American - Musician | 1990 -
I constantly compare myself to artists who have, like, 10 times the budget I do. My mind is the biggest challenge, honestly.
Verite
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When it comes to production and the overall sound, I don't really have a lot of intentions with it. I start off with melody and a lyrical idea, and then build off of that story.
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School was just kind of something where it was like, 'Um, I guess I should get my bachelor's.' My mind is always geared towards the practical.
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I have to recognize that my voice is attached to my body, which gets tired.
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I love spreadsheets. I do all the finances. I pay the publicists. I have to compartmentalize the creative and the business, so there are sacrifices. But ultimately, I get to be the CEO of my own business.
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I started Verite on savings from three years working at Applebee's in Times Square. I was a ridiculously good waitress. I was making more money than my brother, who worked at a start-up.
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I'm not very good at vacationing or relaxing or planning any of that for myself. So I'm in the habit of piggy-backing off of gigs and deciding to stay an extra day.
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I moved to New York when I was 21 and worked between 40 and 70 hours a week. Then I invested it all. It was really just a hustle. But I was kind of raised to work like that, so to me, it seemed very normal and natural.
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I used to play shows in D.C. and then drive back to New York to work at 6 A.M. So there are those moments, and you just really need to power through them. Eventually, it builds on itself.
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I want to be in control of how my music is released and how I create it. What people don't talk about when they talk about major labels is how many artists get dropped or funding gets dropped when they don't recoup quick enough.
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I'm disregarding all the rules I've seen as people approach writing music. I'm trying to break them.
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When you do acoustic shows, there's always a more intimate vibe. I go into them with lowered expectations and assume that people don't want to hear me.
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