Quotes About Adaptation

When I first came here, Italian food wasn't anything I recognized. I didn't know what Italian American food was; we never ate it at home. It was the food of immigrants who came here and made use of the ingredients they had.

In the Middle East, I can't walk down the street without being recognized. In the States, I'm totally fine going out.

The past is malleable and flexible, changing as our recollection interprets and re-explains what has happened.

What is there so offensive to which habit has not the power to reconcile us?

Is it not in human nature sometimes, based on the facts that you now know, to reconsider?

If I went out there and felt the best I ever felt and fought the best I've ever fought and lost, I would have to reconsider things and think differently. I would have a different outlook on my career.

It used to be that you made an album and then you went on the road to promote that album, hoping for good record sales. Well, good record sales basically don't exist any more, and the emphasis has been more on the live show.

Immediately after the Floyd experience, I became a pop record producer.

I've come to the conclusion that the best way for me to grow is in a very self-forgiving way: to take a risk and, in response to how a record pans out, take a risk in the opposite charge.

I think it's important to evolve and make a different record every time as an artist.

People in the record business would say, Well, Pras, you know, you haven't been out in a while, maybe you should get today's hottest producer or rapper to do something.

Since the decline of record companies and music sales, I've always played live.

I don't think that old-fashioned idea of record companies exists any more.

People don't really buy records anymore, so record companies won't invest in bands like us. They want cookie-cutter acts.

It's not like it used to be where everybody has a record company to belong to.

Yeah, well I've had a record deal for a long time so I'm kinda used to the cameras and the people, I'm used to dealing with peoples' opinions.

Since you knew they was goin' to cheat you anyway, I recorded under any name with all of 'em.

Darwin himself recorded the fact that he accepted the Malthusian idea.

Every record has been very different, so I can't really compare them. The first record was good. I originally recorded about half the songs on that one in 2003 or something, and then I went back a few years later and re-recorded them and added some other songs.

I was always interested in trying to find how different genres would affect the lyrics that I'd written. Salsa is where most of my songs have been recorded, the genre of salsa. It's very frenetic, fast-paced. And I felt that the lyrics sometimes were being lost.

I like the old days when, if I wrote a song and I recorded it, it didn't mean somebody else couldn't record it.

One of the songs we recorded for 'The Long Run' was called 'You're Really High, Aren't You?' Which never really made it onto a record, but later on, it became 'Heavy Metal.' I took that track that wasn't used, and when I was invited to write a song for that movie, I took that track and recorded that song for that movie.

For my second record I had gotten ProTools (program) and started to familiar myself with hard disc recording.

When you're recording classic songs, you've got to kind of make them your own, and you can't always worry about what people are going to think.