A Quote by Mustard

When I got my first check from 'Rack City,' I was like, 'Damn, I can make this much money making beats?' — © Mustard
When I got my first check from 'Rack City,' I was like, 'Damn, I can make this much money making beats?'
I made my entire first tape using Beats headphones - the studio headphones and halfway through the second one, because I finally started making a home studio. But I record and make all my beats with the Beats headphones.
I think they got caught up in how much money they could get from each of the city governments as far as tax rebates. But that stuff works when you make money. It's a little bit phantom money.
I started off making beats when I was like 12. Then when I linked with people who make beats full time, I was like, 'Bet, now I can focus on writing and singing.'
It's the way I enjoy making art - I like sitting down and making five beats; I enjoy that process. I can go two weeks without making a song and just making beats and I'll be OK.
I feel like I've gotten myself comfortable making beats in front of people, so like, if I'm in a big room of people, I'm not like, nervous. I wanna be able to make beats on the spot.
When you are starting out in your 20s, it is natural to think about all that you will have and do once you start making money, and making more money. That gives money way too much power over your life. It's not about how much you make, but the life that you make with the money you have.
Making a Hollywood film you don't have a very big movie because they have a Safety Captain and insurance people on the set. They have to check first. 'Don't do it. Let me check. Make sure everything is safe.'
Over the great bridge, with the sunlight through the girders making a constant flicker upon the moving cars, with the city rising up across the river in white heaps and sugar lumps all built with a wish out of non-olfactory money. The city seen from the Queensboro Bridge is always the city seen for the first time, in its first wild promise of all the mystery and the beauty in the world.
I never made beats to make beats; I only made them when there was a record to make them for. That's one of the things that has changed in hip-hop that's made me like it less. It feels much more like it's a producer-driven medium, where there are all these tracks that are completely interchangeable.
I came into business to make money, I make no apology for that. I wanted to make a lot of money but after the first £50million or £100million, it became less about making money and more about having fun.
When I got my tour card I cried. When I got my first win - and my first pay check - I cried. All these things make me cry.
I started playing instruments before I started making beats, and I was never the best guitarist or the best pianist or the best drummer. And when I started making beats, I was not the best beatmaker, and when I started making hooks, I was not the best vocal melody person. When I first started rapping, I wasn't the best rapper at all.
After 9/11, I was like many people in New York City and got a little depressed. I began to check myself into The Waldorf Astoria for room service, movies and just to chill. I wanted to contribute to the great city of Manhattan.
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.
Banks will fee you to death. If you bounce a check, the bank has a policy to re-post the check three more times to see if it will be paid. If it continues to bounce they charge a $30 overdraft every time. So, one bounced check will rack up $90 for the bank.
I'm just trying different styles and switching it up, but getting back to rap and the essence and the swag that I brought to the game from records like "Rack City" and "Faded," records like that. I got some good collaborations that people are gonna be excited about.
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