In order for people to take what you say seriously, they have to know who you are as a person.
BRENT FAIYAZI was reading Neil Postman’s ‘Amusing Ourselves to Death’. It’s one of my favourites.
More Brent Faiyaz Quotes
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If you’re my woman, you’re somebody I give emotions to that I don’t give to nobody else. You’re my safe space. I don’t want my safe space to be compromised.
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I want to put my soul into the music and still be who I am when it comes to an actual conversation.
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If you can look in the mirror and say I love myself, that’s going to affect your interactions with people who look like you.
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The first couple of times I went out and heard my voice or heard people listening when I wasn’t the one playing it for them, it felt good.
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We’re products of this world we were born into. We all battle our own demons. Everyone is troubled in the dark, but, please just stop & think about the babies. They’re gonna be here long after we leave.
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People will listen to a song and expect that you just have that persona on all the time. But really, that was your one outlet that one day to get that emotion out. The only difference was you put it on a canvas that’s going to be there forever.
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In 2018, nothing is sacred. Everyone is everywhere and knows everybody. I don’t text too personal because somebody might screenshot it and share it.
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Rapping was kind of hard. It’s so many words. When you sing you can kind of stretch the words out. I didn’t have to write as much as everybody else.
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I feel like any way you can get the message to resonate, I’m all for it.
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You work on something for so long that you become numb to it. Like, you don’t even know how to listen to it because you listened to it so many times.
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I don’t really feel the loyalty to any particular genre. To be completely honest, I’m an R&B singer because I’m black and I sing.
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I used to think that there was a certain way I had to stick to when it came to R&B, but now I’m saying whatever, the same way these rappers do. I’m bringing that into R&B music.
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Me and Goldlink have known of each other for a minute and our managers know each other so they set up a studio session. When we got in the studio, we was cool; we’re from the same area so we have a lot in common.
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I got a toy keyboard when I was around like five or six.
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I work while I’m on the move, so I’m able to book sessions in different cities.
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Being old didn’t seem like an accomplishment. Everyone I knew who was old was like sick or broke. It just didn’t look appealing until I moved to L.A. and started interacting with people who were 50+ and still kicking it, having money, living large.
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I started off making beats when I was like 12. Then when I linked with people who make beats full time, I was like, ‘Bet, now I can focus on writing and singing.’
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I recorded everywhere. I would go to different cities and do a session there for the project. I did sessions in New York and I did sessions in L.A. It was just kind of wherever I was and I felt like cutting a track.
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I could always sing just playing around, but I ain’t want to be no singer. I thought that was lame.
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With the Sonder music, I pull a lot from what’s around me.
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Don’t stop until you get where you’re trying to go.
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Music is my one opportunity to let out how I’m feeling when I’m not talking to a chick or my mom, you know what I mean? It’s just venting.
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When you’re initially making music, you’re kind of just shooting at the air.
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If you tell somebody that you make music they’re all interested. But when you say you rap, they just start rolling their eyes at you. It would’ve taken me a lot longer to get my foot in the door if I’d continued rapping all the way.
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There’s the hype stuff that people love for five minutes and then there’s the stuff that changes cultures and shifts how you look at music. And then there’s that rare point where that hype stuff changes the game.
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I was reading Neil Postman’s ‘Amusing Ourselves to Death’. It’s one of my favourites.
BRENT FAIYAZ