Quotes of All Topics . Occasions . Authors
I write other people songs. Recirculate it. It's the music business.
It's a small percentile of people who see one dime out of the music business.
Punishing people for listening to music is exactly the wrong way to protect the music business.
People in the music business say don't make too many records because they'll compete against one another.
Especially when I finish one of my songs I play it to my friends who are just normal people and not people in the music business.
Most people involved in the music business, and it's probably not just the music business... aren't necessarily people that I like.
That's why I do this music business thing, it's communication with people without having the extreme inconvenience of actually phoning anybody up.
The tricky thing is music is supposed to be very mysterious; the way it's made is mysterious. Then people like to get upset with the music business.
I'd just like to inspire people to be themselves and do what they want and not conform to the rigid guidelines of the music or entertainment business.
Even for the people in the business who are real music lovers it's really about putting things in the right boxes, and my style doesn't fit into a box.
Where I come from, music is not a business. Sharing music is a business, but music is not a business. It comes from the people and belongs to the people.
Music is more available than ever. It's up to people to figure out. Ultimately, it's up to the business to figure out what the business is, monetizing that.
Books are so cheap and easy to get that people don't bother stealing them, which is the essential rule of piracy that the music business learned much too late.
To come out in the music business, you only really get one shot. A lot of people get to play small gigs first, and build up that way, without anyone really seeing them.
In the music business, we all do different things, but we sit there and admire other people who can write a song differently or sing differently. It's not so competitive.
The people on the business side in the music business are kind of different from the theatre business. I think it's partly because there are different pressures on the industries.
I'm all for sharing music, but when people can download a whole record and pay nothing for it and then they share it with 100,000 other people, it's breaking down the whole business.
What is so refreshing playing with Neil Finn and all his friends is these people think exactly the same - regular people doing their thing and separating the music from the business.
Coming from the music business and seeing the transition from artists to fans, fans to consumers, it's really about understanding the psychology of why people want to associate with your brand.
I think the music business is probably not happy with what we've done, because the people buying the record have actually got to pick what they want to buy, rather than being told what they should buy.
I'm glad about what's happening to the music business. This last crop of people we had in the 90s, who are going away now, they didn't like music. They didn't trust musicians. They wanted something else from it.
The music business is filled with some nice people but a lot of strange people, so when you come across someone who's really genuine at an environment as bizarre as an awards show, you typically gravitate to them.
Music is one of the toughest industries, so I respect everybody who has travelled any distance, come far in this music business and achieved anything because it is so hard, and there are so many people out there these days.
People are people, and I get a bit annoyed that the music business only focuses in on the big metropolises. I find that people that don't live in big cities are just as likely to enjoy music as people that do live in big cities.
But what you realise after you've been in the business for a while is that people develop opinions about you that don't have anything to do with your music, they like or dislike you for a million reasons, they like or dislike you for your last record.
We do things on an exchange basis in the music business - it keeps the wheels turning. That's how I can get people like Slash, Flea and Kris Kristofferson on my album. Collaboration should be done through trades rather than charging each other a fortune.
This is show business, and there's room for the shows and the personalities. But I think there's also room for music, for people to play music, and there seems to be an audience developing that's willing to go listen to music again, rather than just be blown away by drum machines and choreography.
The whole point of 'Acid Rap' was just to ask people a question: does the music business side of this dictate what type of project this is? If it's all original music and it's got this much emotion around it and it connects this way with this many people, is it a mixtape? What's an 'album' these days, anyways?
My first album was mainly dealing with street issues, and it was 'coded': it was called 'Reasonable Doubt.' So the things I was talking about... I was talking about in slang, and it was something that people in the music business was not really privy to. They didn't understand totally what I was saying or what I was talking about.