Adrian Younge Quotes
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'Luke Cage' came out in 1972 at the height of the blaxploitation era. It was a literary response to this notion of blaxploitation movies. It was the first time in American culture that Hollywood was embracing black movies.
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I'm the black dude that loves old black culture. I also love old white culture. I just love history, but I'm the guy that wants to bring things back and push them forward.
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It's important for a young black kid to see a Mexican hero, just to know that we're all equal.
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I always feel like young people are more emotionally in tune with new and timeless music.
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To me, recording with live instruments and tape takes things back to an older sound that I like but that's still fresh.
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I want listeners to feel as though they went through an experience.
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Luke Cage is seen in 'Jessica Jones,' but he doesn't really come into his own until the 'Luke Cage' series. That's when you really see who he is.
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I love sampling, and RZA loves sampling, too.
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I basically wake up at five in the morning and grab coffee and just get to the studio. And I have a list of things I need to get done every day. Sometimes it's just mixing, sometimes it's actually writing, sometimes it's writing, recording, and mixing. It all depends on what is necessary that day.
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Having Ghost and Raekwon together on multiple tracks is almost like cheating because they fit so well together. Their chemistry is undeniable, and they clearly make each other better.
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A lot of Ennio Morricone's music is just - it's very soulful, very cinematic, and very psychedelic.
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I'd never record digitally. It's not because its' a horrible way to record, it's just not the best way to record my music, because my music is rawer, darker and a little more nostalgic.
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I'm a hip hop dude who loves scoring for film.
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I love the song 'Picasso Baby,' and I think the performance art piece was brilliant. I love that fact that Jay Z is continuing to raise the bar on hip hop.
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It's important to the world to see superheroes that are spread across our demographic.
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I have a J.D., but I'm not a practicing attorney as far as entertainment law goes.
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People like RZA and DJ Premier are really on the balcony to scope my musical theories. They also help me focus on making sure I make money, making sure I get the notoriety I should, just regular stuff that friends do when you're in the business. And to call them friends is amazing.
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Generally, as a composer, it's perceived as an employer-employee relationship.
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I can't do too much musical movement with a lot of MC's, because they don't know how to follow me. But with Souls of Mischief, I could go anywhere because they are musicians - they rap as musicians, and they play instruments and produce, so they get that.
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I remember those moments in my life when the tape came out on that Tuesday, and I went to Sam Goody to cop it. And sitting and listening to it. In awe of the music I was listening to, but also imagining this music at the hip-hop clubs and with the homies in the car.
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I try to find a vocalist that I don't have to make better. I try to find a vocalist that can make me better, and in turn, I can make them better so that we are, as a team, making ourselves better. I like the vocalist to challenge me. I love to challenge a vocalist.
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It's the ownership of what's off that's the beauty in art. Its not about being exactly perfect.
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Like with me, like around '97, for Christmas my parents bought me an MPC 2000 sampler and a little eight-track cassette recorder. And I started sampling records and, you know, producing hip-hop beats. And it got to the point where I realized - I innately realized that the music I liked the most was made by people that played instruments.
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Sometimes, a concept is needed to spark myself and the vocalist; sometimes a concept isn't necessary for that spark. It all depends on the moment, because I don't want to be that dude that every album has to be this story or that story.