A Quote by Chuck Berry

You don't just go to the studio and say, 'I'm going to write a hit.' It becomes a hit when people like your compositions. — © Chuck Berry
You don't just go to the studio and say, 'I'm going to write a hit.' It becomes a hit when people like your compositions.
When I graduated, I was going to go to school for law, but had such an affinity for hip-hop. It was like walking into a casino and I decided to bet everything on hip-hop, and I hit! My hit wasn't just a hit for me, it was a hit for everyone in this culture.
I tended not to be concerned about whether a song was going to be a hit when I wrote it. Because it became evident that none of us knew what was a hit and what wasn't. So I thought if I just write what I like, why shouldn't people like what I like?
I don't know what other fighters do, but when I get hit and go down, I smile and I say, 'I'm going to hit you harder than you hit me, and I'm going to knock you out.' The times I go down and get back up - that's when I'm the most dangerous.
That's what stock-car racing is. You hit someone, or you get hit. That's something I had to learn. It's a key factor in why I'm so aggressive. I don't want to have to hit you. But if you're going to hit me, I'm going to hit you.
When you get hit, you hit back, you've got to do it. You don't just say "I didn't get hit, oh I didn't get hit." When you get hit, we are destroying our country with these sick people [from mass media] back there, and they know it better than anybody in this arena.
When people ask me if I have a hobby, a lot of times my answer is that I like to surf in warm water. I like to ski, if I have the opportunity. But really, I like to go to my studio and write music that I want to write, where there's no pressure to come up with a hit single.
But it's not just "Do you want a hit?" More importantly, it has to be something we - the artist and I - like. If you go in just wanting a hit song, it's not going to happen that way. You have to first be committed to making music you like.
The ball comes into the box and you have no idea how it is going to fall. You cannot have thoughts in your head, like, 'It is on my left, I am not going to hit it.' You just have to take it in your stride and hit the target. That is exactly what I try to do.
There is a difference between a great producer and somebody who is a big advocate of your music. Just because you're a big advocate for a band doesn't mean you need to be in the studio with them, and at the same time - we don't need to get into this conversation - you can write a hit, but it might not hit.
I live in L.A., and whenever I get together with anybody to write, everybody is obsessed and fearful and wants to write a hit for everyone else. They wanna write a hit for Rihanna; they wanna write a hit for Katy Perry.
If I hit you and you hit me and I hit you back and you hit me back and go on, you see, that goes on ad infinitum. It just never ends. Somewhere somebody must have a little sense, and that's the strong person.
You don't really write a hit song - you write a great song, and then, if the public decides it's a hit, they take over from there. The song becomes its own monster.
When we go in the ring we know we're going to get hit. We know we're not the ballet people. But if you go in there and have doubt in your mind that you're afraid to get hit, forget it.
When you're like, 'Yo, we gotta write a hit song, we need a hit song right now,' that never works. Every time that happens, I never write a hit song.
A lot of people go up there and think about what they're going to do - I just hit. I relax and don't think about anything. I just want to hit the ball as hard and as far as I can.
You ever go up to the tee and say, 'Don't hit it left, don't hit it right'? That's your conscious mind. My body knows how to play golf. I've trained it to do that. It's just a matter of keeping my conscious mind out of it.
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