A Quote by Iman Shumpert

I'm not making music to get played in a club. — © Iman Shumpert
I'm not making music to get played in a club.
I just naturally started to play music. My whole family played-my daddy played, my mother played. My daddy played bass, my cousin played banjo, guitar and mandolin. We played at root beer stands, like the .Drive-ins they have now, making $2.50 a night, and we had a cigar box for the kitty that we passed around, sometimes making fifty or sixty dollars a night. Of course we didn't get none of it, we kids.
I think that the reason my records are able to live forever in the club is because I actually like to be in the club. I don't go to the club to do VIP or get bottles or nothin' - I go to the club, I enjoy the people, I see what the people are vibin' off, and I see what makes me go crazy in the club also, and that has a lot of influence on what I bring to the table when I'm thinking of making a big club record.
Atlanta is down south, the club. So the most thing played down there is club music. Everybody wants a hit.
There was a lot of freedom, so bands in those days did not have to play for the public. They played for club owners that enjoyed music. You know, what happened - there was a lot of clubs that had bebop music or different forms of music. It was great for musicians.
I became a professional musician and played all kinds of music. I played bluegrass, I played classical music, and for many years, I played jazz.
'So Icy' is always going to be one of my favorites because this is a song that blew my mind. I was just making beats for the fun of it. I went to the club and heard the song being played, so I asked the DJ to stop playing the song, and the whole club started rapping word for word.
That folk music led to learning to play, and making things up led to what turns out to be the most lucrative part of the music business - writing, because you get paid every time that song gets played.
I've never played the Olympic Club. I have played Lytham, but only some amateur events. I haven't played Kiawah.
You get to a certain age, and you are forbidden access. You're not going to get the kind of coverage that you would like in music magazines; you're not going to get played on radio, and you're not going to get played on television. I have to survive on word of mouth.
When my ban was relaxed I began playing club cricket. Imagine, for a person who had played at Lord's, to play with a club team who didn't have proper kit against another club team in Lahore.
I'm making music for people to have fun and party to. I'm also making real music as well. I'm making a lot of pop stuff. I'm definitely just making music for the consumer and the listeners. So shout out to all my fans.
Norm Smith personally came and signed me up to the Melbourne Football Club. The fact that I then played cricket for Melbourne Cricket Club - the footy club didn't like it that much.
I'm well past the age where I'm acceptable. You get to a certain age and you are forbidden access. You're not going to get the kind of coverage that you would like in music magazines, you're not going to get played on radio and you're not going to get played on television. I have to survive on word of mouth.
The most significant New York club for me was Paradise Garage, where they played house music. This was around '84 or '85.
I was about sixteen when I discovered that music could get you laid, so I got into music boy, didn't matter what you looked like either, you could be a geeky looking guy but if you played music, whoa, you'd get the girls.
Making music can get so emotional that, if you don't set limits for yourself, it can push you or the person that you're making music with to a breaking point.
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