I'm not a poster boy for misogyny and I don't think hip-hop should be either.
Hip-Hop's cultural movement is much larger than the corporate representation. The images most of hip-hop's critics point to are those manufactured by major corporations whether on television, via Viacom, or on the radio, via Radio One and Clear Channel.
Unfortunately there is a standard set for it that precedes hip-hop. It would be great if corporate America didn't do this, but there is a huge market for sex and violence and anti-Black representations in America and the world that doesn't begin or end with hip-hop.
Legions of young hip-hop fans are as against this as hip-hop's most fierce critics. There is a huge underground movement within hip-hop circles that against these representation. You can hear this message on tons of lyrics and rap songs produced by independent emcees. But they are fighting against a well-oiled and well-financed machine.
And just as you can find hip-hop lyrics beating up on all these groups, including young Black men themselves, the primary producers of the music, you can also find lyrics celebrating them.
Hip-hop is a complex music and culture that has been reduced to a one-dimensional critique. Hip-hop's messages aren't all bad. Neither are they all good.
I am trying to get folks outside the hip-hop culture to understand why, despite the negatives, young people find hope and refuge in hip-hop. I'm hoping that young people immersed in the culture will work harder to capitalize on the possibilities for great social change that hip-hop represents as a national unified cultural youth movement.
My hope is to get young people to think about ways that they can translate hip-hop's great cultural movement into political power that can change the conditions for America's young, so that young people upon graduating from high school who don't have economic means to go to college can realize other options beyond joining the military and fighting in wars that enrich corporations like Halliburton which should feel guilty about profiteering off of a war that is being fought on the backs of those locked out of America's mainstream economy.
I think hip-hop is actually one of the most challenging things that's happened in music in a long time. The people who are in charge of what people see or hear are afraid. What you hear on top 40 or what you see on BET or MTV is not a fair representation of what is really going on...
I think hip-hop is actually one of the most challenging things that's happened in music in a long time.
The minute I landed back in Alaska, it was back to hip boots and fish guts. This cultural flipping wasn't easy - especially on top of the post-divorce fighting that was still going on between my parents. But this is why you don't write a memoir at age fourteen.
To have mentors and moguls like Russell Simmons and Chuck D pushing me forward and empowering my movement makes me all the more eager to continue pursuing my dream to make my mark on hip hop music and culture.
That's the beautiful thing about the saxophone. It can peacefully coexist with just about anything - whether it's hip-hop, rap, rock music, pop, R&B or jazz, there's a place for the saxophone in all of those styles.
I had no idea how much the stuff I was doing was affecting people outside Oakland. At the time, also, hip hop wasn't able to tour because all these clubs that let hip hop come in now, they would never have let hip hop come in.
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.
All of a sudden it became that hip hop didn't used to be about partying; hip hop used to be about putting out a message.
I really got to fuse some of my hip hop & R&B background into the Jessica 6 album since I was really hands on with Morgan & Andrew while writing and producing the record.
Everyone has pencils in their house, no matter how hip and contemporary they are.
There's a lot of hip-hop that would be great with a banjo in it. It would just groove like crazy, and I hope I get to be one of the guys who does that, because it's coming. It's coming.
I don't know enough about hip-hop, though I've heard some great hip-hop. I just did a thing with Qwest Love - we did a performance together in Memphis at the Folk Alliance Festival, and we had a great jam and a conversation.
Kenneth Rexroth took me under his wing for a brief period. I was fifteen years old, and I was smoking a lot of heroin and trying to be cool, man, and I really loved poetry. And Kenneth convinced me that destroying myself was not really the best possible solution, and that I needed to look at the world's literature, and not just my own life, in order to be hip, if you will. So he had a huge influence on what became of me thereafter.
With everything that is going on with hip-hop and with what everybody is doing I don't want to be in that lane. I think my lane is very different.
I love things that are very broad. I love alternative, rock, hip hop, rap, and I'll go to classical or jazz.
I find it funny because people complain about Brooklyn becoming too hip, but would they prefer stock brokers or gunfights or something?
It's easy for people to come in when they think you're in a hot moment of your life, but it's really nice also for people who believe in your work for the long term and are there not when something hip's happening at that moment.
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