A Quote by Talib Kweli
You see somebody rapping and you're like, "Nah, my cousin can do that." You're spoiled by the experience. Overseas, it's still something that people can appreciate.
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I was actually born in L.A. My sisters and I were playing in a parking lot, and my dad was like, 'Nah, nah, nah. Let's go give 'em some grass.'
I was singing R&B before I was rapping, and I never really enjoyed it. But when I started rapping, I was like, 'This is sick - I'm actually alright at rapping!'
Hip hop has always been, for us, for artists who are pure to the craft - any place overseas, whether it's Australia, any place in Asia, Germany, Africa, it becomes something where you can still go and work. Hip hop is an import culture. We're spoiled by it here. It's homegrown.
Nah, I see Chicago often. I go out there, so nah, I don't miss it.
I wanna keep rapping, I intend to. It's good to mix it up, but I'm still gonna stay true to rapping.
It's our approach to treat each show like an arena show. We over-invest in production to make the stage look bigger, turning the show into an experience and not just somebody standing around with a microphone rapping.
Like people coming up to me like, 'Nobody ever told you that you look like Lil Baby?' But I'll be like, nah. Or like, somebody told me that. I'll never just say, it's me.
For a while I felt like I spoke a different language than my immediate family. It wasn't until my teens that I met and got to know better members of my extended family (my cousin Alma in particular) that self- identified as artists. Something in us clicked together; in the way we thought, in the language we chose to use, in what we enjoyed. She helped me see and appreciate a lot both about myself and my loved ones.
You found an uncle on one side and a nephew on the other, a cousin here and a cousin there. Besides it's still true today. I'll tell you something else. There was a time when even two ambassadors to Switzerland, the one from India and the one from Pakistan, were two blood brothers. Oh, the Partition imposed on us by the British was so unnatural!
If I see something in somebody, if it's something similar in my shot, I feel like it's the same type of thing in life. People who tell you what to do all the time or have all the answers for you, it's like, 'OK, whatever.' But if you've gone through something in life, you can speak to something a little more.
My mom is 70, and she's still wearing the things she wore in the 80s. I appreciate people like that, who know who they are and what they like to wear - and have fun with it. Like, you can see that they enjoy expressing themselves.
I don't just want to do something to do something. I've been spoiled by Glen Morgan, Jim Wong, by the 'X-Files' experience.
I've reinvented myself every year since 1998, and my style's still changing. It's grittier now. I always gotta try something new. I've grown up. Then I was rapping; now I do music, I write albums. But my distinctive voice and style, people still can't catch it. They're still asking me, "What were you saying on that song?".
It's such an honor. I still get, I guess, starstruck, at the Opry. Because there's so much history here and there are so many legends that are still walking around backstage, so it's really an incredible, incredible experience for somebody like me that grew up listening to all of them. And to be able to share the stage with them is something that I treasure.
I feel like I'm doing something that's worthwhile. I feel like I'm showing something other people haven't shown. I don't get to talk to the people who I photograph, I just go, along, banging away. So I don't really have a relationship with them. A lot of people think it's very important. I don't. It's like love at first sight. I have an impression when I see somebody, and I have an idea of who they are, or what they are.
If they're working in a workshop somewhere, where there is, let's say, uh... only twenty people, or something like that, that's still, when they work and do a scene, that's still working in front of somebody.
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