Quotes of All Topics . Occasions . Authors
A lot of DJs don't realize they're here today and gone tomorrow. They're literally taking jets to every show. It's crazy how much money they're spending.
I was making crappy beats since I was, like, 17 or 18, using Florida rappers, where I'm from. Then I started DJ'ing because I just wanted to have a new job.
The traditional media never gave Bernie Sanders the time of day. But he went viral the same way hip-hop and new dances go viral. And I'm part of that culture.
You just have to do; you can't live by the rules of what you're supposed to do. I think every person is good at something, and you just have to push that forward.
I think kids have got to learn how to work with what's happening, work with social, work with everything. To complain about how things aren't the way they used to be.
It's cool to play the guitar, but to me it's even cooler to scratch a guitar backward and forward, to manipulate it with a turntable. Guitars can't do that themselves.
I've realised that if I aim for a successful record, I probably won't have any success. But if I keep making weird things, then hopefully the audiences will come to us.
New York is so serious about the creation of work. Everything is happening so fast, it feels like there's another studio, another session on every block, and I love that.
I've probably got the most eclectic social media there is because it literally goes from hanging out with my son at a park, to, like, Madonna's house, to a rave in Africa.
How mad would it actually be to do an 'Avatar' type animation film, but about something mundane like a Winn-Dixie cashier's day at work? That'd be something else, I think.
As a youngster, I lived in Philly for 12 years, and I would go up to New York to do shows and make money - it was the dream to maybe be able to survive there and live there.
When I was fifteen, I used to run around reading 'Adbusters' and dumpster diving, trying to find ways to make the U.S. government unwind into chaos through hardcore punk and metal.
Taylor Swift is very strategic with her friends and enemies. And I know lots of secrets. I can't divulge, but I know a lot of stuff about her. And I'm scared. I'm scared for my life.
If I make a song, and it's my song, like 'Lean On,' we're going to make money off the synchs, the Spotify, and we get to headline festivals on it. That's the model I want to explore.
I think Usher is a bonafide superstar because he's very honest in his songs, and people can relate to that, especially in the feelings and textures of his voice. He is one of the best.
Selling MP3s or physical copies, it's still cool, but I think it's slowly becoming outdated to where people just want to build a culture. The culture's what you're selling at this point.
When we think about big records, a lot of producers are thinking of how to make it as standard as possible. I think those days are gone. I think you have to surprise the audience in 2015.
When it comes down to helping kids, a lot of ways for education to move forward is through music because that's exciting to kids. Reading books and going to a bookstore is not that exciting.
If kids can have some sort of social responsibility, that's cool. But if they're not actually having social responsibility, and they're kind of hiding behind it, that's kind of useless, or even worse.
I think you can't really beat Bob Marley, especially the stuff he was doing with Lee Perry. Just that kind of clubby and dark and crazy stuff, even with the Wailers... Some of the songwriting was phenomenal.
It's funny - some producers ask me, 'Man, how do you work on a Bieber record? That would kill my career.' I can work on any record there is as long as they are good records and you're pushing things forward.
Bieber's so talented, he needs to just be himself and be by himself and work on his craft. He has a lot of people around; he has to find the right team to help him make something that's going to stand alone.
As a DJ, it's my job to break new music. And instead of it just being the stuff that's coming from the major labels or the big pop records, I've always gravitated to something that's just different, you know?
You can never judge any music by their audience. That's the main reason people in England have a prejudice against someone like Skrillex. You judge people by their music. That's always been first and foremost.
Klaus from the Teddybears, Bloodshy and Avant and Mike Snow, they've done lots of Britney Spears production. They went backwards from production to being in a band, which might be cool. I might do that, too, one day.
I was in Fort Lauderdale from about age 7 to 14. And that's where I learned the most about music. My favorite DJ was this guy named DJ Laz and the Miami bass guys. I was super into, like, Arthur Baker, that kind of stuff.
I have heard, 'Never go to bed angry,' and that makes sense. Unless you're always checking yourself, a grudge or something small can break apart a relationship, and you start to forget what is so amazing about your partner.
