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Throughout hip-hop people have been putting different elements with different types of music.
I've been writing songs since I was 10 years old and always had a penchant for rhyming. I started listening to hip hop through my friends and fell in love with it.
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.
Hip-hop has been the guiding light of my life as a musician and a music fan. It's the one common thread through all of it from the time I bought my first record probably. It's always been there.
I got this black chick, she don't know how to act Always talkin' out her neck, makin' her fingers snap She like, "Listen Jigga Man, I don't care if you rap You better - R-E-S-P-E-C-T me
Street culture is punk, hip-hop, skateboarding, surfing, graffiti. It's like a massive global culture that is all tied together. But for so many years it was very geographic.
The difference is that they [Europeans] don't have that culture about hip-hop as a lifestyle, a way of life; for them it's more of the new trend, the new music that you have to like.
I was raised with opera and very white-bread folk music like The Kingston Trio. That was about as daring as it got. So when I discovered hip-hop as a teenager, at first it made no sense to me at all.
I may be able to concentrate on a move, but it may not look exactly how I need it to look like, as far as in the ballroom world. Hip-hop is different; it is a lot more flowy with ballroom.
Anybody under the age of forty knows hip-hop, gospel and R&B pretty well, and it's all a part of what we consider to be 'black music.' There is a natural synergy between the three.
I know a lot of mainstream hip-hop people, have been listening to things like Aphex Twin for years. When somebody first played me some of that album, I was just like, "Woah!"