Quotes of All Topics . Occasions . Authors
There's a lot of big guys who can play-make. We put labels like, 'Oh, he's a point guard, he's a center.' But sometimes your center can play-make for you and not just be the center, boxing out for rebounds and playing in the post.
It all started with social media, building a fan base via Tumblr and YouTube, doing covers, and releasing a project with original music. Labels started to peel interest then. It was around the same time I was applying for college.
For Nirvana, putting out their first major-label record was like getting into a new car. But the runaway success was like suddenly discovering that the car was a Ferrari and the accelerator pedal was Krazy Glued to the floorboard.
We are quick to stick labels on others - especially those who don't fit in with the norm. 'Harold Fry' is about a broken marriage; 'Perfect' is about a broken person. They are both about finding kindness where you least expect it.
I remember talking with Arcade Fire after their first record, when they were getting all kinds of offers from major labels, and I don't think I gave them any advice. They survived that whole onslaught pretty well anyway without me.
When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn't understand how to make records for big labels. I was waiting for a new kind of record label to emerge.
When I first started out in the music industry and went to Elektra Records, I didn't go to be an artist, I went to get a record label started. And they said in order to have a label deal, I had to be an artist - so that's what I did.
Let me get this straight. First you decide I'm a demon because of a power I didn't ask for and don't even understand. Then when that falls through you label me a fallen sybil and a ho. Am I missing something or do you just not like me
Trevisan is one of the few Paso Robles producers to recognize the potential of the region's old-vine Zinfandel, which he blends with Syrah and Mourvedre and labels with fanciful names such as Problem Child, the Outsider and Cherry Red.
My style of singing has always been referred to 'soul' singing when it fact it's more influenced by English R&B Blues Shouting. I'm closer to Led Zeppelin as a vocalist than to Ella Fitzgerald. It was torture dealing with major labels.
We came up with all these crazy ideas that Taylor Swift could be the biggest artist in the world - and it came true - and that we could have five labels and become the biggest independent record company in the world - and it came true.
I always knew I wanted to create original material, and after having meetings with all sorts of record labels, I decided that Sony was the right place to do it. They knew what I wanted to make and gave me the freedom to express myself.
What I do Coco would have hated. The label has an image and it's up to me to update it. I do what she never did. I had to find my mark. I had to go from what Chanel was to what it should be, could be, what it had been to something else.
The band has always been such a huge part of my life and it kept me very busy. That, in combination with something like running a record label, just means my whole life revolves completely around metal music and I can't do that anymore.
Commercial success still hasn't come to an artist that isn't signed to a record label. There are very few artists that can succeed without the help of a record label. The role of the record label is still required, it's still necessary.
I mean Iggy and The Stooges first couple of albums I think sold twenty five thousand between the two of them you know and so to talk in terms of an underground I mean you have to go really to the independent labels and things like that.
I would prefer a society where we don't have to explain ourselves. But I get that many people just need those labels to understand it. And if I make my situation or beliefs more understandable by putting labels on it, I'm happy to do it.
So you have to just be really careful and make sure that when a deal comes along, that it's like the right deal for you... not necessarily the most money, because you have to pay the record label that back in like record sales and stuff.
Label celebrity a consumer society's most precious consumer product, and eventually it becomes the hero with a thousand faces, the packaging of the society's art and politics, the framework of its commerce, and the stuff of its religion.
I'm sad for younger bands that don't have a home that they know they can go to, like the twenty-five labels that used to be around that they know they can hang their hat and know that they'll give 'em three, four, five albums to develop.
We are on the forefront of a revolution in which identity and expression will take priority over the labels assigned to us at birth; in which self-identification will take priority over perception; in which gender will fall away entirely.
The head of a record label sets up structures, but he also defines the sound of the label, which is to describe what is desirable, what fits and what is quality for that label and then to create an environment where that sound can thrive.
I had received some minor indie label interest when I was 14 after I was in a schools music competition thing in NZ called 'Rockquest', but I knew it wasn't the right time and that I wasn't good enough and needed to concentrate on school.
A product is most easily sold when it has an identity. So they wrap you all up and put a label on you. And then that's what you have to be. But what I'm looking for is the opportunity to explore what I can do, probing the limits, learning.
I believe that, artistically and culturally, the free radio air should be able to support local artists of whatever genre. Play 40 percent of your local artists; don't suck up to major labels to the point where you neglect your own locale.
It's a radical time for musicians, a really revolutionary time, and I believe revolutions like Napster are a lot more fun than cash, which by the way we don't have at major labels anyway, so we might as well get with it and get in the game.
