A Quote by Eric Nam

For the first four or five years I was in Korea, I took a lot of direction from my management and label in terms of what people want. I found myself trying to fit into that thing I never felt comfortable with because the critique I got was that I was too American, and too sophisticated and polished in terms of my musicality and it won't sell.
I wrote Her First American and I always say it took me eighteen years. It took me that long was because after about five years I stopped and wrote Lucinella. I got stuck; it was too hard to write. Lucinella felt like a lark. I wanted to write about the literary circle because it amused me, and I allowed myself to do what I wanted to do. It's just one of the things I'm allowed to do if I feel like it.
There are too many African-Americans with too much money for us to have to go to anybody else for anything in terms of schools, in terms of scholarships, in terms of entrepreneurship, in terms of moving us along as a group to that place where we should be as a people.
I don't have the same restrictions that other people do because I never painted myself into a corner. I've always done things that didn't necessarily fit the form. I've never felt limited in that respect in terms of songwriting.
The point of Silicon Valley at least when I moved here was we're all trying to do stuff and none of us quite felt like we fit in anywhere else. But we were all trying to do good things. And the money was just the byproduct of good things. The idea that there's an obligation to have that thing happen in four years or five years or six years, I think we need to disavow that.
I think I fall into a lot of cracks in terms of I'm too something. I'm too this, I'm too that. And my music has never really had a home. I've been this floating alternative. I'm too mainstream for alternative. I'm too alternative for mainstream. And I'm just kind of wandering.
A lot of people didn't like the 'Fantastic Four' for the first year and a half. It took a certain measure of time for me to find my feet in terms of what I wanted to do with the concept.
I traveled the world ten times over doing something I never thought I'd do in a million years. I found myself in Tokyo, Japan. I (was in) a Dell Computer commercial, the first thing I had ever done, and I fell in love with it. I fell in love with the green screens, I fell in love with (everything). The translator was explaining everything to me. It was a passion like I had never felt before. I came back and it took me five years to really accept that that was okay.
Five years is a very long time. If you think about it in terms of just people's lives, in terms of who our audience is: if you were in high school when you first saw our stuff, you're in college now.
My father didn't do a lot of direct education. My mother was the direct educator. She would put on these movies on American Movie Classics when we got cable, after my parents got divorced, which took like four or five years.
Seattle was good for me. I was very comfortable there - not comfortable in terms of it was too easy, but I was at home, I was with my family and friends. It was a great life. I was home. But I think, for me, when I get too comfortable with the lifestyle and everything, I feel that my performances, my focus can go down.
I often say to my friends that I felt too Puerto Rican to live in the States; then I felt too American to live in Puerto Rico. So when I settled back in Puerto Rico in 1992, I had to come to terms with all of that.
I've got to be kind of careful because I've had good advice: "Don't sell yourself too short." I have to not be too available to everything that comes along. I've always been a people pleaser and now I'm upping the ante in terms of price so I can be more selective. I really enjoyed working on three tracks on Sara Groves' [parenthood-focused] album Station Wagon. I love playing on those songs and I love the heart in that album.
I always felt like Broadway was not for me - in terms of ticket price, in terms of what was on there. I never saw myself reflected in the mirror of the Great White Way.
One death is too many - and with careful management and a lot of luck, the coronavirus sweeping the globe will be curbed, in terms of illness and loss of life.
What [American universities] need, and would much benefit from, is more Marxists, radicals, leftists - all terms conventionally applied to those who fight against exploitation, racism, sexism, and capitalism. We can never have too many of these, just as we can never have too few 'conservatives'.
I never felt comfortable with making political decisions based on whether, you know, it was the right thing to do in terms of a poll.
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