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The only reason I've been so critical of hip-hop is because I've always been aware of the effect that it has, and the reflection that it gives of the African-American community.

Saul Williams

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Saul Williams
Age: 52
Born: 1972
Born: February 29
Actor
Composer
Film Actor
Musician
Poet
Rapper
Screenwriter
Singer
Television Actor
Voice Actor
Writer
Newburgh
New York
Saul Stacey Williams
Reason
Reflection
Giving
Effect
Always
Critical
Aware
Effects
Gives
Hops
Community
Hips
American
African

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Music has always pushed ahead social movements and can do much more than just dumb down a populace.
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I've never believed it's really so important that you conform to the ways of the system in order to beat the system. I think that the system follows a great deal.
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The downfall of the industry seems to actually be good for art. I think the industry will find their way once the focus shifts from its greed-based origins, downsizes, and begins to support creative visions that speak to our times and shifting ideals.
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There is no music more powerful than hip-hop. No other music so purely demands an instant affirmative on such a global scale. When the beat drops, people nod their heads, “yes,” in the same way that they would in conversation with a loved one, a parent, professor, or minister.
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I was fed by the music I listened to as a kid. Hip-hop fed me psychologically, spiritually, politically. I learned from that music.
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Jay Z and President Bush have a lot in common, that same brash confidence
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I'm somewhat of an empath, I would say. I relate easily to ideas and stories, books, films, music. I'm moved by all of these things. Art in general. But not just art, you know?
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The most powerful political voices are those with a different way of seeing and processing the world and the sounds that emanate from it.
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Legislation won't necessarily start a riot. But the right song can make someone pick up a chair.
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I can't say that I always want to get out of bed, you know.
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I was always making up rhymes. But I never thought that poetry would become my life.
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I have offered myself to the inkwell of the wordsmith that I might be shaped into new terms of being.
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When I look at certain aspects of popular culture - not everything because I like a lot of things - sometimes my heart breaks a little bit, just a little bit. I begin to ponder what happened to this generation, I don't know.
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Why shouldn't rap be esoteric, able to take in current events, history and criticism? I guess it's this old idea of containment - that rappers, because they're black, can't and shouldn't aspire to look outside the ghetto for influence.
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I want to connect music to its highest power - which is heightening consciousness and affecting people's reality. That can't be done in normal ways, not according to my experience.
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I spend my time sitting in train stations, parks, parking lots, cafes, just looking at people - eavesdropping, basically. I'm vulnerable to all of it.
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I'm very excited about the resurgence of vinyl which seems to parallel a growing interest in live performance.
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I am hoping for peaceful transition into a new age. Obama has already played a great role in initiating us into that vision. If he were to be harmed in any way, it would spawn the birth of a million Obamas.
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Hip-hop is too young to put a definition on it
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It was always important to me to be that kid who could rock the party as well as rock the English professor's mind.
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