Klassik Nation Quotes
Quotes tagged as "klassik-nation"
Showing 1-30 of 42
“It’s possible to seek justice for past sins while doing what needs to be done today. However, it is difficult to grow until you move on.”
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“Actually it is annoying to see a grown up exhibiting pettiness in a way that shows they are proud of it. Worse if they are senior government officials.”
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“It's safer being below the top 3. No pressure. Being in the top three is risky, thrilling, and fun, and you keep looking over your shoulders. It takes a beast to survive.”
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“Sometimes some people might understand the respect you accord them as a message that you desperately need them in your life. No. Respect is just a basic human gesture; nothing more, maybe less.”
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“It’s okay to be an Antichrist, but coming to me with the “I’ve read the Holy Bible well and there’s no where…” then add an ignorant line after is an unwarranted bullshit.”
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“It’s okay to be an Antichrist, but coming to me with the “I’ve read the Holy Bible well and there’s nowhere…” then adding an ignorant line after is an unwarranted bullshit.”
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“The method man has used to domesticate women and animals should be studied, improved, and taught to our upcoming men. We cannot have a society that its men either fear women or they are becoming them.”
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“When those in power mishandle public resources and send thugs to invade our properties, citizens have few options but to protest.”
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“Clemo, Nonini, Jua Cali started the Genge, it hit but they didn't have a clear plan. Now it's dead and buried with Mejja as the only survivor who even left Genge and is doing Kalpop now.”
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“Without Nonini Genge music wouldn't've seen the light of the day, well, now it can compete with other local genres! But I'm here to present Kalpop music; a genre where pop is cut.”
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“Within the chaos of your own existence lies a legend in the making – for the greatest adversaries we face often wear our own reflection.”
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“Love, with its symphony of emotions, orchestrates a profound dance in the brain. It casts spells of euphoria, joy, and obsession, making us both foolish and passionate. Yet, amidst this complex ballet, I can't help but perceive it as an unnecessary drama.”
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“People who resort to 'body-shaming' in debates are like a toxic force hindering the nation's growth—a cancer that corrodes the fabric of constructive dialogue and obstructs the path to progress.”
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“Dealing with manipulative baby mamas is like playing chess with someone who wrote the rulebook and keeps moving the pieces when you're not looking. Checkmate, drama queen.”
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“Fear: the ultimate overprotective friend who always shows up uninvited, overstays their welcome, and never fails to ruin a perfectly good time.”
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“Fun fact: Other than the Red Indians, who really has a right to claim American citizenship? I mean, if we’re handing out countries based on "first come, first served," most of us would be homeless.”
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“Preamble
The Klassik Era was a cultural and musical revolution that swept through Kenya and East Africa in the early 2010s. It was a time of bold experimentation, fearless expression, and unapologetic individuality that challenged the norms of mainstream music and culture. For the first time, young people from the ghettos and slums of Nairobi, Mombasa, and Kisumu could see themselves represented and celebrated in the music and arts scene, and their voices and stories were given a platform like never before.
The Klassik Era was characterized by a fusion of different musical genres and styles, from hip-hop and reggae to dancehall and afro-pop, to create a sound that was uniquely Kenyan and African. It was a time when young artists and producers like Blame It On Don (DON SANTO), Kingpheezle, Jilly Beatz, Tonnie Tosh, Kenny Rush, and many others came together under Klassik Nation, a record label that would change the face of Kenyan music forever.
The Klassik Era was also marked by a sense of community and camaraderie, with young people from all walks of life coming together to support each other's art and creativity. It was a time when collaborations and features were the norm, and when artists and producers worked together to create something new and exciting.
But the Klassik Era was not without its challenges and controversies. It was a time when the Kenyan music industry was dominated by a few powerful players who controlled the airwaves and the mainstream narrative, and who were resistant to change and innovation. It was a time when artists and producers had to fight tooth and nail to get their music played on the radio and to gain recognition and respect from their peers.
Despite these challenges, the Klassik Era left an indelible mark on the Kenyan music industry and on the cultural landscape of Africa. It was a time of creativity, passion, and rebellion that inspired a generation of young people to dream big and to believe that anything was possible. This book is a tribute to that era and to the artists and producers who made it all possible.”
― Klassik Era: The Genesis
The Klassik Era was a cultural and musical revolution that swept through Kenya and East Africa in the early 2010s. It was a time of bold experimentation, fearless expression, and unapologetic individuality that challenged the norms of mainstream music and culture. For the first time, young people from the ghettos and slums of Nairobi, Mombasa, and Kisumu could see themselves represented and celebrated in the music and arts scene, and their voices and stories were given a platform like never before.
The Klassik Era was characterized by a fusion of different musical genres and styles, from hip-hop and reggae to dancehall and afro-pop, to create a sound that was uniquely Kenyan and African. It was a time when young artists and producers like Blame It On Don (DON SANTO), Kingpheezle, Jilly Beatz, Tonnie Tosh, Kenny Rush, and many others came together under Klassik Nation, a record label that would change the face of Kenyan music forever.
The Klassik Era was also marked by a sense of community and camaraderie, with young people from all walks of life coming together to support each other's art and creativity. It was a time when collaborations and features were the norm, and when artists and producers worked together to create something new and exciting.
But the Klassik Era was not without its challenges and controversies. It was a time when the Kenyan music industry was dominated by a few powerful players who controlled the airwaves and the mainstream narrative, and who were resistant to change and innovation. It was a time when artists and producers had to fight tooth and nail to get their music played on the radio and to gain recognition and respect from their peers.
Despite these challenges, the Klassik Era left an indelible mark on the Kenyan music industry and on the cultural landscape of Africa. It was a time of creativity, passion, and rebellion that inspired a generation of young people to dream big and to believe that anything was possible. This book is a tribute to that era and to the artists and producers who made it all possible.”
― Klassik Era: The Genesis
“A fool grumbles about the hole in his pocket, an ordinary man uses it to scratch an itch, but the wise one sews it up and secures his fortune.”
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“The Klassik Era is for those who refuse to be boxed in. For those who see culture as both shield and sword. For those who believe Africa’s rhythm doesn’t just belong here — it belongs everywhere.”
― Klassik Era: The Genesis
― Klassik Era: The Genesis
“When your heart is in love and your soul is drowned in it, you remain ‘UWI!’ and there’s nothing you can do.”
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