I never got tied down to any social scene. I was just into creating stuff. And I think, even today, that's how I'm able to work and move between so many different genres - I want to be part of what's happening, I want to make new things.
I put out this record on Ninja Tune called 'Florida' when I was about 22. And at the same time, I was DJ'ing and beginning to mix stuff up and promote shows in Philadelphia and New York and my own parties and make mixtapes, put out bootleg white labels.
Money, for me, is just to create bigger and better things. A lot of guys in the deejaying world flaunt it, but I don't see any use in that. I don't need anything. I live in hotels. Most of my clothes I get for free. I like to invest in ideas. In people.
Dancehall has always had a homophobic problem, but you go to dance parties in Jamaica, and some of the biggest dancers are kinda gay, just not outspoken about it. Dancehall was the first kind of music I was DJing, and it was always more about the rhythm.
Gucci is a rapper that doesn't try and be anything he's not - he's straight up. Yeah, maybe it's ironic and all, but I'm just a fan and have been one since day one. Gucci Mane is the cool uncle I never had, even though I'm sure I'm probably older than him.
A lot of producers get famous because they decide to be superstars for their own reasons, but I'm inspired by Timbaland and Pharrell and Swizz Beatz 'cause they're doing things that are so different. I like how they're introducing ideas I never would have thought of.
The kids that are making the ghetto stuff I can't even reach are the ones that are inspiring me to play music for the other kids in the city they don't even know about. If I don't get those kids making music, there won't be an original kid DJing like me in five to 10 years.
We first started to rent old VFW halls in Philly or whatever; we rented kegs and did parties and played our own music. We had to find a way to do it because nobody else was helping us, and I think now it's important to keep those dialogues happening, those parties happening.
I grew up in Florida in different cities. I was born in Mississippi. My parents moved a lot, so I moved to Tennessee, Alabama, South Carolina, Virginia, all through the South. But my family's roots were from central Florida, like Daytona Beach area, so we ended up moving there.
Every time I want to impress someone about samples and hip-hop, I play 'Portrait of Tracy.' It's one of the greatest bass players ever doing a whole composition with only the two harmonics of electric bass; then a three-second loop in it became every great R&B song in five-year intervals.
I do a lot of collaborations and productions, whether it's Switch or Steve Aoki or No ID or Will Smith or No Doubt - I always like to collaborate and be a quality control person for the people 'cause I have my own taste in music and bring that to other peoples' brands and help them learn a little bit.
When I worked with M.I.A., who was, like, the coolest person back then, she was just a girl I met on the Internet. Or even when I met Azealia Banks on Myspace, I never thought, 'Oh, she's cool.' I just loved what she was doing. So I've always been like that. And I think, as a producer, that's what you've gotta do.
In Philly, there are a lot of social programs. If you have a degree, you can go and apply. I was basically a social worker, but I became sort of a sub teacher in a special program, helping kids with reading or math. But we would also do plays, learn about music... We were doing lots of fun stuff, but that was such hard work.
It sucks for me, because now I have to not be as crazy as I am on the Internet. Which totally sucks, because it's not going to be fun anymore. But the repercussions are really bad. Like, Taylor Swift fans are really crazy. They threatened to murder me and stuff. It's really bizarre, and disgusting. They're the worst people in the world.
When I first started producing, all I had was this little crappy sampler called a S20, which had, like, a minute sample time. I was making crappy beats since I was, like, 17 or 18, using Florida rappers, where I'm from. Then I started DJ'ing because I just wanted to have a new job. I was a schoolteacher for a while, and it was the worst job.
All over the world kids and women [are] getting killed right now over beliefs, this is silly to get angry over. If it bothers you just don’t attend I’m down for anything positive but this doesn’t affect our parties too much. I’m not the promoter, I actually had nothing to do with the rules being implemented, but I do agree with my team. And cause of who I am, I’m the de facto speaker. I have thick skin so u guys that consider yourself PLUR can attack me all you want it doesn’t bother me. I’m just here for the music.