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No, I mean we'd all definitely involved in the music business someway or another, because we're all living with it, and in it, and also we've got all sorts of things we would like to do.
It was my first big relationship and it was just very abusive. I wouldn't give him the credit of naming him, if he ever reads this. But he was older, in the music business - or so he said.
It wasn't so much that I had to leave to make it in the music business as I was curious to be out on my own and sort of explore. I never felt that where I was ever influenced my songwriting.
I was tossed all over the place growing up, which I guess prepared me for the music business, but the one thing that has always been there, that has never ever left me, has been country music.
The music business is rougher than the movie business. In film you get noticed in a small role, even in a movie that bombs. But in records you better have that hit or else it's 'See you later.'
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.
In the music business, we're much better off staying in Bath - we don't get involved in the competitiveness, where you've got to be seen in the right places and music kind of takes second place.
I was a good amateur but only an average professional. I soon realized that there was a limit to how far I could rise in the music business, so I left the band and enrolled at New York University.
Technology is going to play a huge part in tomorrow's music business. And the companies that will win are going to be the most equipped to understand how to use data to further an artist's career.
I think, as an industry, we should be supportive of a broad subscription model and not do anything to jeopardize the potential health of the music business - because we're not out of the woods yet.
I've been around the music business for a long time now, and I've had a lot of chances to do movies. But I didn't really want to do any until I found stuff that started to hit me in the right place.
I look up to Tegan & Sara, obviously, Adele and Natalie Maines from the Dixie Chicks. All these artists are strong in their convictions, and they haven't changed who they are for the music business.
As a child, I was always very interested in music and had friends who were in the music business. I kind of accidentally fell into it and loved it. There was no reason not to - it was a great career.
When you're in the music business, every day is the same. If you work 9 to 5, you can't wait for the weekend, but in the music business, you don't know one day from the next. It's always the weekend.
That folk music led to learning to play, and making things up led to what turns out to be the most lucrative part of the music business - writing, because you get paid every time that song gets played.
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 feel like once the song is done, you put it out there and if people want to do bizarre remixes, if people want to make strange videos, great. You know, like chaos theory applied to the music business.
I'm a binge writer. I work in the music business fulltime, in artist management and developing songwriters and recording artists, and so juggling my job I carve out as much time as I can on the weekends.
I think there is a big difference between the music business and music. And my relationship is to music, not music business. I think the business will keep changing, but music won't. Music will be there.
I'm from a little island off of Massachusetts, Nantucket. It's hard getting into the music business from there, but my parents took me to songwriting festivals because I would write and produce my own music.
When I left Genesis, I just wanted to be out of the music business. I felt like I was just in the machinery. We knew what we were going to be doing in 18 months or two years ahead. I just did not enjoy that.
Nowadays, with the state of the music business, for any artist, whether you're up-and-coming or you've been in it for awhile, you have to explore different revenues and different ways of expressing yourself.
I had left the music business and became a conflict journalist. The conflict journalism started for me in the Gulf and the oil spill. When Skynyrd needed a new bass player, they knew me from the Black Crowes.
For starters, I wanted to do an acting role in a movie that had nothing to do with the music business or in which I would play a singer or a songwriter. When I act, I don't even want to be thought of as Ne-Yo.
The only thing that was economic, I might say, about my music career, aside from the fact that I did everybody's tax returns in the band, was the decision I made to leave the music business on economic grounds.
I like thinking of myself as invisible. I find it a very advantageous way to live. Unfortunately, its not the way the music business works. If you don't create some kind of public image, it gets created for you.
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.
Lots of people, from what I can see, just want to get into the music business for the glamour of it. But there isn't any, really. It's so up and down this industry, but if you really love it, nothing can stop you.
Success came to me in my late 20s. I started touring when I was a teenager, so I had already seen the good, the bad, and the ugly side of the music business. Plus, setting up my own record company taught me a lot.
I think that if people realize that with an mp3, you're only getting five percent of the sound that's there. But when you hear the entire thing... I think it would save the music business. It's such a drastic change.
There are peaks and valleys in anything and that is especially true for the music business. It is very inconsistent. But if you are wise, you can let those downs really bring you to another level of your personality.
Around 20. I'd been trying to transition from the streets to the music business, but I would make demos and then quit for six months. And I started to realize that I couldn't be successful until I let the street life go.
The truth is an artist like me who doesn't get the type of promotion that we see more commercial artists receive, and especially in this climate of the music business, you have to be creative about how you promote yourself.
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.
There are thousands of great artists that wouldn't be doing the same kind of work if there were no music business machine. The ones who are popular would be doing much different work, too. Michael Bolton would be pumping gas.
I've done well, I've been disappointed, and I think it all goes back to you. Of course the labels are going to be the labels. It's the music business. You are a business. That's what they do. So you've got to protect yourself.
This music business can suck all the love out of you, all the compassion for people - you can start to think you're better than them. But I want to continue to let people know that I'm no better and no worse, I'm just like you.
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.
I finished high school, moved to Nashville for college, and set out to break into the music business. Every night when I called home with news of my experiences, my mom and dad would encourage me to keep taking those small steps.
When I was 20, I thought anyone in the music business over 25 is past it. Then at 30, you think anyone still doing it at 35 is ridiculous. Suddenly, you find yourself at 48 and still doing it, so I don't know what to say, really.
My real name is Chord Overstreet. I actually got my name because my dad is in the music business as a songwriter. I was the third one in my family born, and there are three notes in a chord, so that's how they came up with my name.
It might take some here and there, but Apple's market share in the global computer business has really shrunk pretty far, and where they've been making success recently is not in the computer business but in the iPod music business.
The music business has changed incredibly. There used to be 50 record companies. Now there's only three, and it's just getting smaller and smaller. But then again, you have the Internet, so anybody who has music can get it out there.
I had business experience. I had made my living designing and building electronic equipment. Basic business was not new to me, but the music business was completely new to me. I knew nothing about distribution, or any of those things.
One of the best things about Kickstarter and crowdfunding and the collapse of the music business is a lot of artists like me have been forced to face our own weird mess about ourselves and what we thought it meant to become musicians.
The first thing you learn about the music business is that it changes very quickly. You come into it at a certain point and you think you have a handle on it... And then, three years later, the whole thing has been turned upside-down.
The music business is a crazy game, especially for somebody like me who is really a purist about the art. Trying to balance the pressures of commercialism, it's a tightrope. It's a fine line between sticking to your guns and insanity.
One of the most humbling gigs I've ever had was I was paid by a neighbor to go get a dead bird out of her house. She was kind of a high up in the music business, and she knew that I needed cash, and I used to do some yard work for her.
'The bigtime for you is just around the corner.' They told me that first in 1952 - boy, it's been a long corner. If I don't hit the bigtime in the next 25 or 30 years, I'm gonna pack in the music business and become a full-time gigolo.