Top 1200 Drum Beats Quotes & Sayings - Page 19

For me, there's nothing that beats playing. When I'm not playing, I'll watch games on the television, watch stuff on You-Tube, everything. I just live for football, love watching great players.

I wanted to be a doctor at one point and I also wanted to be a pilot. I think if you grow up in a dodgy area, reality often beats down those ambitions as you get older. But with me that never really happened.

This is show business, and there's room for the shows and the personalities. But I think there's also room for music, for people to play music, and there seems to be an audience developing that's willing to go listen to music again, rather than just be blown away by drum machines and choreography.

I had to figure out what to make for myself as an artist. As a producer you make stuff for all kinds of different people. I was making beats for other artists but not for myself. It was kind of weird.

If you do something really well, the entire world beats a path to your door. The number three, number five, number 400 player gets nothing. It's almost a winner take all.

Management has to provide the coordinating mechanism between what the supplier provides and what the user needs in not-good-enough situations where product architecture is consequently interdependent. Management always beats markets when there is not sufficient information.

For me, there's nothing that beats playing. When I'm not playing, I'll watch games on the television, watch stuff on You Tube, everything. I just live for football, love watching great players.

I've never been a fan of personality-conflict burgers and identity-crisis omelets with patchouli oil. I function very well on a diet that consists of Chicken Catastrophe and Eggs Overwhelming and a tall, cool Janitor-in-a-Drum. I like to walk out of a restaurant with enough gas to open a Mobil station.

The importance of the Beats is twofold: first, they act out a critique of the organized system that everybody in some sense agrees with. But second-and more important in the long run-they are a kind of major pilot study of the use of leisure in an economy of abundance.

I can't tell you how many things I've worked on where I sat on it for a few years, and then somebody else did something very similar. Whether it's some weird vocal effect you hear on another record, or a drum beat, or even a song title, a subject matter, or a mixture of different kinds of music.

I went into Guitar Center, and David Koresh and Steven Schneider were looking at a drum set, and they asked me to play it. They handed me their card, which said, 'Messiah Productions.' All this religious scripture was written on the back. The last thing I wanted was to join any kind of Christian band.

What Beats brings to Apple are guys with very rare skills. People like this aren't born every day. They're very rare. They really get music deeply.

I think a lot of people saw 'Fight Club' and thought, 'Right, here's our next Che Guevara, here's our next Fidel Castro, here's someone who's going to wave the flag.' And I was like, 'No, it's just a book. And if I beat that drum, if I play that song one more time, I won't have a career.'

I get hit up all the time from every verified rapper with 1,000,000 followers like, 'Yo bro! You got the sauce right now. Send me beats!' Naw, that takes everything away from what I do.

And even now she beats her head against the bars in the same old way and wonders if there is a bigger place the railroads run to from Chicago where maybe there is romance and big things and real dreams that never go smash.

I looked over at him. "Is that a proposal?" There was total silence for a couple beats. "I'm not sure. It just popped out." "Let me know when you're sure." "Would you say yes?" Morelli asked. "I'm not sure.

That's where I think a lot of these guys today are just, 'I'm the drummer, man. Check it out. Here's my lick. I just learned this new drum lick. I'm just gonna blast all over the place.' It's like, 'Man, you've got to let the song breathe.'

The DJ thing is just a way for me to perform my songs in public. It put me on the map, and a lot of people discovered me because of my DJing and later found out that I made beats.

My biggest 'Spinal Tap' moment was a stupid one as well. When we were rehearsing for the Zeppelin O2 gig, I was having an argument with my drum pedals. I actually took them outside, and drove over them several times with the car. Shouting at them and telling them they'll never work again.

I am an alien. I start a lot of relationships with artists because of what I'm capable of doing with the machine and with beats. Anyone can just listen to a beat, that's boring. But when you actually perform in front of them, it's like: wow. It's undeniable talent. That's my advantage.

I've always wanted to collaborate with Shawn Mendes, he's an amazing artist, but the thing with Shawn is that I won't collaborate... me just sending some beats. It has to be in the studio where we'd both be there recording together.

I've always been good about interfacing with machines. But that never seemed like a gateway to being able to make music. I never made the connection that music could be made with machines - that was what drum and bass was for me.

One of the things I love about music and making beats is making something and watching someone's reaction, knowing you can do something to manipulate the way people move or act.

People say I play real loud. I don't, actually. I'm recorded loud and a lot of that is because we have good engineers. Mick knows what a good drum sound is as well, so that's part of the illusion really. I can't play loud.

I always wrote poems when I was a little girl, and I loved hip hop music, and I kind of just started writing poems over beats, and that's when I started rapping.

Bjork's album, 'Homogenic,' it's got beats, strings, traditional Icelandic stuff. That's my benchmark for what an album should sound like, right up there with Coltrane's 'A Love Supreme' and Marvin Gaye's 'What's Going On.'

All the music we've done with Daft Punk has got a wider, more diverse style; it has rock in it but it's really full of special electronic beats... It's not just rock so the music is different.

At the end of the day I'm not just sending beats in. I'm mixing the song. I'm recording the song. I'm engineering the song. I'm in the studio helping with the songwriting. I'm doing the whole beat - every single piece of it is me.

I was able to interpret the difference between the sharp, quick sound and the slow, deep sound of percussion and manipulate it, get a third sound out of things, if the beats were rapid enough.

