Brian Austin Green Quotes

It's hard being a white rapper sometimes! When that happens you just need to battle through.

I didn't grow up around all white people; I never wanted to gentrify hip-hop, I've never wanted to speak to an all-white audience.

People are so confused about race and hip-hop that people didn't even consider the Beastie Boys one of the greatest rap groups of all time because they were white.

I got a liberal education. A white guy, rapping as Bugs Bunny, on a quintuple-platinum album.

In the '80s and '90s, I was really interested in, moved by, exhilarated by, and troubled by rap in all the ways a white person from Brookline, Massachusetts should be. That was music that was making trouble, and it was interesting and provocative trouble.

There's definitely some parallels between me and Joaquin Phoenix, I think. The line gets so blurry. My rap career wasn't a hoax, but it was absolutely intended to be a joke. The problem was that I really was on a quest to somehow be a Caucasian Ol' Dirty Bastard.

I was listening to a lot of hip hop, music like Public Enemy that was about raising consciousness, and I realised I could feed that directly into my work, using images in a way that was a bit like sampling - taking images from diverse places, exploring the contradictions without trying to hide the seams.

I look at WorldstarHipHop in the morning, Bossip, Global Grind, and everything in between, but it's all so quick, I don't even think about it. And I've never been a fan of lyrical or socially conscious rap music.

I've always been an outsider. When I did magic, I was the only kid. When I worked with Johnny Cash, I was completely out of place in Nashville. And when I started Def Jam, I was the only white guy in the hip-hop world.

You never want to be the whitest-sounding black guy in a room.

English music is white - it evades everything.

When Migos flew me out to see if I was actually making the beats, they didn't expect a white kid from Canada to be making harder beats than the guys in Atlanta. Being white in that environment, it was definitely different.

The mission of '8 Mile' is essentially to garner sympathy for a white rapper involved in an old-school shootout - a rap contest. This may be the final frontier for pop, more unbelievable than the prospect of launching a member of 'N Sync into orbit.

I notice, a lot of white rappers sometimes, they'll feel like they have to be, like, almost aggressive.

I don't know that there is a, quote, 'hip-hop lifestyle.' I think the music responds to complex social issues and injustices; I think it also raises complex social questions.

A lot of the things I do deal with my race, but my race is who I am. I'm an American kid who grew up listening to predominantly hip-hop. I will talk about hip-hop as the music I grew up listening to, and I think sometimes people like to put it as, 'Oh, well, he's talking about black things.' And, yeah, they are, but that's my American identity.

Have you heard his new song? 'Cause he thinks he's a black man now.

I come in with this rock 'n' roll-oriented music, and it's not black enough . . . I've always had to deal with this black-white thing.

All we ever wanted was for Tupac to have the opportunity to tell his story.

I've learned to respect Rick Ross' music.

When I first got to Los Angeles, hip-hop music was a scary thing not only to white America but to middle-class black America.

A lot of people said I tried to speak white on the phone. That is farthest thing from the truth and offensive.

The funniest thing in the world to me is the idea of a white guy in his thirties going, 'Wait - I'm going to go into hip-hop.'

As a white teen, I was very drawn to hip-hop culture, almost to the point of disappearing in it - there was a sense of having no sense of authenticity except this one that wasn't mine.

I realized I'm a very, very white dancer.