A Quote by Beck

When I was a kid and putting out my first records, there was a lot made out of the fact that the '50s/'60s generation was so dominant. — © Beck
When I was a kid and putting out my first records, there was a lot made out of the fact that the '50s/'60s generation was so dominant.
The first generation from the '50s that were in 1650 [Broadway] were pretty much all crooks, I mean just out and out crooks. And the next generation had a little more finesse. But I mean those first wave of people, you know, definitely would take all your money, no doubt about it.
I was making all my own beats, and I really liked sampling stuff, like old '50s and '60s pop and soul and doo-wop records. I was chopping those up and putting loops and drums on them and just rapping over them.
In fact, a lot of critics seemed to consider R.E.M. the first American music since the '60s to break out on its own and develop a stand-alone sound.
I feel like I'd like to continue putting out records and start putting them out more rapidly than I have until now and for me if I can keep selling the records to the fans that already like me that's fine.
I have to accept the fact that I was putting out records that reviewers were going to get an image from.
Blackheart Records being 25 years old represents staying power and the fact that we weren't able to get a record out through conventional means, so we had to create this record company to put out our records if we wanted to be a band that had records to give out to their fans.
You couldn't have fed the '50s into a computer and come out with the '60s.
It was good to launch the economy in the '50s. Japan did this; China did this; even South Korea did this. All the East Asians did this - import substitution. I think all countries followed import substitution in the '50s and in the '60s, but I think by the '70s, countries were getting out of that first phase of the strategy.
That's what [Frank] Sinatra did. He was the first artist to come out in a major way against anti-Semitism and racial bigotry. And those are huge things back in the 50s and 60s and 70s - and he was doing this in the 40s.
We made records to document ourselves, not to sell a lot of records. I still feel that way. I put out a record because I think it's beautiful, not necessarily commercial.
More recently I've come to terms with what I'm doing and why I'm doing it. That's why you start to see me recoiling from 'let's put out radio records, let's get rich and get on out of here.' I have gone towards more speaking to kids and putting out records that I like.
I want to live out principles that became a part of my life in my 40s, 50s, and 60s. One principle is the universality of freedom.
Man. I've been through a lot as a kid. But at the same time that upbringing just made me stronger and made me more determined to make it out of where I made it out from and just fight extra hard to not go back.
Mainly horror movies and exploitation movies and a lot of stuff comes from those press books from those old movies. Lines out of old movies, comic books that we collect, all the old horror comics of the 50s, probably about the only comics that we collect are obscure horror comics, the real sick ones from the 50s. Some stuff comes from there but mainly just old records, old rockabilly records and that stuff, singles mainly, 45s.
We moved into the back, made it into a little 50s sitting room and started to sell the records. We had an immediate success. For one thing, these Teddy Boys were thrilled to buy the records.
I came into my own, you might say, in terms of putting out my first record quite late in life. And yet there's some authors and photographers and even probably recording artists that didn't really hit their stride until their mid-50s.
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