A Quote by Jo-Wilfried Tsonga

I have a lot of respect for who beats me and that's it. — © Jo-Wilfried Tsonga
I have a lot of respect for who beats me and that's it.

Quote Topics

I've got a lot of respect for Claude Puel because he brought me to Leicester and to the Premier League and played me in most of the games. I have a lot of respect on that front.
A lot of young producers will stay at home and make beats all day but making beats is only about 20 percent of the job. The other 80 percent is networking; that's what I feel like a lot of people are lacking.
The beats change, I mean you got a lot of artists out there advancing new sound, new technology, new beats everything sounding very futuristic, so I feel it would have been boring for me to do another hip-hop record.
The simplest beats, on what rock music or any music has been formed on, can be the toughest beats to execute and perform, because it's really easy to not respect a simple 4/4 beat, because people always want to play fast.
I don't have a hand in a lot of my own beats. I like all types of music and all types of beats though.
The respect from my peers is what means a lot to me. The guys I go up against each and every night. You know, to have their respect, I think that's huge. And that's what I care most about, to have the respect of my peers.
I will stay in Impact as long as the fans want me there. They were so happy to have me there and treated me with a lot of respect. The office, talent, and staff are treated with respect by everyone, regardless of your position in the business.
A lot of the stuff I've accumulated over the last few years of touring I thought was really interesting. Like sounds, sound bites, and beats even, but they weren't good dance beats they weren't ones anyone would want to rap over or anything.
The DJ thing is just a way for me to perform my songs in public. It put me on the map, and a lot of people discovered me because of my DJing and later found out that I made beats.
I was joked by a lot of older musicians because I was playing saxophone over trap beats or future bounce beats, and it just wasn't what you do. They were just like play some John Coltrane and get in the corner. But that's just not how I work.
I get asked a lot about my legacy. For me, it's being a good teammate, having the respect of my teammates, having the respect of the coaches and players. That's important to me.
Self respect beats social approval, every time.
For people who love Tribe, I'm the defector. They say, 'You should get back with Ali to do the beats.' But a lot of people don't realize I did all the music in Tribe. In the first three albums, I did all the beats!
Honestly, it's the luck of the draw. If you are comfortable with the actor that you're opposite of - it just breaks down a lot of those insecurities and you can just say, "Okay, I trust this person, and I respect them and know they respect me," and then you can just go with it. When that doesn't exist, it's a lot harder to let go.
'Welcome to Atlanta' was a song I wanted to do on my first album. The idea was for me and Outkast to do it, but I could never come up with a beat for us to do it. Outkast beats and my beats were very different.
There are a lot of people in this country who really like my writing. And a lot of writers respect me. But the so-called establishment? They hate me.
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