Obviously there is no such thing as race, and in many ways, sex is a continuum, not a binary. So it doesn’t make sense to label people in that way.
Jive is a good label, but they’re R&B’ed out.
Vertigo’s always been a label that experiments with new stuff and forms of subversion.
I’d probably do something that involved music, a booking agent or working at a label, if not being an actual musician.
I try to eat super clean: No processed sugars, no corn syrups, nothing frozen in a box that you can microwave. If I read the ingredient label and I don’t know what something is, I assume it’s bad.
Police are reluctant to label a murder as a possible serial homicide.
As an Asian immigrant coming in, for the longest time I still had problems getting in the lot because they’re just not used to seeing someone like me who’s directing these films. I do think ultimately there’s a point where we can kind of just shed that label and become filmmakers.
I love having a major label behind me. Independent was really great to start off, as and I made some really big moves and gained a lot of fans.
Doing stuff on my own terms and making a record without being signed to a label – I credit that all to my commercial work.
I miss how a record label can help spread the word that you have something out.
There can be a wrong time – it’s happened to countless bands where they release their first record on a major label and never learned what they maybe should have learned on an indie.
We all fight over what the label ‘feminism’ means but for me it’s about empowerment. It’s not about being more powerful than men – it’s about having equal rights with protection, support, justice. It’s about very basic things. It’s not a badge like a fashion item.
People think that a label is going to get you to the top, and of course they’re going to get you to the top. That’s what they’re good for. They’re giving you this money but you have to pay all that back.
In entrepreneurial circles, it’s clear to me that violence, hatred, and discrimination – or whatever you want to label it – is another category where we need to pay attention to disruption before it changes the world in ways we don’t want it to.
I learned how to take other people’s mechanisms of promoting their stuff through me as opposed to promoting my own stuff, as far as getting Snoop DeVilles, SnoopDeGrills, Snoop Doggy Dogg biscuits, Snoop Dogg record label, Snoop Dogg bubble gum, Snoop Youth Football League.
After coming from a major label, I realized the entire business has been decimated, and you can’t look to labels to try to figure it out because they don’t even use the technology, and they’re oblivious to how people consume music these days.
That’s one of those things that will really hurt me personally, if I label a character or think about what it might do if it were to do well. I just try to do a good job with it.
How come liberals never admit that they’re liberal? They’ve now come up with a new word called ‘progressive,’ which I thought was an insurance company but apparently it’s a label.
Success happened for me when I dropped my first major label album for Def Jam, ‘Live From The Underground.’
In general, we are lazy as consumers and just want to label people as good guy, bad guy.
I wear the beard as a label. I want people to know I am a Muslim and I want people to know I am representing the Muslim faith. I want to show that you can practise your faith and still play cricket to a high level.
I don’t really like labels in politics, but I will gladly accept the label of conservatism.
I don’t think any of us think of ourselves as artists or actors – clowns, we’ll accept that label.
I think people like to label everything. I just think it’s comfortable.
Why do we pigeonhole and label an artist? It is a sure way of missing the important, the contradictory, the things that make him or her unique.
I think social networking is absolutely here to stay. Now, whether or not the label will Facebook forever, depends in part, I think, on whether Facebook wants to try to be less proprietary, be more central to the operation of defining and stewarding identity online.
I feel like comedy had a boys’-club label when we were starting.
I’ve been part of running a label since I was a kid, so I understand how it works. But the more and more I learn about it, the less and less interested I am in it.
Despite a large body of work in films, TV, theatre and concerts, I am viewed by many as a Jewish artist. I do not resent the label, except for the fact that I disapprove of labels in general.
Finally I’d found this way where I didn’t need a record label; I didn’t need to wait for some phone call to tell me, ‘Go and do it’. It’s like, I’m going to get up with a bag of CDs and an amp and my guitar and make it happen for myself. That was such a liberating feeling, and I think it was the start of everything.
I was always a little insecure. I had brothers that played football, so I was just a straight-up tomboy for a minute. I didn’t know makeup and hair stuff. My friends had to tell me what a straightener was. I didn’t know fashion or any of that until the label gave me a stylist.
We were all friends who formed a band. We weren’t auditioned or put together by a record label, management company or TV show.
I’d only do a deal with a label if it allowed me to still be indie and have that indie mentality. I have to have creative control.
I remember when we were going to release ‘Dancing On My Own,’ and I went into the record label crying to them that I was terrified people wouldn’t support me anymore if they knew I was gay.
I don’t label films or actors, and labelling means setting boundaries. Why do you want to do that to art?
I was having a lot of mixed feelings about the independent world as well as the label world. I feel like I’ve been in the game a long time, and you know, when it come to labels not seeing a fella being around the last five years, it’s like, it’s hard to convince them what I can do.
I’m often criticised for what I wear. That’s my main label in the press now: disastrous dresser!
We have meetings with our record label to tell them how to market us.
As an artist, your only way to battle your label if you have a discrepancy is to go to court. I don’t understand why you can’t both agree if you have an accounting problem to have a third party to assess the situation.
I had to fight the intellectual label when I started in television, because, first of all, it’s not going to help you commercially, and also, it wasn’t particularly true of me. I mean, if anybody thought I was an intellectual, they probably had never really seen one.
Absolutely, it’s a really weird stage because at the minute, I can walk down the street and be unrecognised, lead a normal life, but my label and everybody is warning me that will be changing and I’m in for a rollercoaster ride.
Let’s be honest: not everybody can afford to buy £5,000 dresses, so the jewellery is a nice of way of getting the Giles product out into the world and introduce it to people not familiar with the label. QVC is a really good partner to help us do that.
Looking at 2014, I look back: we made more money off ‘Mailbox Money’ than we would have made off taking an advance from anybody. We made more money letting our fans buy the stuff directly from us than what any label could have offered us.
Friends of friends had bands in college or in their early 20s and had a moment where they had some kind of interest from a record label or manager. It’s always interesting how people handle those decisions and those moments.
We got a thumbs-down from every label. But you gotta keep the faith, man. You gotta hang in there and be tenacious.
As in all matters involving love, which has so many different meanings, you find that the feeling that we label ‘love’ is not a simple feeling, it’s a very complex one. Under the heading ‘love’ can come all sorts of rage and desperation.
The success of the first album was almost an anomaly, and it could remain a fantastic anomaly. It was not crafted for commercial success. I remember meetings with my label saying it had no radio singles. For me, the second album was a gesture of independence.
My record label always says you shouldn’t talk about money because it makes people extremely uncomfortable. Refugees can’t talk about money. Rappers can talk about money; refugees can’t talk about money.
You don’t have to label yourself, because it’s not set in stone. It’s so fluid, and there’s so much pressure on kids to label themselves and say, ‘This is what I am; this is what I like.’
I want consumers to connect the dots, to go to any store and look at the label and connect the dots between buying cheap China products, which is better for the wallet, and all the other things we lose, like jobs.
I had every major label in the world – I mean, any label that dealt with rap music wanted to sign me. I ended up going with Jive Records because I liked everything about ’em.
You can have the best product, but if you don’t have a plan – a label pushing it, the support of a network – you can’t make it big with a product. It’s all about distribution.
Even though I am signed to an American label, I want Australia to fall in love with my music because if it doesn’t work here, it won’t work anywhere.
I believe that if you want gender, then you can have it. If you want to label yourself, then sure. If you want to use history to describe who you are, then there is nothing wrong with that. But don’t limit me on the way that you limit yourself.
