A Quote by Goldie

In New York, I was into Kool G Rap and Polo, KRS-One, that whole big 80s boom. — © Goldie
In New York, I was into Kool G Rap and Polo, KRS-One, that whole big 80s boom.
In my mind, New York was the place where they had the underground rap shows and I could get in on some ciphers and just rap. This whole fantasy world I had created in my head about New York just from listening to the music my whole life, like, I'ma go up there and do that. But when I came up here, there was none of that, that scene was dead.
The hip-hop that I really connected with was Public Enemy, KRS-One, Ice Cube, and N.W.A. That late '80s and early '90s era. The beginning of gangster rap and the beginning of politically conscious rap. I had a very immature, adolescent feeling of, "Wow, I can really connect with these people through the stories they're telling in this music."
I feel like your city - with hip hop in particular, because we're always beating our chest and shouting where we're from - your city is just as influential as your parents. Even the grimy, hardcore gangster rap from New York - KRS-One and Wu Tang, the stuff acknowledges it.
Skateboarding was my introduction to rap and the first rap song that I really liked was KRS-One 'Step Into A World.'
I never tried to emulate that New York rap style. What I do is a quasi rap. It's a honky rap, not a black rap. I find it puzzling that so many people have assumed I'm black.
The first big impact that feminism in the 1960s and '70s had was a big divorce boom in the '70s and '80s. That, in part, had an impact on how the children of that divorce boom viewed marriage.
If I were to critique myself - step out of KRS objectively and look at him - I would say that KRS has introduced the concept of being hip-hop, not just doing it. The concept of rap as something we do, while hip-hop is something we live. The concept of living a culture. Don't just look at hip-hop as rap music, see it as a culture.
I've been in, like, kids' clubs... I've been in the Boom Boom Room in New York, and the kids are going, 'Oh my God, you produced 'Arrested Development?'' They aren't talking about 'A Beautiful Mind' or '24.' It's like the only thing in my whole career was 'Arrested Development,' literally.
There was a big horror boom in the '80s, and I liked its originality and what you could get away with.
I've always liked New York, as I like towns with an edge and New York has a European feel, so when I came to play music here in the '80s it was a surprise to me.
I got into hip hop from my uncle; he was always playing us Kool G Rap and Big Daddy Kane. He was a bad boy, and my mum was not really happy that I was hanging out with him.
Being a student of hip-hop in general, you take technical aspects from places. You may take a rhyme pattern or flow from Big Daddy Kane or Kool G Rap.
KRS One and LL Cool J are the biggest influences in my rap career, along with Heavy D.
Being in New York as a whole, Brooklyn as well, you can do anything you want. That's by far the best part about New York, besides just the hustle and grit and grind of Brooklyn specifically, but the best food. Anybody you want to get in contact with, odds are if they don't live in New York, they're passing through New York at some point in time.
If I had more recreation time I would be able to step back and reflect on how life has changed. But it has been like a constant... boom, boom, boom, boom, boom!
I was definitely an 80s fashion victim who drank the Kool-Aid.
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