Talib Kweli Quotes
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They hope for the Apocalypse like a self-fulfilling prophecy Tell me when do we stop it? Do they ask you your religion before you rent an apartment? Is the answer burning Korans so that we can defend Islamics?
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People didn't really take white rappers seriously until Eminem, because he was better than everybody. Like female emcees, you need to be like Lauryn Hill or Nicki Minaj or killing everything before somebody takes you seriously.
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I try to count the blessings rather than the problems.
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Spit bars you can't touch, like tits in strip bars, get scarred, I drop hits to hit hard
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What else is stop and frisk? These neighborhoods are unsafe not because there's not enough cops illegally frisking people. They're not safe because of economic conditions. They're not safe because of all types of things in the government that people like Mike Bloomberg and Ray Kelly should be looking to fix instead of randomly searching kids in the hood. If you go to a college campus and you do stop and frisk, you're going to find a lot of drugs there, too.
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Michael Bloomberg is a sensible guy. He's just privileged. He's a goddamn billionaire, and he or his family members have never had to deal with anything as remotely degrading as stop and frisk. So he has no point of reference.
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If you go to a college campus and you do stop and frisk, you're going to find a lot of drugs there too.
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I don't care if Rick Ross is 40 years old -- he's a misguided 40-year-old person.
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Artists make art for themselves. Art is an honest expression. Artists who pander to their fans by trying to make music "for" their fans make empty, transparent art. The true fan does not want you to make music for them, they want you to make music for you, because that's the whole reason they fell in love with you in the first place.
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I'd like to work with Outkast, I'd like to work with RZA, I'd like to work with Timbaland, York, a whole bunch of people.
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As far as my New York influence, one thing I'm proud of in my career is, I rep Brooklyn, New York all day. But people don't look at my music as New York music. People consider my music underground music.
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My parents are my biggest influences. My parents and my city. Brooklyn, New York, New York City, the community I grew up. I don't feel like I'm special in that. I feel like that's everybody.
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Let me finish my music, and let me present it the way I want to present it. And then share it, put it online, do whatever you want to do after that.
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I have enough rhythm to blend at this point. I have enough rhythm to blend one song into another. But man, I have such respect for the art of deejaying. I hesitate to even call myself a deejay.
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I look at the deejay thing as something - I'm good at it because I have my own music. I have enough rhythm to blend at this point.
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Hip hop is at its essence a folk music, because it speaks the language that people are still speaking at ground zero, it speaks the language that people speak on the streets.
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I like the fact that I can rep New York, but my style does not - I'm not trapped in a New York thing. I can do art songs with other artists and it's seamless.
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I see that happening with hip hop purists now. Where you have an artist like a Kendrick [Lamar] or a Drake, who are really trying different things emotionally, different things musically, and on a mainstream level. And you have underground hip hop fans dissing it, for the simple fact that it's mainstream - not because what they're doing is whack, or what they're doing is not sincere.
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I listened to a mind joint, and I wanted to do my own version of it, and what you hear on my mixtape is my take on what the whole CD sounds like.
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To be honest, that whole exchange with Crunk Feminist actually made me write the song because I realize there's a lot of young women out there so hurt by the misogynistic images in hip-hop they paint it with such a broad brush stroke that they think anybody that defends hip-hop is defending misogyny.
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Harry Belafonte hit me to the Dream Defenders and I liked what they were about. When I asked them how I could help their movement, they said, "You can help by coming down here; you can tweet."
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Coltrane had a sax, Dale Earnhardt drives a race car and everybody has their tools.
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Now people won't beat you up if you are gay; they might just talk behind your back.
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My rhymes are like shot clocks, interstate cops and blood clots, my point is your flow gets stopped.