being part of hip-hop and not knowing what hip-hop is about.
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."
Hip-hop is a competition culture. It's based around, "My DJ is better than you. My graffiti artist is better than you."
I'm just disillusioned with the hip-hop sound right now. It's too materialistic. You know, I'm the kind of guy ... I can't do that. If you track my movement, you'll never see a picture of me with any girl that wasn't mine, or my own car. My jewelry, my clothes. What kind of gangsta rapper has a stylist? A stylist?!
Everyone who raps isn't hip-hop. To be hip-hop, you've got to know the culture. You got to know the history.
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.
As long as I'm around the cats in the hip hop scene, they'll throw me a track and I'll write a rap over it.
The trick with hip-hop-hip-hop is a sport. The only music that's really, really close to a sport. It starts off, "My DJ's better than yours. I can out-rap you, I can out-dance you, my graffiti piece is better than you." It's very competitive.
Ultimately I am happy that everybody is embracing hip hop and the sounds from the streets.
Hip-hop is the fountain of youth. You just don't grow up if you were there. My son's 20. I'm on the same channel he's on. We wear the same clothes, we feel the same thing. It's a weird, weird generation we're in right now.
I always knew that I had to direct. That was something I'd wanted to do. Finally, I was just looking at the situation and I said, "I wanna document hip-hop, as an art form, seeing how a lot of people don't take it seriously."
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