A Quote by Stic.man

MCs get a little bit of love and think they hot, Talkin bout how much money they got...all y'all records sound the same. I'm sick of that fake thug, R&B-rap scenario, all day on the radio, Same scenes in the video, monotonous material. ...Y'all don't hear me though: These record labels slang our tapes like dope. You can be next in line and signed, and still be writing rhymes and broke.
Dallas is more in line with mainstream America. But Houston's farther down on the map where it's a little different. I think it's the slowness of our culture, how we move slow. It's hot in here, you know. We got our own culture, our own slang, a little bit our own way of doing things.
People try to put us down (Talkin' 'bout my generation) Just because we get around (Talkin' 'bout my generation) Things they do look awful c-c-cold (Talkin' 'bout my generation) Hope I die before I get old.
I hear some new artists that sound country but the record labels and country radio lean more toward a more rock feel for what gets signed to a label and played on the radio.
When you're listening to radio and hear the same 20 songs over and over and over, you want a break from it. Sometimes you don't want to hear something that sounds just like everything else on the radio. Eventually, if you hear the same sounds and the same musicians and the same mixes and all of that, it will start to sound like elevator music.
Island Records was the first record label to... acknowledge me. After that, quickly, Republic Records, and then Atlantic Records, Sony Records and Warner Bros. It was all the labels at once. It was absolutely insane, like, knowing that this many record labels were interested in me.
I started singing to this one John Legend record; it was called 'Each Day Gets Better,' or something like that. I started to realize, 'Wow, I really sound like this dude. If I keep doing this, maybe I can sound dope like John Legend and still rap.'
I'm not a technical person, at all, but you get a little bit more of a sense for how to get something done a little bit more efficiently. I think everybody is in that place where it's a little bit more efficient, but the process is still the same, which is still loose and collaborative.
I think a persons life is supposed to be like a DVD. You can see the version everyone else sees, or you can choose the directors cut-the way he wanted you to see it, before everything else got in the way. There are menus, probably, so that you can start at the good spots and not have to relive the bad ones. You can measure your life by the number of scenes you’ve survived, or the minutes you’ve been stuck there. Probably, though, life is more like one of those dumb video surveillance tapes. Grainy, no matter how hard you stare at it. And looped: the same thing, over and over.
Not all are starting from the same line; however, the finishing line is certainly the same. We all have to show how much money our films make or how many awards we win or what critical acclaim and commercial success our films have.
Dudes like me, where I'm from with my sound, don't get signed! It ain't like labels in and out of Detroit and it's a guarantee and I got talent that everybody sees.
I was signed to a record label at the same time as my friend Elliot Murphy, who makes great records to this day.
When I got my record deal, my mum was still struggling a little bit, so the entertainment industry took advantage of that. My mum needed money, and so she signed a contract.
A lot of artists go in the studio and say, 'OK, whaddaya want me to do? Is it gonna be a hit? I'll do it. Is it gonna get played on the radio? I'll do it.' So they start makin' these songs, and they fall in the same tempo, same category, same this, same that, and it'll just all sound the same.
I think Lil Uzi is dope. Future is dope. I love Young Thug. I'm a huge Young Thug fan.
I used to make demo tapes with cats that rocked with Russell Simmons and people like that. The history goes so far back; I've always been really focused on writing dope rhymes.
The very dull truth is that writing love scenes is the same as writing other scenes - your job is to be fully engaged in the character's experience. What does this mean to them? How are they changed by it, or not? I remember being a little nervous, as I am when writing any high-stakes, intense scene (death, sex, grief, joy).
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