Chris Gayle is an incredible player. A big guy, with phenomenal power and a very big bat. It's quite the combo.
It doesn't get any more underground, conscious or indie than Macklemore, Ryan Lewis, but because they got a couple of really big pop hits, actually some of the biggest pop hits that hip-hop has ever seen, people are missing that part of their story. People are not counting that blessing.
You might be like, 'I want really big hits.' But when you get really big hits, and your label is making $150 million, they are people who are now interested in what you do. They are going to begin to tell you what to do, and so you become important. So your creative freedom - you're not going to have that again.
I have many hits, big hits, that have been written by people I don't know. In almost all my shows, people say, 'Chente, here's a CD.' When I get home, I listen to them all, and what I like, I record.
I've never been the big recording star I'd love to be some day. I've had lots of hits off and on through the years but I've never had the success of other artists - one hit after another back-to-back-to-back and big hits, where every song is going to be number one. I'm not greedy or nothing. I just want everything. Is there something wrong with that?
If you take a band like Nirvana, their biggest hits are structurally the same as even a hair metal band's biggest hits. The structure's not different - the attitude was different. Except it really wasn't. It seemed a little more human.
Everybody can't come to New York and take the hits, take the hits of the city, take the hits of the media, take the hits of the fans. It's real.
You go to any Jay-Z concert, and he plays his hits. Comedians don't have hits. You have to have a whole brand-new hour. You have no hits to rely on. It's the hardest thing.
There will always be economic pressure to make hits, identify hits, and then exploit hits. And you're going to exploit them with as many episodes as you probably can.
A big hit is all part of the game. If you want to make a lot of big hits, you forget about the one you just made and move onto the next one.
The moment I came out as a gay man, I never really thought of the consequences. Of course, the proverbial happened: it hits the newswires, and it's this big, big thing.
It's the subconcussive hits, the constant bam, bam, bam that linemen like Suh give and receive. Those are the hits scientists say cause the lasting damage to the brain, the kind of injuries that made guys like Mike Webster, Terry Long, and so many others go crazy. The subconcussive hits - every single play.
I can make the argument that people who don't have the biggest ranges but have very unique voices, even if they may be pitchy at times... with the right record that's really unique and distinct, they can have big hits.
I love big hits.
Most of the time, when I had hits as a soloist - maybe not so much with Simon & Garfunkel - I was surprised they were hits. I didn't know what the hits were. I never thought that 'Loves Me Like A Rock' was going to be a hit, or 'Mother And Child Reunion,' or '50 Ways To Leave Your Lover.' They didn't sound like what the hits sounded like at the time. Radio was more open to things that weren't exactly what every other hit was.