Label Quotes
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This was early '90s and in New York hip-hop was coming on really strong; that was the sort of urban folk music that was almost threatening to eclipse rock music and indie rock music in terms of popularity, which it has certainly gone on to do. But you know, this is the end of the 1980s, beginning of the '90s. The whole independent label thing has really evolved to this incredible point from the early '80s when we started, and there wasn't one record label at all, until a couple people started forming these small labels.
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I can't drink a wine if it has an ugly label.
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I'm really inspired by the interplay of visual art and music, a total artistic environment where there's sound and visuals. When I think about that I get stimulated and excited. It's a feeling that you can't label with words.
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We're obviously not a platinum-selling band, and yet we've managed to maintain a career on a major label through all this time, and I think we always felt like we were, to a certain degree, infiltrators there. And it's been an interesting thing. It's all been like a big art project for us.
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In a certain way, we felt almost like spies in the major label world. We were coming from some other world, and we somehow got our foot in the door and crept in and were prowling around, checking things out and taking back reports from the front.
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I don't have any pressure on myself. I don't have a big record label backing me. I'm doing it all myself.
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When you’re signed to a big label and they’re giving money for you to do things, you can’t do whatever you want. Like, I wouldn’t be able to make a totally indie punk record. You need to find the balance.
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I really don't think we should label models as 'plus' or 'runway.'
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Who is Tom? There is no Tom. If we sell a pair of shoes today, we give away a pair of shoes tomorrow. Originally we thought of "Tomorrow's Shoes," but I could only fit "TOMS" on the label. I had no idea everybody would want to meet him. There is no Tom; it's an idea for a better tomorrow.
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I think if you're an artist my advice to you is really stick to your guns and don't make records for anyone else. If you sign to a record label they always want to change you and you don't really need in a label that much anymore unless you're a real Pop band where they have to spend a lot of money on you.
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I'm not with a label, so I haven't ever felt pressure to be a certain way. I've got a cool team who just love music.
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When we label human beings and flatten them to just a splashy headline, we lose decency and the truth.
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I have a lot of dislike for the business end of the music business, particularly what they call shopping for a label. It can be a real stupid thing.
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When you sign with a label, they do insist upon certain rights, and if you have a competent attorney, your rights will be protected.
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I've always been a fan of Nigerian artist D'banj. He's now signed to Kanye West's Good Music label.
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Every piece of progressive social legislation passed by Congress in the 20th century bears a union label.
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Our first single wasn't put out by any big-name record company. We had been playing in clubs for a while and we wanted to put out an EP. None of the record companies would have us. They told us that our type of rock and roll wasn't happening. We decided to show 'em they were wrong, so we recorded the stuff on our own and put it out on our own private label, Bludgeon Riffola Records. When it started to sell a lot of copies, the record companies 'suddenly' discovered us. It was strange, but we felt vindicated.
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We live in a society that wants to label you with a color, sexuality, religion, or ethnicity. It divides us, but it also allows us to find pride in our identity.
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When we look at the undiluted, radical message of Jesus, we see that it was never about wearing a theological label, subscribing to a particular theological structure, or even about becoming a Christian. The undiluted message of Jesus is, and always has been, a straightforward invitation to follow him, and to learn to be like him.
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I think the idea, first and foremost, is to understand that people may label these characters as villains, but at the end of the day I have to fall in love with the characters that I play. For me, they have to be real characters with real objectives, and driving forces. So they're all different.
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Finally I found something on the list, something vital: instant coffee. I held the red plastic container, one of the last three on the shelf, held it like the marvel that it was: the seeds inside the purple fruits of coffee plants had been harvested on Andean slopes and roasted and ground and soaked and then dehydrated at a factory in Medellin and vacuum-sealed and flown to JFK and then driven upstate in bulk to Pearl River for repackaging and then transported by truck to the store where I now stood reading the label. It was as if the social relations that produced the object in my hand began to glow within it as they were threatened, stirred inside their packaging, lending it a certain aura--the majesty and murderous stupidity of that organization of time and space and fuel and labor becoming visible in the commodity itself now that planes were grounded and the highways were starting to close.
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Everything is illusory. You cannot label something and feel that that is the beginning, middle, and end of it.
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My label can mold me into whatever they want me to be. Even with my own style of music, it's pretty much universal. Anybody can listen to it and find something that they like on it. I never really got pressured to be a certain way.
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We have signed with Artemis Records. Originally they were our distributor for 'Group Therapy'. My former manager (Chip Quigley) started a record label (Recon Records) and had Artemis Records as their distributor. Unfortunately, the way the label was run meant that it didn't turn out the way that we thought it was going to be. We simply got into something that was different to what we initially thought.
