A Quote by Ryan Lewis
Seattle isn't known for a particular production sound, so that leaves a lot of great producers in Seattle doing kind of their own thing. And I think, for me, I was probably enough removed from hip-hop that my style was even a little bit weirder than that.
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I miss Seattle a lot. It was my first city that I lived in on my own. It was a great city to play for. It was unfortunate for the fans what happened, but it’s time to move on. I’m sure they’ve moved on. But in the back of my mind, I still have a thing for Seattle and always am going to remember what they’ve done for me.
By the end of the 1980s, Seattle had taken on the dangerous lustre of a promised city. The rumour had gone out that if you had failed in Detroit you might yet succeed in Seattle - and that if you'd succeeded in Seoul, you could succeed even better in Seattle... Seattle was the coming place. So I joined the line of hopefuls.
The thing about hip-hop producers, and the thing about hip-hop musicians, is that we listen to everything. And we're inspired by everything. I'd say even more so than any other genre of music.
Upwell is one of the most terrifyingly great bands I have ever known out of Seattle. Their musicianship and songwriting is monstrous... They're heavy like Soundgarden or Zeppelin with killer female vocals, but with their own unique style.
In Vegas, you have an audience you can't find anywhere else. It's from all over the country. You play Seattle, everyone's from Seattle. But in Vegas, you have six from Seattle, a bunch from L.A., some local Las Vegans and maybe a farmer from Iowa. In Vegas, you learn the ins and outs of holding a room because of that great spectrum of folks.
A lot of the commercial expression of hip-hop leaves a lot to be desired - but then, there's a lot of whack gospel music, but I'm not leading a crusade against it. Of course, the vices of hip-hop are far more influential, I understand. But the good that hip-hop transmits, the power of the culture to rally the best of our protest, and uplift, and resistance, traditions, is often unfairly overlooked.
I mean, if you look at all the great romantic screwbally kind of movies from the '30s and '40s, they're all in New York. Even 'Sleepless in Seattle,' a movie about Seattle, ends up in New York, of course. The whole country, even if they've never been to New York, knows about it... from the movies.
One of my favorite places is Seattle. Growing up, I never thought I'd be able to go to Seattle. I grew up in eastern South Carolina, so that's as far as you can get from Seattle, unless I lived in Miami.
For me jazz is kind of an extension of hip-hop. Kind of the sad thing is that a lot of jazz people just listen to jazz, and a lot of hip-hop people just listen to hip-hop, and there's not a lot of crossover, unfortunately.
I'm a '90s kid, so I went into the entire album process wanting to incorporate little touches of that sound from hip-hop and R&B. Just enough to where you hear it subtly and then go, 'This kind of reminds me of that time.'
I was a hip-hop head. When I really found my own lane in music, it was hip-hop. I wanted to make hip-hop music. And I did, I made a lot of hip-hop music.
I think hip-hop is no more misogynistic than America is as a society. I just think hip-hop is a lot more brash, a lot more bold, a lot more loquacious. There are a lot more words that go into a hip-hop song than go into a regular song.
Hip-Hop is diverse. But the white, capitalist producers and distributors of Hip-Hop are most interested in the Hip-Hip that is misogynist, that is Black-hating, that is pugilistic, that is to say all about fighting and war and killing and gangsterism.
You gotta understand a lot of hip-hop kids are going to have the hip-hop mentality. And it's sad because they're not educated enough to understand what hip-hop culture is really about.
I don't know enough about hip-hop, though I've heard some great hip-hop. I just did a thing with Qwest Love - we did a performance together in Memphis at the Folk Alliance Festival, and we had a great jam and a conversation.
I think hip hop is dead. It's all pop now. If you call it hip hop, then you need to stop. Hip hop was a movement. Hip hop was a culture. Hip hop was a way of life. It's all commercial now.
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