Quotes of All Topics . Occasions . Authors
All identity labels are umbrella terms to some degree, but this term 'bisexual' is not only serviceable, but it is sufficient. And yes, it brings together a bunch of people who are maybe shades different from one another. And maybe that's the beauty of labels: that they force you to be with other people and see the difference.
Hamas retains the right to defend Gaza by the use of the weaponry at its disposal, and is thus not committed to nonviolence, but it does offer the possibility of greater peace and stability for both Israelis and Palestinians if the label of "terrorism" was abandoned and the search for accommodation was commenced in good faith.
I think where it's going is toward what the music industry is like, where channels will be considered more like labels that carry the type of TV show that you like, and then you'll consume them however you can. For example, I don't really watch Showtime, but I bought 'Homeland,' and I've been watching every episode on my iPad.
Even to be flown out to New York was mind boggling for me, and signing with Columbia was great because they really understood my vision. Of all the labels that I met, they were the ones that really seemed to understand that I was really about the music, the writing, and the lyrics, so it was really fulfilling to sign with them.
I have had the good fortune to experience both the limelight and the traffic light as a musician. I did my first recording on my own and it was available at concerts. The second to seventh were released on small and then large labels. My eighth to 14th were done under my own steam once again, but with the benefit of the Internet.
In the range of things toddlers have to learn and endlessly review--why you can't put bottles with certain labels in your mouth, why you have to sit on the potty, why you can't take whatever you want in the store, why you don't hit your friends--by the time we got to why you can't drop your peas, well, I was dropping a few myself.
When you see a handwritten envelope addressed to you in your packet of mail when you get your mail out of the mailbox - when you see a personal letter waiting for you - it's exciting. It touches you. You say "Oh, somebody really thought of me and didn't just slap a mailing label across an envelope. Somebody wrote something to me."
I live in Selfridges because it has everything under one roof. Liberty's is great for the same reason - I'm so lazy, I hate walking from shop to shop. Powder in Crouch End always has great designer labels in, so when I walk past I have to put my blinkers on because every time I nip in I come out with too much stuff; it's dangerous.
The fastest I ever did that was when Kill the Moonlight came out after Girls Can Tell, and I remember both labels I was working with at the time saying, "If this was any other period, I would probably say this is too fast, but because this is first time anybody has ever paid attention to Spoon, let's keep it on an upward trajectory."
A snappy label and a manifesto would have been two of the very last things on my own career want list. That label enabled mainstream science fiction to safely assimilate our dissident influence, such as it was. Cyberpunk could then be embraced and given prizes and patted on the head, and genre science fiction could continue unchanged.
I'm sitting at home every time there's a Grammy. It's like, 'What is Sharon doing tonight?' I'm sitting home watching it. But it's OK. But if you go to Europe, there are a lot of young, independent labels that's doing soul music. You might call them retro because they're young and they're trying to imitate somebody. But I ain't retro.
I have a fear of labels. If someone labels me, I have to respond - do I acknowledge it, reject it, deny it, live up to it, and defy it? Labels can affect your ability to be yourself. If you're not careful, like I wasn't when I was young, that can take a toll on you. You find yourself conforming to everyone else's ideas of who you are.
I'm an actor. Since I was a teenager, I have had to play different characters, negotiating the cultural expectations of a Pakistani family, Brit-Asian rudeboy culture, and a scholarship to private school. The fluidity of my own personal identity on any given day was further compounded by the changing labels assigned to Asians in general.
I like to compare the attitude and energy of an emerging start-up to that of the early hip-hop era. From working at labels like Bad Boy and Ruff Ryders, walking into the Def Jam offices, A Touch of Jazz and things like that, the vibe is that off making something out of nothing and making things work, and that's what I love about start-ups.
If you're watching a film on your television, is it no longer a film because you're not watching it in a theatre? If you watch a TV show on your iPad, is it no longer a TV show? The device and the length are irrelevant; the labels are useless, except perhaps to agents and managers and lawyers, who use these labels to conduct business deals.
When you begin to suggest that dissent, opposition, resistance, the only way to deal with it is not to listen to it and to engage in dialog with it, but basically to label it as anarchy and to repress it with the most violent, in the most violent means possible. I mean, that's essentially an element of neofascism. That's not about democracy.
If a magazine proudly labels itself 'The Economist,' you would expect that publication to understand the economic burdens of today's youth. But when a tone-deaf writer at the magazine tweets an article asking 'Why aren't millennials buying diamonds,' it pretty much sums up how oblivious some can be in matters they're supposed to be experts in.
