One of the things I want to do is be a decent role model. I've got a lot of emails and stuff from children. They look up to me. Kids get different labels and things like that and I want those kids to succeed.
There seems to be a lot of name-calling going on, but I want to remind you what our good dad told me one time. Labels are for soup cans.
Women come in all shapes and sizes, and we are what we want to be, not the label that is placed on us.
I think we should be talk about what we want to do for the country. But if we're going to get into labels, I don't think it was particularly progressive to vote against the Brady Bill five times.
I was never actually signed to the label; I was just the annoying rapper that was always around at the studio sessions.
I had a little indie label called No Core and Dave Grohl's first band was called, Dain Bramage so I out an album for them and for whatever reason, he's never forgot it and has always been super nice to me since.
Basically for everything that comes out of Five Four, I've come up with the idea or changed it in some way. I'm also working with Putnam Accessory Group, a private label hat manufacturer. I'm in the process of re-branding a line they have called Chuck. It was mostly hats and bags, but I'm adding apparel and eyewear and whatever I feel like adding to turn it more into a brand. I'm supposed to be working with Pharrell on Billionaire Boys Club, but that's on hold.
I'm really excited about breaking new acts. While I'm trying to preserve the culture and make sure I fight for the acts that the major labels have thrown away, you can't throw away Musiq Soulchild, Kelly Price and Jon B.
The major labels, they roll with whatever is making money. I don't know if R&B turned into making banjo music and it sounded like blue grass, they'll buy it if it's selling.
Kaputt was just a record that did really well for us, and therefore our record label and our booking agent said that we should go out and take our message to the world.
The thing about being on the majors, from the beginning, going into this, I was like, "I'm not going to be treated like a factory," because that's never the way it was done before. You're talking about a major label, we're talking about serious business; you're not an artist anymore, you're a business, you have to work in terms of product, you have to release a product, and I don't really think that way at all.
I think from a major-label perspective, if you were on the flip side of things and that's the world you were used to working in, your interpretation could be, "Oh, they're having trouble writing songs," when really it's like, "No, I'm not ready to write songs, I don't want to write a song right now, if I did write a song, it would be forced."
I think if the world were a fair and just place, there wouldn't even need to be a gay label.
And the next album I do is going to be different because I'm going to change. I already did that thing where I had a band - and I had a great time with a band - but it was almost like pandering to get a record label deal.
This way, if I did the album myself, and I produced it myself with my own label, it was going to be done the way I wanted to do it. If people like it or don't like it, it doesn't matter; I got something that means something to me.
Sangeeta Bandyopadhyay is a stylistically daring writer in love with surrealism, credited with being 'the woman who reintroduced hardcore sexuality to Bengali literature'. But though the (male) establishment used this label of erotica to dismiss her work, the sex scenes have exactly the same transgressive function as her use of chronology and narrative voice.
If consumers weren't thinking this way, companies would be a lot less responsive. Right now, consumers don't really have a way to get information about where exactly their clothing is coming from - that's a barrier. We have labels on your eggs, "cage-free hens." They need to get something along those lines to allow the consumer to discriminate.
I'm constantly being courted by labels and their backing. Obviously the market is there when you talk about the economics and the numbers, but it's hard to give up the freedom of being able to do whatever you want.
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.
The Bible urges us to be respectful to all people, especially people with whom we have disagreements, to never libel people, to never label people.
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."
The fear of being uncovered, the fear of being made known for their wickedness is what is driving the ADL and that Synagogue of Satan, false Jews to pin the label on me as an anti-Semite. This is something they feel they must do in order to cover the evil that they have done or are a party to.
I went to school for a short period of time to study fashion. I wanted to become a stylist or a designer. I made clothes when I was a teenager that I used to sell online. My label name was "Baby Jesus" - so incredibly stupid, but whatever, I was 17!
The only thing that deeply frustrates me is the slow speed [of major labels]. The more people involved, the slower the pace.
I didn't want to be on a major label. I wanted all the attention and the noise to go away because I wanted to be something a little bit more substantial.
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