I remember when I was writing 'The Tin Drum,' I had the totally misguided idea of giving Oskar Matzerath a sister, and he just wouldn't have it. There was no space for a sister, yet I had the character of the sister in my head. In fact I used her in later novels, in 'Cat and Mouse' and 'Dog Years,' Tulla Pokriski.

Those who give the first shock to a state are the first overwhelmed in its ruin; the fruits of public commotion are seldom enjoyed by him who was the first mover; he only beats the water for another's net.

Genius as an explosive power beats gunpowder hollow; and if knowledge, which should give that power guidance, is wanting, the chances are not small that the rocket will simply run amuck among friends and foes.

When I lost the use of my hi-hat and bass drum legs, I became basically a singer. I was a drummer who did a bit of singing, and then I became a singer who did a bit of percussion.

I started producing in California, and they called it mob music. When I moved to Atlanta, the sound was different. People in Atlanta didn't like to rap over West Coast beats. So I had to make adjustments to what was going on in the South.

I have a particular pair of headphones I love so much I bring them everywhere: Beats Studio. It's perfect for watching movies as well because you feel like you have your own theater with you, even with your iPad.

I remember doing "As Cool As I Am" and Steve Miller, the producer, saying "I really hear a drum loop here. I want to play it for you." When I wrote it, I thought, "This isn't going to sound very folky. I don't think it's going to go with mandolins and banjos." Then he played the loop for me and it sounded right.

I will bathe in your warmth ma petite. Roll you around me until my heart beats only for you. My breath will grow warm from your kiss.

My love for dance music started when I was a child. Some of my earliest memories are hearing Trance music in the charts and later being heavily influenced by the eclectic tastes of my big brother, he quickly turned me into an avid Drum 'n' Bass head even though I was too young to rave.

We could build just about anything that you could dream of. But that's not the question. The thing that Beats provides us is a head start. They provide us with incredible people that don't grow on trees.

The key is a good story. If you have a good story, you have enough emotional beats that you can hit.

I've seen many great performers on stage, from Dean Martin to Celine Dion, but nothing beats the first time I saw Elvis. There was no pomp, no pyrotechnics, nothing to distract you from the raw talent of the man in the white jumpsuit.

I remember asking my mom, 'Can you be the quarterback and the drum major at halftime?' I mean it's like, what in the world? I wanted to go play quarterback, and I wanted to lead the band. I don't know how old I was but I vaguely remember asking them that.

You got this new breed of hipster chicks and hipster men that don't understand anything about sacrifice. They didn't lay it on the line. People like Cat Power, Tom Waits, they are the last of the beats, the real true philosophers.

It's like a painter with various layers of paint. I start with a drum loop and add keyboards, and then melodies start to take shape. The vocals happen later. I've never really done therapy before, but it's a form of therapy. Everything else falls away.

I started getting back into buying old analog gear while we were recording. Lots of old drum machines and synths. It wasn't a conscious thing. I didn't consider myself a collector, but boxes of vintage gear would turn up virtually every day.

Nobody could have predicted the effect of John Bonham's drum introduction on 'Good Times, Bad Times,' because no matter what he'd played in before, he'd never had the chance to flex his muscles and play like John Bonham.

Besides my son, music is the most important thing to me. I always have music on in my car and playing at house, and I'm in the studio or performing every night. I like Beats by Dre for headphones, and Bang & Olufsen soundsystems.

It's hard to sing really well when you're playing an instrument, but it'd be great to try and sing really well and have vocal effects and one drummer on a real drum-kit, and one on an electronic kit.

I'd be making beats pretty much every day after school and it just grew and grew. I wasn't precious about my music. I just loved creating and putting stuff out there.

It's been years and years and years I've been playing the drums, and they're still a challenge. I still enjoy using drumsticks and a snare drum.

A lot of the music that you listen to now is because of the things that the Meters did, the Neville Brothers did, and they're there, the guys who invented those beats that the guys sample today. Such an enormous opportunity.

People who have lived through a war know that as it approaches, an at first secret, unacknowledged, elation begins, as if an almost inaudible drum is beating ... an awful, illicit, violent excitement is abroad. Then the elation becomes too strong to be ignored or overlooked: then everyone is possessed by it.

All you need is a pool table, beer, an electric jukebox and good conversation. The day a girl beats me in a game of Beirut [a kind of beer pong] is a good sign!

I think there has been this really bad habit of environmentalists being insufferably smug, where they are sort of saying, 'This is the issue that beats all other issues,' or, 'Your issue doesn't matter because nothing matters if the earth is fried.'

I think the good news for me in life is that I really trust my instincts when I come to work. Maybe less in life and in love, but in work and in comedic beats, I feel pretty confident.

People still say to me, 'What, you still live in Mexico?' I don't have to go to the United States simply to find work, and I don't have to stop what I'm doing. I mean, which Hollywood film beats 'The Motorcycle Diaries?'

When I was younger, I was a rave kid trapped inside a singer/songwriter's body. But I kind of figured my way out because I started making these really terrible beats on this Yamaha keyboard that my parents got me for my 10th birthday.

You just realize that at the beginning of 'Scooby' you're just going to start at level ten and stay at ten the entire time. It's hard. It physically beats you up. It's definitely one of the hardest movies you can do.

When I first started making music, I was pretty drawn to hip-hop beats wrapped together with super-good lyrics. The most important thing in that is wordplay, so that stayed with me when I started writing songs.

Fortunately, our digital age has created some wonderful tools for finding employers and showing your strengths. But when it comes to discovering or keeping a job, nothing beats good old-fashioned face time and up-to-date skills.