Hip Hop Inspirational Quotes

The job of feets is walking, but their hobby is dancing.

What if there were health food stores on every corner in the hood, instead of liquor stores!?

Hip-hop is a beautiful culture. It's inspirational, because it's a culture of survivors. You can create beauty out of nothingness.

Someone put opera on inside the house. Someone changed it to hip-hop, thank God. Someone started a shower. Someone vacuumed. Again. Life. In all its mundane majesty. And you couldn't take advantage of it if you were sitting on your ass in the shadows... whether it was in actuality, or metaphorically because you were trapped in an attic's darkness.

My inspiration for writing music is like Don McLean did when he did "American Pie" or "Vincent". Lorraine Hansberry with "A Raisin in the Sun". Like Shakespeare when he does his thing, like deep stories, raw human needs. I'm trying to think of a good analogy. It's like, you've got the Vietnam War, and because you had reporters showing us pictures of the war at home, that's what made the war end, or that shit would have lasted longer. If no one knew what was going on we would have thought they were just dying valiantly in some beautiful way. But because we saw the horror, that's what made us stop the war. So I thought, that's what I'm going to do as an artist, as a rapper. I'm gonna show the most graphic details of what I see in my community and hopefully they'll stop it quick. I've seen all of that-- the crack babies, what we had to go through, losing everything, being poor, and getting beat down. All of that. Being the person I am, I said no no no no. I'm changing this.

Keep your head high and let your hands touch the sky.

Dealing with pain for surviving on this thirsty concrete

We build this country ourselves every day and we have to be, in the most positive sense, totally unreal.

Cuz even a gangsta rapper can find redemption For the sins committed before revelation.

I’d grown up with disco in the 1970s, when I just knew it as exciting pop music on AM radio. In the 1980s it died off, but still inspired everyone from New Order to Duran Duran to Kraftwerk. And then in the late 1980s the ghost of disco came back with a fury, giving birth to house music, techno, rave culture, and even a lot of hip-hop. Disco was the crucible in which most modern music had been born, and within the disco pantheon no one had ever reigned higher or more supreme than Donna Summer.

I was a reader before I was a writer, and when I started putting together my first collection of short stories, Fairytales For Lost Children, I drew on my rich history as a reader to try and create my voice. I wanted this voice to reflect my Somali background, my Kenyan upbringing and my London home. This voice would be a mashup of all the elements that formed my youth; the sticky-sweet Jamaican patois, the Kenyan street slang, my Somali and Italian linguistic tics, my love of jazz poetics and nineties hip-hop slanguistics. This language would form the bed on which my narratives of love, loss, identity and hope would rest.

This guy! I plead the fifth. This guy is nuts.” - Eminem “Dope questions, man. Very insightful, very thoughtful.” - Guru (Gang Starr) “You like a Psychiatrist or some shit? This shit is just coming out but go ahead.” - Mary J. Blige “Definitely a real interview! Digging deep up in there, man. Not afraid to ask questions!” - K-Ci Hailey (Jodeci) “The Wizard asked me for a copy of your magazine.” - Guy-Manuel de Homem-Christo (Daft Punk) “You didn’t wear your glasses and you haven’t carried your hearing aid. What else is wrong with you?” - Bushwick Bill “Peace and blessing, Brother Harris. Thank you for inspiring my words. Keep ‘yo balance.” - Erykah Badu “Can I see that pen?” - Bobby Brown “What else do you want to know? Talk to me.” - Aaliyah

Recently, a judge of the prestigious 2014 British Forward Prize for Poetry was moved to observe that “there is an awful lot of very powerful, lyrical, and readable poetry being written today,” but we need education, because “we have lost the sense that poetry sits halfway between prose and music—that you can’t expect to read it like a novel.” A few years ago, the New York Times published an op-ed of mine, about learning poetry by heart. The response to it confirmed that people of all ages think about poetry as a kind of inspired music, embodying beauty and insight. On one hand, poetry has always flowed from music, as rap and hip-hop remind us big-time. Rappers know how poetry walks and talks. So we have music, or deeply felt recitations of poems that belong to collective memory. On the other hand, we have overly instructive prose poems, as well as the experiments of certain critical ideologies, or conceptual performance art. These aspects seem to represent the public, Janus face of poetry.

