“Hello, Leroy Moore. This is Keith Jones. How are you? All right. I’m giving you a report on what I think about hip hop, Krip Hop, and my new CD.
Let’s take it first in stages. In terms of with the state of hip hop, I honestly have no idea. From what I know about hip hop, what I knew about hip hop, how I’ve seen it go through various iterations of the origination and then the rebirth, and then the old-school versus the new-school, and then the new-school becoming newer-school, and then there’s just no school. Hip hop, I think, has changed so dramatically that it’s not the voice of rebellion anymore. It used to be the voice of rebellion. EPMD used to sing a song called “Crossover,” where as much as you had commercial success, the intent was to make the music, not about the commercial success. So I think the state of hip hop, particularly as it relates to anybody who’s not the prototypical thug, crotch-grabbing, chain-rocking, ice-talking image doesn’t make it because the marketing is not there. The audience is there if you market it anyway.
So I guess that’s the response that I have and why we do Krip-Hop, is that hip hop has always been more than just that type of dude rapping or that type of dude rapping. It’s been everybody rapping. I go back, you know, when female MCs started rapping, people thought women couldn’t rap. We go back in time. And so Krip-Hop is really important in that it’s bringing diversity that’s never talked about to the forefront. So that’s how I think Krip-Hop is very important in that aspect, is that we are a voice that even in every social movement, as it stands, does not get any kinda help. So that’s that.
And in terms of my new CD, [chuckles] I don’t know really what to say other than the fact that it’s been a long time coming, and we’re still doing what we hope to get done into the hip hop community: good entertainment and music with a message. All right.”
Transcribe by Cheryl Green