A Quote by Gustav Ejstes

I was into hip-hop when I was a teenager. Then I started to look for samples, and I started a long Hendrix period - I liked the drums and the beats. — © Gustav Ejstes
I was into hip-hop when I was a teenager. Then I started to look for samples, and I started a long Hendrix period - I liked the drums and the beats.
Everyone uses grime as a footstool, but imagine Biggie Smalls started doing hip hop, and it started going well, and then he started making RnB: there would be no hip hop!
I'm a hip-hop head, but hip-hop actually introduced me to other genres of music because I started to wonder where a lot of these samples came from. So I fell in love with Bobby Womack or Willie Hutch because I wanted to know where those samples came from.
Hip hop scholarship must strive to reflect the form it interrogates, offering the same features as the best hip hop: seductive rhythms, throbbing beats, intelligent lyrics, soulful samples, and a sense of joy that is never exhausted in one sitting.
I always wrote poems when I was a little girl, and I loved hip hop music, and I kind of just started writing poems over beats, and that's when I started rapping.
When I first started making music, I was pretty drawn to hip-hop beats wrapped together with super-good lyrics. The most important thing in that is wordplay, so that stayed with me when I started writing songs.
While a lot of hip-hop was inspired by jazz or James Brown samples and was made to be played live in the clubs, I made hip-hop that was made for MCs to eat the mic up. It was an aggressive form of hip-hop. It was made just for hip-hop. It's not made to sing or dance to, though you can if you want.
I just sing over hip-hop beats, you know. That's what I've been doing. That's what I started in '09 in my dorm room.
The ghetto music of my era is hip-hop. And Parliament, and Curtis Mayfield, and Marvin Gaye, that was all the ghetto stuff when I was a baby, and then when I was a teenager it was hip-hop and we were taking all those old '70s sounds and recreating them and putting them into a hip-hop format.
I think hip hop is dead. It's all pop now. If you call it hip hop, then you need to stop. Hip hop was a movement. Hip hop was a culture. Hip hop was a way of life. It's all commercial now.
Hip-hop started with street poets with great lyrical skills, and that's what hip-hop has always been about for me.
Like with me, like around '97, for Christmas my parents bought me an MPC 2000 sampler and a little eight-track cassette recorder. And I started sampling records and, you know, producing hip-hop beats. And it got to the point where I realized - I innately realized that the music I liked the most was made by people that played instruments.
Hip-hop was started as a very egocentric, testosterone, machismo-driven art form. The way that people are trying to take away that masculinity that is a such an intrinsical part of hip-hop music.
I always say to people that I left hip-hop in '97, meaning that I departed from listening to predominately hip-hop and just started really getting into records from the late '60s, early '70s. And once I made that change, I realized how much great music was made back in the day, and it started to become apparent how much we've lost in music.
I have the weirdest career in hip-hop, and I say that because I started so young. I started So So Def when I was 17 years old.
Hip hop started in NY so it's important that New Yorkers realise that to talk about NY music and its sound should not be a small-minded conversation. Music is supposed to evolve. It's supposed to be going through changes, it's not supposed to sound exactly the same as what it did when it started. NY hip hop has to be allowed to move on and grow and expand.
When I started forming my own taste, there was a period in high school when I listened to only rap and hip-hop, like A Tribe Called Quest.
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