Nipsey Hussle Quotes

The problem was the journalists who also did not understand much of my music, but they wrote about it. I think you fell into the usual trap laid out by parts of the press and other writers: that the poor musician has always to fight the evil companies and managers.

I've never got on with the British press because they've always given me such a hard time. Once they build a band up they just want to do people down. They shouldn't concentrate on the colour of someone's shirt they should listen to the music.

You know I take music seriously, right? So I expect journalists to take being a journalist seriously.

The biggest problem in rock journalism is that often the writer's main motivation is to become friends with the band. They're not really journalists; they're people who want to be involved in rock and roll.

Most rock journalism is people who can't write, interviewing people who can't talk, for people who can't read.

If people stop being interested, it's because you haven't written a good enough album. Music will always be the most powerful thing. It doesn't matter what record labels or journalists say. It's the song.

Every music journalist I've ever met has been stunningly beautiful.

Music critics are part of the world, and I am part of the world.

Rock journalism is people who can't write, interviewing people who can't talk, in order to provide articles for people who can't read.

Here's what I think about music and journalism: The most important thing is to just press play.

Radio 1 doesn't exist to me. I don't judge my success by anything they say.

I wrote the music column in my high school newspaper.

Musicians don't respect a lot of the stuff that is on TRL and a lot of musicians think that stuff on the radio is not good musically so when musicians say that they like us it obviously feels good.

I've built my whole life around loving music. I'm a writer for 'Rolling Stone,' so I am constantly searching for new bands and soaking up new sounds.

When the band begins to get a name for themselves, and the writers get assigned to bands, they'll hit somebody who just doesn't like that kind of music, or they love hip hop but hate guitar rock.

I always go for 'SPIN' magazine because I'm such a music buff.

We're real people and we're a band that's been playing on the scene for a long time. We've made a lot of friends, and one enemy we've always had was the NME. They've always basically slated us and they've basically never ever written about the music.

I preferred MTV as it used to be when it was about the music - I don't like it that now they just have reality shows. Reality TV rots people's brains.

My first real writing job was at 'Rolling Stone,' so I wrote about rock-and-roll and politics and the like. At the time, I really didn't know what I wanted to write, and I did a bunch of investigative journalism.

My input for the first 16, 17 years of my life was AM radio, FM radio - pretty mainstream stuff. Rolling Stone was probably as edgy as it got.

I came over here and worked for rock magazines, and I worked for Rolling Stone, which has a very high standard of journalism, a very good research department.

When 'Play' first came out, journalists didn't review it; it didn't get radio play. And then it became this big successful record and, I hate to admit this, I found myself liking the fame. I bought into it.

I couldn't imagine what it's like to be a journalist talking about music. You're left with empty descriptions; you probably have to make up a sort of weird cocktail of band influences and references to other music to get your point across.

I'm very much interested in music specifically and wanted to make a film about it, but not in an atmosphere of censorship.

There are so many things that are misunderstood or not recognized about my father's music because they've been filtered by people who work for magazines like Rolling Stone.