A Quote by Joe Budden

If I'm trading bars with somebody, it certainly is not because I have a release coming. Joe Budden prides himself on the music and not the sales aspect. — © Joe Budden
If I'm trading bars with somebody, it certainly is not because I have a release coming. Joe Budden prides himself on the music and not the sales aspect.
Joe Budden TV is life through the eyes of Joe Budden. You've gotta go check it out - it's pretty fun.
For Joe Budden fans, and for Joe Budden, I like to focus on the creative side, and havin' a thought and bein' able to execute it in the booth. I think that song best displays me being able to do that.
G.O.O.D. Music is on top because G.O.O.D. Music is the culture. When you think of, you know, just every aspect from music, influence, fashion, art level. If it's not G.O.O.D Music, then it's somebody who was influenced heavily by G.O.O.D. Music.
Almost all the bars in Southeast Asia are lady bars. The listener and participants who interact and frequent the clubs are exclusively male who become actively involved with the ladies, not the music. Coming to them to listen only to the music is not what people do.
When the last history of high-frequency trading is written, Hunsader, like Joe Saluzzi and Sal Arnuk of Themis Trading, deserves a prominent place in it.
I was a big fan of Joe's film, Narc, so when you hear there's a script coming over from Joe Carnahan, you know it's going to be interesting because he has such a fresh voice.
One sticks to an opinion because he prides himself on having come to it on his own, and another because he has taken great pains to learn it and is proud to have grasped it: and so both do so out of vanity.
I get a lot of support from the West Coast. But I think that's beginning to change. I think, as the awareness goes up, and as I continue to be consistent, more people from my area come around, and they're converted into Joe Budden fans.
I know of a few multimillionaires who started trading with inherited wealth. In each case, they lost it all because they didn't feel the pain when they were losing. In those formative first few years of trading, they felt they could afford to lose. You're much better off going into the market on a shoestring, feeling that you can't afford to lose. I'd rather bet on somebody starting out with a few thousand dollars than on somebody who came in with millions.
We all had our strengths. I focused on mine, which was kind of the business side of things and more about the touring and the creative... Nick was all about the music, and Joe was about the entertainment aspect and the music.
The whole appeal of dance music is being liberated because music is liberating and it's not about club culture or the social aspect of playing the mating game or whatever you're doing at a club. It's more about the euphoric aspect of listening to music.
A big part of making music is the discovery aspect, is the surprise aspect. That's why I think I'll always love sampling. Because it involves combining the music fandom: collecting, searching, discovering music history, and artifacts of recording that you may not have known existed and you just kind of unlock parts of your brain, you know?
And when I say [M2 was] lo-fi production, it was so great and grimy. I was used to that world anyway, because we shot in bars, we shot in thrift shops, we shot on the street. And the bars, they would have just opened, and still there was barf on the floor and beer. We certainly kept it real. It was a small crew.
I feel fortunate to have made records during an era where people actually bought music. But I have friends in struggling up-and-coming bands now that will certainly never be able to pay the rent, because music has been devalued.
In terms of the coaching aspect and things like that, I've always been someone that prides themselves in helping young talent.
Looking back, we had the hard time, but the privilege, of actually coming up playing biker bars and little bitty college bars.
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