A Quote by Rob Sheffield

There are all kinds of mix tapes. There is always a reason to make one. — © Rob Sheffield
There are all kinds of mix tapes. There is always a reason to make one.
It was mix tapes, that's my story, I did a lot of mix tapes, that's what I started doing when I was 17. I got with a hot DJ out here and you know Texas, the rap scene is different, everyone out here is on the Screw music.
I grew up in the time just when cassettes were waning and CDs were growing. And so mix tapes - and not mix CDs - mix tapes were an important part of the friendship and mating rituals of New York adolescents. If you were a girl and I wanted you - to show you I like you, I would make you a 90-minute cassette wherein I would show off my tastes. I would play you a musical theater song next to a hip-hop song next to an oldie next to some pop song you maybe never heard, also subliminally telling you how much I like you with all these songs.
I put out tapes, but I always kept saying, 'Why am I putting all this energy into these tapes?' I was like, 'I'd rather make just an album because I have a vision; I know how I want to do my records.' I always felt like an artist as well.
I grew up a hip-hop kid doing mix-tapes.
Sample clearances and roll-out plans is what separates mix-tapes & albums.
Whenever I'd go anywhere with my dad - in his 1980 burgundy Dodge Ram - he'd always listen to mix tapes of country-music stars like Garth Brooks, Clint Black and Willie Nelson. Those were the first songs I ever learned the words to.
He was the boy that made mix tapes with themes and hand-colored covers until the day he hit my sister and stopped crying.
The real reason we ended up getting into that type of music was our dad worked for an oil company so we spent a year overseas when we were young kids. Because of that, it was all Spanish TV and radio so we ended up having these '50s and '60s tapes, tapes of that music.
The crews that are going to be self-produced are going to make the great albums, as opposed to making these mix-tapes, these compilations - "Me over this guy" It sounds good individually, but the art of the record is something that is lost. It gets to the point where it's just vocalists and producers coming in and piecing things together.
Bob Dylan has always sealed his decisions with the unexplainable. His motives for withholding the release of the magnificent 'Basement Tapes' will be as forever obscure as Brian Wilson's reasons for the destruction of the tapes for 'Smile.'
But when it comes to things of the mind, things like coaching, game-planning, coming up with offensive and defensive schemes, there's no reason why a woman couldn't be in the mix and shouldn't be in the mix.
People like Busta Rhymes would say, 'Clinton Sparks doesn't do mix tapes; he does albums. He just throws albums out on the street.'
Mix-tapes are something that have been going on for a while. They've been pretty important to hip-hop. It's the way we advertise our music to the public for free.
Where I grew up, there was only one CD shop, and I didn't really like school, so we'd register, then bunk off, and we would be round my mate's house making drum-and-bass mix tapes.
Tapes, as we all know, are very powerful evidence. Tapes that are altered are powerfully misleading.
Mix-tapes are something that have been going on for a while. They've been pretty important to hip-hop for the past 10 years. It's the way we advertise our music to the public for free.
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