Keinan Abdi Warsame Quotes
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I know that often times a lot of people who work in music, whether they be labels and so on or even artists, want personal recognition. We want to be recognized for something, for what we did. I'd rather my song be recognized for what it's doing and that's important. It's not so important how many people know me.
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My life owes me. Like an overdose, I'm slowly Drifting into the arms of trouble, then trouble holds me
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To reach your goal authentically is probably, in the end, going to mean much more to you than having reached it in a false way.
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Until the lion learns to speak, the tales of hunting will be weak.
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When I get older, I will be stronger They’ll call me freedom, just like a Wavin’ Flag
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It's not really that I'm interested in filmmaking. I'm interested in the instrument of it, you know.
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It was interesting to find how dominating American vision is all over the world. I think there's something to be said about the world's mindset and its economics and all of that, and I think it affects the way we see ourselves and it affects music.
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I think it's a mistake to work on success in career. I've worked on my passions obsessively. How can I say what I want to say more precisely than the last time I said it? Success is such an elusive concept. When you work for it, I think you get it in a way you might regret it.
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I have moments of darkness, of anger, and moments of rage. They do creep up at the most inopportune times. Not to recognize that in my music would give people a sense of sainthood that I don't necessarily have or even want to have.
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Mindless violence, well let me try to paint it. Here's the 5 steps in hopes to explain it: 1, It's me and my Nation against the World 2, Then me and my Clan against the Nation 3, Then me and my Fam against the Clan 4, Then me and my Brother, we no hesitation Go against the Fam until they cave in 5, Now who's left in this deadly equation? That's right, it's me against my Brother Then we point a Kalashnikov And kill one another.
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It is the very survival of the streets that makes children pick up guns in Somalia, not some older, wide-eyed rebel leader. My intimate experiences during these years are something which I have shared with people through my music but am very careful about how they are addressed.
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It's not longer 'Look what I can do, I can do it better then you.' It's just I am.
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In the time of war, everyone was basically trying to live and manage the best they could. But you also had another period which was not a hard time at all - it was just a beautiful time. I lived in both eras. I got to fully experience and appreciate both the tragedy of Somalia and the beauty of it.
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There's definitely anger, the demand of more from the world, a demand for justice. There's no other way I can perform the vocals than the way you hear them. It's not just the words, it's what is being felt.
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I do think that some of my songs, like Take a Minute, are like the train between the two worlds. It starts out with the question of "how did Gandhi ever withstand the hunger strikes and all / he didn't do it to gain power or money as I recall," and its sweep reaches all the way to this part of the world. I think maybe I'm a translator, because I lived in both worlds and truly understand them. I understand the discontent that comes from not having. But I also understand the anxiety that comes from wealth and convenience.