When i look to my past i'm not believe in god but for future god is hope.

Why should i expect yes cos everything i get no

Laugh with fake id's but i have permanent license of pain in eyes

When you feel the beat in your bones you know!

It's less drama when you have more M's than friends.

Yes, it's rap and its hip hop," said Peniche, "but if you were to put it into its own genre, it's Marathon Music. From 2010 forward, that was kind of the philosophy or the mindset that we had, like, 'We're gonna create Marathon Music'...music that not only inspires but educates.

Winner goes with the flow, History Maker against the flow

PRACTICE MAKES THE HARD THINGS EASY

Aristotle was privileged to study at Plato’s Academy, but some kid on the other side of the world was probably just as promising as young Aristotle and never got the mentorship. How can building deep relationships with master mentors be a smartcut if it hinges on our being lucky enough to know the master? Hip-hop icon Jay-Z gives us a clue in one of his lyrics, “We were kids without fathers . . . so we found our fathers on wax and on the streets and in history. We got to pick and choose the ancestors who would inspire the world we were going to make for ourselves.” In ancient Greece, few people had access to the best mentors. Jay-Z didn’t either, but he had books from which he could get an inkling about what those kinds of mentors were like. With every increase in communication, with every autobiography published, and every YouTube video of a superstar created, we increase our access to the great models in every category. This allows us to at least study the moves that make masters great—which is a start.

Got a Vonnegut punch for your Atlas Shrugs!

Style would make you friends, inspire loyalty and devotion, spawn a hundred imitators. It would make you enemies, unleash jealousy and fear, bring down the brute force of authority. The one thing style would never leave you was neutral. As King KASE 2 would say in the movie Style Wars, “When they see you got a vicious style, they wanna get loose about it. And that’s what keeps it going.

Some men are born to be good some born to be bad As for me I only came with just a pen ‘n’ a pad.

I know one thing for sho Heaven’s gotta have a ghetto Cuz where else in death do I get to go?

Hip hop in its purest form has evolved, inspired, educated and created a lucrative independent revenue stream for what was once a poverty-stricken, hopeless class of artists.

Karena pada titik awal sebuah petualangan, hip hop tidak pernah memiliki blueprint. Sesuatu yang bertolak belakang dengan kondisi hari ini, ketika 'trend' adalah parameter-nya dan 'pasar' adalah panglima.

Keep chippin' away at that marble block until it becomes a statue

This was the unique position BTS took from the beginning of their career, and the perspective they continue to take in telling their stories. Rather than follow the grammar of either hip-hop or idol music, they used the languages of both genres to talk about themselves.

Preamble The Klassik Era was a cultural and musical revolution that swept through Kenya and East Africa in the early 2010s. It was a time of bold experimentation, fearless expression, and unapologetic individuality that challenged the norms of mainstream music and culture. For the first time, young people from the ghettos and slums of Nairobi, Mombasa, and Kisumu could see themselves represented and celebrated in the music and arts scene, and their voices and stories were given a platform like never before. The Klassik Era was characterized by a fusion of different musical genres and styles, from hip-hop and reggae to dancehall and afro-pop, to create a sound that was uniquely Kenyan and African. It was a time when young artists and producers like Blame It On Don (DON SANTO), Kingpheezle, Jilly Beatz, Tonnie Tosh, Kenny Rush, and many others came together under Klassik Nation, a record label that would change the face of Kenyan music forever. The Klassik Era was also marked by a sense of community and camaraderie, with young people from all walks of life coming together to support each other's art and creativity. It was a time when collaborations and features were the norm, and when artists and producers worked together to create something new and exciting. But the Klassik Era was not without its challenges and controversies. It was a time when the Kenyan music industry was dominated by a few powerful players who controlled the airwaves and the mainstream narrative, and who were resistant to change and innovation. It was a time when artists and producers had to fight tooth and nail to get their music played on the radio and to gain recognition and respect from their peers. Despite these challenges, the Klassik Era left an indelible mark on the Kenyan music industry and on the cultural landscape of Africa. It was a time of creativity, passion, and rebellion that inspired a generation of young people to dream big and to believe that anything was possible. This book is a tribute to that era and to the artists and producers who made it all possible.