A Quote by Gza

I used to make demo tapes with cats that rocked with Russell Simmons and people like that. The history goes so far back; I've always been really focused on writing dope rhymes.
I literally went in and auditioned and got the part of "sounds like J.K. Simmons." I've heard people say a "J.K. Simmons type, but younger" or "J.K. Simmons, but with hair" or "J.K. Simmons but Mongolian." It's often "J.K. Simmons but...". You think you're on top of the world and they're asking for a "J.K. Simmons-type" and then, before you know it, they're asking for a "J.K. Simmons only younger." The next step is for a "J.K. Simmons-type...Oh, you mean he's still alive?"
Music is one of those businesses in which, if you're talented and hustle hard enough, you can make it - specifically as an entrepreneur. If you look as far back as Berry Gordy, Russell Simmons, Andre Harrell, L.A. Reid, and Sean 'Diddy' Combs, there's a whole lineage of successful black entrepreneurs who have built their own companies from scratch.
MCs get a little bit of love and think they hot, Talkin bout how much money they got...all y'all records sound the same. I'm sick of that fake thug, R&B-rap scenario, all day on the radio, Same scenes in the video, monotonous material. ...Y'all don't hear me though: These record labels slang our tapes like dope. You can be next in line and signed, and still be writing rhymes and broke.
If people are really excited about their music, and that's their primary motivation, then that comes through in demo tapes. That's the most important ingredient.
Writing, for me, really started in the '70s as a young child. I used to read a lot of nursery rhymes, and I learned a lot of those rhymes word for word.
To me hip-hop is a culture and I became an MC to be recognized as a dope lyricist. That's what I wanted to be recognized as. So when I'm writing rhymes I always take it very seriously.
My parents are kind of young, and my dad always listened to rock music and stuff like that, so I sort of grew up around that. As far as acting goes, I didn't really have any major influences because it wasn't really something that I focused on.
I always wanted to do a deal with Russell Simmons, and now I've got my signature on a piece of paper with his.
Opinions are like demo tapes. I don't want to hear yours
I'd been trying to do this since I was 15, sending out the demo tapes and doing all the things that everyone told me that I should be doing. But no deal - like, never.
I thought eventually I'd have a family and I really didn't want to be a loser like that guy in his 40s still shopping his band's shitty demo tapes around.
I put out tapes, but I always kept saying, 'Why am I putting all this energy into these tapes?' I was like, 'I'd rather make just an album because I have a vision; I know how I want to do my records.' I always felt like an artist as well.
History isn't like that. History unravels gently, like an old sweater. It has been patched and darned many times, reknitted to suit different people, shoved in a box under the sink of censorship to be cut up for the dusters of propaganda, yet it always - eventually - manages to spring back into its old familar shape. History has a habit of changing the people who think they are changing it. History always has a few tricks up its frayed sleeve. It's been around a long time.
To have mentors and moguls like Russell Simmons and Chuck D pushing me forward and empowering my movement makes me all the more eager to continue pursuing my dream to make my mark on hip hop music and culture.
People are used to seeing natural history programmes that have been filmed over many years which are concentrated, focused visions of natural history.
When I look at my own career, growing up, I was doing really well at age 11, but it was kind of isolating because back then, people weren't hanging out with me. My mom was always there. She had my back and was like, 'You keep focused. You gotta keep focused.' And I think those kinds of lessons were hard.
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