Anderson Paak Quotes
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I don't know many artists who've come out of Beverly Hills, y'know? You need that struggle.
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If you're doing black music, you should have a core understanding of where that comes from, and the fundamentals - so you're not some bozo thinking you're doing something new.
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I had a project called 'Cover Art,' which was the first project I did under the new name Anderson .Paak. I went through this process where I was recording new music for about six months straight.
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I didn't always take myself that seriously. Image-wise, I was somewhat of a jokester.
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My story as an artist has been about trial and error. It's been about artist development, character building, struggle, happiness and failure, family, and music.
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My mom was born in Korea - Seoul, Korea, during the '50s, '51. She was abandoned; her and my uncle were abandoned. My grandfather was a Seabee and adopted my mom and my uncle, and brought them to Compton in the '50s. That's where she was raised.
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I tell people a lot of times, if you want to be a part of something, you never know, you kind of just have to be around. A lot of people don't really have the patience for it, and they don't stick around. Dre and I are still working together, and we have plenty of music for the future.
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As an artist, you're taking your experiences and placing them into your art. So the more experiences you have, the richer your art and more people can relate to it.
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I learned a lot from working with and watching Knxwledge, seeing how he produces non-stop. He doesn't dwell too long on stuff. He's very simple, using only about two or three elements. I like that in production. Sometimes it doesn't take more than three drums, a melody, the vocal, looping a sample or whatever, just as minimal as possible.
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I used to work with mentally disabled people when I was 18 or 19, changing diapers and catheters. I was working, like, 16 hour night shifts, having to distribute meds and go capture people who would break out of the house. Sometimes they'd have seizures, and we'd have to rush them to the hospital. That was an interesting time, very humbling.
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I'm part of the generation that grew up with great rappers like 2Pac and Biggie and people like Amy Winehouse. We've seen a lot of different artists come and go. Even people who are still here, they seem consumed and blinded by fame. It may not have taken them out physically, but they have been taken out.
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Drumming is a real part of my live show, and I like to do it because so many people aren't expecting me to go and do it.
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If you grow up playing in church, it removes a lot of the boundaries that other musicians might have, growing up with sheet music or whatever.
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My mom had a produce business in in Oxnard, and we used to take these long trips to talk to farmers and different distributors. She'd take us with her after picking us up from school, and she'd be blasting all this old soul music and R&B. I knew all those O'Jays songs before I knew Snoop or Dre or Tupac.
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Growing up in a house where there was a lot of different musical influences - my mom listens to soul stuff and Top 40, my sisters would listen to hip-hop - and the church, I grew up listening to a lot of gospel stuff. So I think that plays a role in how I make music now because my music has a lot of range. I don't just do one thing.
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I didn't start playing drums until I was 12, for school band; they didn't have any saxophones left. My step-pops had a kit at the house, and I had never done anything that I understood so quick. It was so natural. It was the most fun and consistent thing in my life.
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A lot of people who work with Dre, you're lucky if anything sees the light of day.
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My mom eventually got out to Oxnard and started a produce company and was in the strawberry business. My pops was out of the picture by the time I was 7.
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I grew up in Oxnard, CA, and I went to a church called St. Paul, where I was playing drums. My mom had a strawberry company. The whole town of Oxnard is basically built on produce, and more particularly, strawberries.
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I don't think there's anybody that has such a keen sense of vocal production and attention to detail as Dre.
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I just want people to be affected by the music. I'm really affected by my surroundings and put everything in my music - what I'm not getting and what I desire. I want it to be uncompromised... almost a spiritual thing.
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The dot stands for 'detail' - always be paying attention to detail. I feel that people take you as serious as you take yourself. I spent a lot of time working on my craft, developing my style, and after I came out of my little incubation, I promised that I would pay attention to detail.
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A lot of Knxwledge's instrumentals just brought out this tone and swagger that I had played with before but had never really pinpointed before on my Anderson .Paak stuff. But then it just came so easily.
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I'd been watching documentaries about early rock where white artists took 'race records' from blues and soul musicians to achieve mass appeal. I wanted to flip that and do an EP covering only white artists.