I support GMOs. And we should label them. We should label them because that is the very best thing we can do for public acceptance of agricultural biotech. And we should label them because there’s absolutely nothing to hide.
We were signed to a label that wanted us to remain little girls who appealed to other little girls, who were cute and non-threatening.
If you want to know if your food contains gluten, aspartame, high fructose corn syrup, trans-fats or MSG, you simply read the ingredients listed on the label.
Libertarians are essentially what the Republicans were 30 years ago. Abraham Lincoln, Teddy Roosevelt, Richard Nixon, Ronald Reagan. They’d all fit more under the Libertarian label than the modern day Republican label.
I think we have to be careful about what we label as a prerequisite for spirituality. I don’t think you have to know a lot to have a spiritual life, but knowing gives life richness.
I don’t like to label films with a genre.
It’s not like I’m taking 20 grand from the shows. I mean there’s no record label, so this is a genuine thing. And I think most people can see that. I think that anyone who knows me, knows I do things with integrity.
All of us, although we may have a label attached to us, that’s not who we are.
You can have a favorite band, but when they sign with a major label… maybe a new producer says, ‘You can’t do that, take this down a notch.’ And you’ll keep listening, but you’ll always think their first album was their best album.
Mom+Pop aren’t just a label, but they were the group of people that seemed to really care about a long-term relationship. I can be honest with them, like I would with my family, but at the same time, I can expect for them always to be upfront and honest with me.
A few years ago, one of our singles got beaten out by Better Than Ezra. The label could only have one band at a time being taken to the right people at radio, and they opted for Better Than Ezra instead of us. Who knows.
I want to be role model for people to be like, ‘I don’t need a major label to be a successful artist and to have a successful song.’
I was signed to a record label when I was younger. I was in a group, and I just wasn’t – personally, I wasn’t ready to get out there. I don’t know. It was a pop group. Not like the Spice Girls, but when you don’t have any control over anything, it’s disheartening.
Paddington Bear was a refugee with a label – ‘Please look after this bear. Thank you’, and he had a little suitcase.
We recorded that trio and it’s out on the Knitting Factory label. I’ve got another record in the can with that group and Marc, which I’ll hopefully finish some time before next summer.
My label understands that I am really attached to Malaysia, that I come home a lot.
We’d been on Geffen for a long time, and I think we felt that we needed a change. I just don’t think we felt very close to the people at the label after all this time or that they understood what we were trying to do. I don’t have any regrets, because at the time we signed with Geffen, it was the right thing to do.
Remember the Stax label and how if you liked one record, you liked all the others as well? You don’t talk to a lot of people who tell you how much they love their record label. I don’t care how many records they sell.
I would love for people to know that the label ‘feminist’ is something that everyone should wear proudly, because it just means that you support women.
I just have so much love for my record label.
I was signed to a record label at the same time as my friend Elliot Murphy, who makes great records to this day.
I give credit to my team. I have dedicated people from my label, my fans, and people at these companies that believe in me.
When I was 13, I was saying that I wanted to be signed to a label. I was begging my dad to get me signed with somebody.
Musically, I wear many hats. I’m the social media director. I conceptualise the videos, write the songs, do the press. I’m not a major label act.
The band cannot sign to another label or even put out its own material unless they are released from their agreement, which never happens.
I think we make too many records. One record a year is crazy to me. But some people have to sell tickets. The label has to meet their quarterly number: ‘We need a record a year.’ All of a sudden, the tail’s wagging the dog. It’s not the music; it’s everything else making the music. That’s just backwards. It’s wrong.
While households that make anywhere from $48,000 to $250,000 can call themselves middle class, to group such a wide range of incomes under one label, as politicians love to do, is to confuse the term entirely.
I have never made a cent off a record in my life. I have never recouped enough, and I never sold enough. When people see you have a song on MTV, they think you are doing well – but you know, the way the traditional label deal was set up, it is really hard for an artist, unless they sold a lot, to see anything.
I used to be brave. In the past, I’ve opened a restaurant, had a record label, had my daughter and it was go, go, go with all of these.
It would feel like a smack in the face to sign with any label outside of Dre’s. He took a risk on me, and that means everything.
My label is to play bad guys of Latin origin in American movies. I’m happy with that label. I prefer to play that than to play a city boy. The bad guy is always something very tempting for the audience.
I guess I’ve learned that there’s really no such thing as a bad label, there is only a bad contract.
This never happens, but I was writing with my friend Ryan Hurd and Eric Arjes, and we wrote this song called ‘Last Turn Home.’ The next day, my publisher emailed it to Tim McGraw’s label. He listened to it, and I think within the week, he went into the studio and recorded it. And that never happens.
My dad had two, sometimes three jobs. Besides running the Commodore Music Shop in Manhattan, he did jazz concerts, and he ran this great jazz label, Commodore.
I was an average student. I wasn’t any standout. I remember when people started to know who I was and the label offers, people started to get a little weird and be weird around me.
People are like, ‘Wow you started your own record label,’ and treat me like I’m some sort of innovative genius, when I’m not at all. You’ve got the Internet and music – you put them together, and people hear your music.
I recorded 80 per cent of the record in my guest bedroom; then, when ‘Shine’ went to number one on one of the charts, the label called and said, ‘Can you do an EP?’ Then, ‘Can you do a full length? And can you do it in two weeks?’
Those wearing tolerance for a label call other views intolerable.
I am by no means suggesting that everyone who uses the neocon label is doing so as an anti-Semitic smear, but the word has been used often enough in that ugly context that it should make any person of goodwill think twice before employing it.
Maybe I’ll work for a label someday, write some fiction, nonfiction. Someday I’d like to go back to school and get my teaching degree. I want to be a grandpa. I want to have more kids.
A record is a commodity, but so is a hamburger. Just because I work at McDonald’s doesn’t mean I reap the benefits of that commodity. That’s the reality with most artists in the record industry: They’re getting paid a subsistence wage so they can keep producing a commodity for the record label.
I’m fighting the label of ‘Black’ actress simply because it’s very limiting in people’s eyes, especially people who are making movies.
