Before rap came along, I was, actually, actively in the streets; getting in trouble, doing the wrong thing.
Growing up in New York is like living in a horror museum because there are so many strange people walking the streets and riding the subways. You learn to develop a tough front if you live here, just in case you get into any kind of trouble and you need to talk your way out of it.
I think when people say 'real hip-hop,' they want it more buried in the streets. They want it more connected to the streets and the grime and the roughness of the streets. They don't want the fluff.
Rome has New York's formlessness, aimlessness, a kind of hard-boiled sophistication, blase about everything. In their filmmaking, too, the Italians have this tongue-in-cheek sense of comedy.
Persian pussy from over the sea demure and lazy and smug and fat none of your ribbons and bells for me ours is the zest of the alley cat
I was a street dancer.
I feel like when I play, I play tough. That's the New York in me. That's the street tournaments.
I love L.A., but you can get into a lot of trouble out here.
As we say in the hood, I'm a stoop kid.
I'm a street footballer. I'm hardcore. Growing up in east London, you've got to be a little bit self-confident. As a player, I would go into detail, watch who I was playing against. Who might come into my vicinity. That gives you self-confidence.
In 'Vagabond,' I'm acting like a gangster; it's very tough. I have to use my body for action scenes, and there is nothing gentlemanly about this character at all.
When you are culture, you're forever young, like Snoop. When you're on that level, it's just contributing to the gangsta.
Wu-Block is more street. It's just street, that's all.
London keeps me grounded. We don't get praised every time we open our gobs there.
