Zitat des Tages von Diplo:
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.
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.
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 wish I played guitar so I could start a band with great musicians.
You can never figure out what the future sounds like. As soon as you make it, it's the past.
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.
I love Marvin Gaye. I like jazz and all that stuff.
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 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.
I never became a producer to go to parties or wear nice clothes or put sales figures on my Wiki page.
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?
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.
I'm trying to always do new things because if you stay behind and fight the future, you are just going to be left behind.
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.
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.
That's what I care about is the people I work with and representing them and helping to make their music apparent for the rest of the world.
I'm not a superstar, per se... but I'm a musical creator - a producer in the same vein as what Quincy Jones was, or Pharrell and Timbaland were.
I was never good at scratching, but I was good at collecting old records. Florida was a great place for that, because it's where people go to die.
I appreciate people who are authentic. Someone who just wants to be cool, I can tell when their intentions aren't right.
Good bands won't get famous anymore unless they get really lucky.
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.
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.
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.
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.
All I know is don't ever get into a feud with Taylor Swift. She has, like, 50 million people that will die for her. You can't step into that arena.
People don't know exactly what I do; they just know I'm 'cool.'
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.
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.
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.
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.
My first production job after M.I.A. was actually the xx, but they didn't like what I did, and at the end of the day, we used their demos.
All of the best songs happen on a whim.
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.
To me, rap music is bigger than who's the coolest rapper, the biggest rapper. It's everything about your personality.
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.
