When I started in the music business, travel became a huge part of my world, where it hadn't been at all. I visited parts of the world that I'd never been to and found that I was spending maybe 30 days at home a year.
When I was a kid, a lot of my parents' friends were in the music business. In the late '60s and early '70s - all the way through the '70s, actually - a lot of the bands that were around had kids at a very young age. So they were all working on that concept way early on. And I figured if they can do it, I could do it, too.
On the downside, to paraphrase Thom Yorke talking about the music business, we're still having to deal with the stench of the last fart of the dying corpse of this regressive vision that America is a white, middle-aged, male, conservative country.
I used to go with him and I'd sometimes play, take over from him. That was my first taste of the music business, I suppose, but I was also in the youth orchestra at Johnston Grammar.
The one thing about the music business is that there is no rulebook. It's not like the NFL or something where there's four downs to get ten yards or baseball where it's three strikes and you're out.
There is a terrible thing that's been happening probably for the last 20 years or so and it's called the music business. And music isn't really business; it's work and you got to pay and you've got to buy your guitar or go into the studio. So there is a business side but when people say, "I'm going into the music business," it's not. It's about expression. It's about creativity. You don't join music, in my mind, to make money. You join it because it's in you; it's in your blood stream.
People do not look at the music business as an entrepreneur business at all times, but everything in this business is entrepreneurship. It's one thing to have the money and not have the knowledge. A lot of times people have great ideas, but don't have a plan. The whole thing about being an entrepreneur is you have to have a plan.
The music business is suffering because fewer artists are being invested in. Labels are putting in less money, taking fewer risks and signing half as many artists as they did 10 years ago. Everything is risk averse right now and there are two ways to deal with a business situation like this: either reduce your risk or increase your return. They're reducing their risk to the bone and looking for ways with their 360 deals to increase their return. They're still not making money. Artists are suffering. Labels, or music investors, are suffering.
One woman I interviewed, Amanda Ghost, said, "Let's not bullshit, there are no women at the top of the music business, and that is a serious problem." And I said, "Yes!" And I didn't shy away from saying that. But I still don't want to be in the firing line. I'm not clever or witty or brave enough to get into the political nitty-gritty with it.
I was trying to find my way into the music business still, but I didn't want to portray something that I wasn't. I really wanted to be just me.
Who would want to break into [the music business]? It's like a bank that's already been robbed.
It's interesting, there are a lot of similarities with being in the music business or being in a band, where a lot of it is business work you've gotta do, like emails. It's weird, I don't feel like I'm in charge.
I think now the music is good. I tell people all the time who like to be in the music business you got to have a hit record.
I hate the pigeonholing that's happened in the music business in the last 30 years.
There's nothing that can prepare you for fame and for the music business at any point in history.
When I was first introduced to the music business, I learned how to make beats. All my friends rapped, but nobody made beats. So since I didn't do either at the time, I thought it would make more sense and I would be more valuable to the team as the in house producer.
I think I've always felt as a band and as a musician and a music business person, I've always felt like an outsider, period.
What stood me in good stead was my upbringing. I had a musician father, a very religious mother who totally supported us. My mom gave me my moral code which, even if I was bad, I wasn't bad for very long. If you're born and raised Catholic, it stays with you a lifetime. It's a good thing to have. My dad gave me a very professional attitude to the music business, and for that I thank them 100%.
All of the women in music business understand that. They're fighting in a misogynist world. That's why they wear some elements of their femininity and have to blend it in with masculinity... it's a kind of protection. Somebody like Madonna is strong but soft. You have to be that way in this business.
I've probably got the most loyal hardcore fans in the music business. You know, I can sit around, go fishing, do ten shows a year, fifteen, none, twenty, and it's just fantastic. Because they know I shoot straight and I don't talk bull.
You can't ask me to explain the lyrics because I won't do it...I always believed that I have something important to say and I said it. That's why I survived because I still believe I've got something to say. ... I don't like overdubs, never liked them. ... The music business doesn't interest me anymore...Don't the people you're around shape the music, is that what you're saying? Everything does. ... I'm not joking around when I've said occasionally, trying to learn how to play a D chord properly has been a very big thing for me.
With my quick success, I didn't have time to learn the ropes of the music business. Because my first record was such a hit, I was terribly spoiled and I thought I couldn't do anything wrong. I was also desperate to make tons of money because of my responsibility to my daughter. And there was no longer any joy in making music.
[Commercial radio] is owned by one or two corporations now, and they're not in the music business. They're in the advertising business.... So let's not kid ourselves. If you want to hear music, go buy a guitar.
Getting back to the point, a guy like Jerry, he deals with the business, and he doesn't see it as being evil or ugly, it's what you have to do, and I mean I know there's some really ugly parts to it and parts which drive me nuts, but not in the same way as music business.
The music business is very hard on women over 22. You really have to prove yourself every time you make a record. Are you as vibrant as you used to be? Are you as sexy? So I really want to prove that a woman in her 30s can be all those things and more.
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