I think it is very useful to know ourselves, but when we start naming and labeling, that is dangerous, that gets problematic. It negates that things are always changing. Besides, it's hard to pin a label onto something that's always moving.
I love the creation process [of music] of it and then sharing it, so I think that was the shift. I never thought I was going to be on a label in general, I was like 'Oh, I wouldn't do that,' and then we ended up on the same label basically.
Even myself, I believe that as an artist I should pursue more independent activities. If more artists believe in this and are active about it, they will be able to accomplish more on their own, without the influence of entertainment labels.
When the Atlanta Braves were owned by Ted Turner, he was very passionate and did whatever it took to do something good - and eventually he made money. Labels used to be the same way. Now they're corporations, and it's only about their stock.
What's even more unsettling is the way these people hide what they're doing from the public. They strip the labels off miracle wheat when they ship it, for instance, and say, 'Watch out. Don't plant too much and don't depend on it too much.'
When I started getting so many haters and closed doors, I decided to prove that it could be done. I was a divorced single mother of three at the time and a size 12 - not your typical model artist that labels feel work for the music industry.
I buy things through the ShopStyle app on my phone, then have them delivered to a neighbour so Oliver doesn't see them arrive. When he's out, I collect them, cut off the labels, and bury them deep in the recycling box under the wine bottles.
Such terms as communism, socialism, Fabianism, the welfare state, Nazism, fascism, state interventionism, egalitarianism, the planned economy, the New Deal, the Fair Deal, the New Frontier are simply different labels for much the same thing.
Every Southerner, I think, knows people like Bill Clinton, maybe not quite as smart and maybe not quite as liberal, but kind of a glad-handing, country-club yuppie Southerner. The problem is we don't have labels for middle-class Southerners.
I think the record industry has gotten to be more about labels wondering what the new single is rather than labels nurturing artists. It's gotten away from making a full album of music that someone would want to listen to all the way through.
I've always found that whatever you say about indie rock, it is the most inclusive genre or title for anything. It doesn't pin you down too much, like other labels would. It's just newer, it has less baggage. I'm happy to be in that category.
If there was ever any truth to the trickle-down theory, the only evidence of it I've ever seen was in that period of 1960 to 1965. All of sudden they were handing out major label recording contracts like they were coming in Cracker Jack boxes.
There is a greater gift than the trust of others. That is to trust in oneself. Some might call it confidence, others name it faith. But if it makes us brave, the label doesn’t matter... for it’s the thing that frees us, to embrace life itself.
I should come with a consumer warning, like the labels that say "Handle with care" or "May be hazardous to your health." I am unfit for human consumption. I struggle to articulate how awful and isolating this feels, but I can't find the words.
Sure, the labels and publishers get the rights for songs to be remade into a ringtone. So part of what we do is to work with those content owners to make sure that there are rights in place for every piece of content to be made into a ringtone.
I've learned that people latch onto labels and stereotypes. There was a period when I was asked in every single interview how I liked being the new Frank Sinatra... I think people will soon realize that I do a lot more than interpret old songs.
I'm sick of all these labels and these manufactured subdivisions of music that don't even exist. And even though I'm pierced myself, I'm sick of everyone equating body piercing with musical courage. If you ask me, it takes a lot more than that.
My father grew up with no money. He was raised in one of the poorest neighbourhoods in the U.S. My mother helped him sew labels into his ties. My life has been very comfortable, sure, but they instilled into us the importance of the work ethic.
Well, the problem I've had with all the interviews I've had in America - I had meetings with about nine labels - and they all say to me "Will your new songs fit in with what is popular and what is in the chart?" And I say "Good God, I hope not!"
It's a wonderful thing to perceive the world and to interact with it and with other people and nature from that deep place of utter stillness, where the compulsion to immediately label and interpret whatever arises around you is no longer there.
There was a magic about pulsars... no other things in the sky had such labels on them. Each one had its own distinct pulsing frequency, so it could be identified by anybody, including other creatures, after a long period of time and far, far away.
There are people who are genetically made to start record labels, and I'm not one of those people. People just have it in their blood and are good at it. Corey Rusk from Touch and Go and Ian MacKaye. These are people who have made their own labels.
I read everything, including the labels on canned food. I'm a hopeless print addict, a condition alleviated only by daily meditation which breaks the linear-Aristotelian trance. National Lampoon, Scientific American are what I read most obsessively.
What does happen constantly with all kinds of people I meet is they say "I had this encounter with Jesus, can you help me understand it..." The labels, more than ever, simply aren't big enough to contain what the cosmic Christ is up to in the world.