A Quote by Rich Brian

For songs to be big, I don't think there's a certain formula to it. — © Rich Brian
For songs to be big, I don't think there's a certain formula to it.
I think everyone has a certain kind of formula in their life. When you deviate from that formula, you're going to fail big or you're gonna win big.
We love Formula One and think Formula One's great. But we think Formula E is different. We would be making a big mistake if we tried to compete with Formula One and be similar to Formula One, we have to be radically different to Formula One to have a chance of survival. I don't mean survival by beating Formula One but co-existing complimentary to Formula One.
I think a lot of brands reach a point where they say, 'We kind of have a formula - we've got it made.' Our formula is there's no formula.
Certain songs by hearing the rhythm, it tells you that is either a love song or you might be heartbroken or the songs give you the vibes and you just know that certain songs are militant that you have to write.
I think that's a very good point they're bringing into Formula One at the moment, to get rid of all the electronics. And I think that's what a Formula One driver needs. That's why they are a Formula One driver. They need to drive themselves.
From a prestige standpoint, the U.S. needs to host Formula 1. And I think Formula 1, they know they need the U.S. as well. So many companies that are global are based in the United States support Formula 1.
Formula 1 is such a big jump from Formula 2, and there are so many new things that you need to learn.
I know that a lot of people like to say "formula." I think that as soon as you start to have a formula imputed to your work, you're in danger of becoming formulaic. So the one formula I have as a rule is falling in love with the material.
A big part of the Motown formula was, they took music and turned it into this sort of automotive assembly line. They were cranking out 10 songs a day in that studio, or more.
Culturally, I think we have operated as if we had the formula figured out, and it was all about optimizing, in its various constituent parts, the formula. Now it is about discovering the new formula.
I don't really premeditate what I write my songs about; you know, they just kind of happen, and I can't start writing songs to please a certain group of people or propagate a certain message all the time. That's just not how my songwriting works - it just sort of comes out, and the songs are what they are.
There's certain songs that you're gonna record that you hope to touch people and change lives, and there's certain songs that you know that are not going to be that serious.
Certain songs have a life, and certain songs don't. A song is like a saddle: you ride it for a while, and if it's the right kind of song you can sing it for the rest of your life. And then other songs are only really important for certain periods of your life, and you move on from them and find yourself not necessarily needing to sing them anymore.
I think that there's a sense that procedurals, because they have more of a formula to the storytelling, it doesn't necessarily rate as high as some of the high-concept, big-idea, big-swing things that get the critics really excited.
I hate Calvin and Hobbes. I think its a big re-hash of formula kid strips.
For me, the good songs are the ones that come really naturally. There are certain songs that you rework and rewrite and the craft becomes very evident, but a lot of times those aren't my favorite songs. The favorite songs are the ones that I can't even hear my own voice in.
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