A Quote by Joe Budden

Mixtapes are extremely important, especially for New York or North East artists. They allow you to be creative, to get feedback and criticism, but most of all, it gets your name out there. I would say about 90-100% of my success was down to the mixtapes.
When I went to AI New England in Boston, I used to do my mixtapes, and honestly, if you look back at any of my mixtapes, every single mixtape tells a story.
Favorite rap album? Damn. Lil Wayne's mixtapes... He got a lot of good mixtapes like 'Da Drought 3.'
The plan is to make money, and we know the fans are going to ask for mixtapes, and those mixtapes are going to hit. So when we put a tape out, we have more money coming in, that's why we work hard at it.
Labels don't want artists to put out mixtapes because they don't monetize it.
I put out this record on Ninja Tune called 'Florida' when I was about 22. And at the same time, I was DJ'ing and beginning to mix stuff up and promote shows in Philadelphia and New York and my own parties and make mixtapes, put out bootleg white labels.
When you do mixtapes, a lot of times your fanbase can say, 'We've been getting this for free for so many years, his new album is about to drop, we've listened to it, and we're not going to buy it. We'll download it for free.'
When I decided to collaborate with people, I wanted to collaborate more with the underdogs, the street people, messing with the people like Jae Millz and Papoose. When I went to New York, they were all over the mixtapes, so I wanted to get down with those guys instead of trying to go safe with all the super-big names.
I used to go and cop stacks of blanks CDs and sit there and burn copies of my mixtapes and print up my own mixtape covers and post up in downtown Oakland and Telegraph in Berkeley and literally was selling my mixtapes for five bucks, hand-to-hand.
As a journalist, I never critiqued anyone. I never review books. I've never felt qualified as a musician to say whether someone is a good musician or a bad musician. What happens with Black writers and Black artists is that if you're critiqued, for example, by a Black historian who wants to get his name on the cover of "The New York Times," and he says something, like, wacky, well, he'll get his name on the cover of "The New York Times" and he might get tenure, and your career suffers.
We've been having a great time writing for other artists in and amongst making our Bastille albums and mixtapes.
I've had mixtapes that have been better than albums I've heard from other artists. I take my time; I put my heart into it.
New York is a place that can grind you down and spit you out. A true New Yorker doesn't get ground down, he gets polished.
New York is a place that can grind you down and spit you out. A true New Yorker doesn't get ground down - he gets polished.
I think mixtapes have been really important for keeping my buzz strong.
I keep growing my fan base. My last project 'Heartless' sold more mixtapes than some big artists on major label albums.
I do my stuff, my "mixtapes," as you say. We just need time to capture. After that, I do not know what he thinks, but for me, it is time to get things together.
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