My experience with record labels throughout my career has generally fallen into wishing I could do things that they're not built to do, whether it be arguing about having a nicer package - because I do believe some people care about that - to trying to always bank on art-versus-the-easy-commerce route; there's always been headbutting involved.
Music is art, and art is important and rare. Important, rare things are valuable. Valuable things should be paid for. It’s my opinion that music should not be free, and my prediction is that individual artists and their labels will someday decide what an album’s price point is. I hope they don’t underestimate themselves or undervalue their art.
In the unawakened state you don't use thought, but thought uses you. You are, one could almost say, possessed by thought, which is the collective conditioning of the human mind that goes back many thousands of years. You don't see anything as it is, but distorted and reduced by mental labels, concepts, judgments, opinions and reactive patterns.
When you have a relationship with a label, it can really affect the work you're doing and if you feel like they don't believe in you sometimes you go: "maybe I'm not any good at this". Then you get on a label that is excited to have you and you go: "oh, maybe we are ok at this". It gives you a little more confidence and you work a little better.
For some reason which I have failed to understand, many people like the system [scientific totalitarianism] when it is Russian but disliked the very same system when it was German. I am compelled to think that this is due to the power of labels; these people like whatever is labelled ‘Left’ without examining whether the label has any justification.
We definitely needed to spend a good solid year just finding ourselves before anyone would even notice us. We had our fan-base growing around here in Los Angeles, but I wouldn't even have wanted anyone to come out to see us that was from a record label or something like that at that time, because we really needed to feel ourselves out as a live band.
In contemporary society, advertising is everywhere. We cannot walk down the street, shop, watch television, go through our mail, log on to the Internet, read a newspaper or take a train without encountering it. Whether we are alone, with our friends or family, or in a crowd, advertising is always with us, if only on the label of something we are using.
I'm hugely inspired by the '60s and the '70s. I just love the music of that time and the overall freedom of that era. I love that the idea of clashing didn't really exist. You could mix prints on prints, you could mix fabrics and colors - and it was more about the way you felt than about the label and trends. That's something that I've always gravitated towards.
In theory, when you're working with a record label, you're just borrowing their money. And that's basically how the record industry works, right? It's like, you borrow $100,000 from a record label, so you don't make any money until you make back that money for them. In theory, they have you held hostage, so you've got to do every little stupid thing that they want you to do.
I push back against a deeply-entrenched tendency in American culture to label quickly and no longer even examine the labels that were initially stamped on a person. I don't have a problem with any of my "hyphenated" biography - I don't have any problem with that at all. The world would be a better place if our thread of hyphenation were truly embraced beyond mere naming and category.
Although he reputedly hated the label of 'guru', Peter Drucker was, by any standards, the greatest management guru the world has yet seen. In 1996, the McKinsey Quarterly journal described him as the 'the one guru to whom other gurus kowtow' and Robert Heller described him as 'the greatest man in the history of management', praise indeed for a man who described himself as 'just an old journalist'.
You know and I know that as soon as it's done, you have to get it out there. You want what's best for it. And especially in owning a label, which some days is the greatest thing for me and in some days is my demise because you see the truth and the work that goes into things and you see things happen and you see things not happen, and all you want in this world of currency right now is popularity, that's it!
Record labels, which used to have complete control, are essentially irrelevant. The process of a band exposing itself to the world is extremely democratic and there are no barriers. Music is no longer a commodity, it’s an environment, or atmospheric element. Consumers have much more choice and you see people indulging in the specificity of their tastes dramatically more. They only bother with music they like.
A label is a mask life wears. We put labels on life all the time. 'Right,' 'wrong,' 'success,' 'failure,' . . . Labeling sets up an expectation of life that is often so compelling we can no longer see things as they really are. This expectation often gives us a false sense of familiarity toward something that is really new and unprecedented. We are in relationship with our expectations and not with life itself.
I consider us to be one of the first Internet-based bands, especially because we basically started our entire band via the Internet. Before MySpace Music even existed, we had a band MySpace page. We were one of the first fifty bands on PureVolume(.com), and we really built everything from the Internet. That's how we started talking to record labels, that's how we booked our first tours. Without the Internet social networking, like Twitter, we definitely wouldn't be where we are today. It is a huge part of the band.
The American people were, in the beginning, Revolutionaries and Tories. The American people ever since have been Revolutionaries and Tories. They have been Revolutionaries and Tories regardless of the labels of the past and present. Regardless of whether they were Federalists, Democrat-Republicans, Whigs, Know-Nothings, Free Soilers, Unionists or Confederates, Populists, Republicans, Democrats, Socialists, Communists, or Progressives. They have been and are profiteers and patriots. They have been and are conservatives, liberals, and radicals.
