#Music Industry Quotes

“But I say to Apple with all due respect, we don’t ask you for free iPhones. Please don’t ask us to provide you with our music for no compensation.”

“Music is art, and art is important and rare. Important, rare things are valuable. Valuable things should be paid for. It’s my opinion that music should not be free, and my prediction is that individual artists and their labels will someday decide what an album’s price point is. I hope they don’t underestimate themselves or undervalue their art.”

“A lot of people ask me, 'How did you have the courage to walk up to record labels when you were 12 or 13 and jump right into the music industry?' It's because I knew I could never feel the kind of rejection that I felt in middle school. Because in the music industry, if they're gonna say no to you, at least they're gonna be polite about it.”

“I really believe we in the music industry can work together to find a way to bond technology with integrity and just really hope we can teach the younger generation the value of investment in music rather than the ephemeral consumption of it.”

“In the future, artists will get record deals because they have fans-not the other way around...The only memento 'kids these days' want is a selfie. It's part of the new currency, which seems to be 'how many followers you have on Instagram'.”

“Dre was one of my heros in the music industry. If he's not down for his homeboys, I don't wanna be a part of him or around him.”

“I remember auditioning for record labels and having them tell me, 'Well, the country-radio demographic is the thirty-five-year-old female housewife. Give us a song that relates to the thirty-five-year-old female, and we'll talk.'”

“Everybody raps. We rap to make money. We do business. Ain't no other record company out there that sold as many records as we did.”

“I'm not someone who gets to play The O2 and places like that, but that's the kind of rock and roll venue. The popularity of stand-up means that some people are getting to play rock star venues.”

“In recent years, you've probably read the articles about major recording artists who have decided to practically give their music away, for this promotion or that exclusive deal. My hope for the future, not just in the music industry, but in every young girl I meet...is that they all realize their worth and ask for it.”

“I've made sure that in any situation and with any record label, I'm allowed to write my own music.”

“The business aspect is one of the most important things about having a music career, because every choice you make in a management meeting affects your life a year-and-a-half from now.”

“I think that when you're making your way up in the music industry you have all these heroes and the reasons why they are your heroes. As soon as you get into the industry your guidelines change a little bit. For me, my heroes now are great people first and great artists second.”

“It's understandable that the music companies that are comprised of people that are successful by making good creative decisions - they have to decide which out of fifty artists is the next hot one, with no data to go from. It's an intuitive process, and that's what they do well when they're successful. They don't understand technology.”

“A development deal is an in-between record deal. It's like, a guy saying that he wants to date you but not be your boyfriend. You know, they don't wanna sign you to an actual record deal or put an album out on you. They wanna watch your progress for a year.”

“It is true you can be successful without [college], but this is a hard world, a real world, and you want every advantage you can have. I would suggest to people to do all that you can. When I dropped out of school, I had worked in the music industry and had checks cut in my name from record labels and had a record deal on the table, and when I wasn’t successful and Columbia said, ’We’ll call you,’ I had to go back and work a telemarketing job, go back to the real world, and that’s how life is. Life is hard. Take advantage of your opportunities.”

“If it wasn't for race mixing, there'd be no video girls.”

“It's really not hard to keep your dignity and sign to a major label... Most people don't have any dignity in the first place.”

“Alternative music is no longer alternative once it’s in the mainstream.”

“I wish there had been a music business 101 course I could have taken.”

“"[My Beautiful] Dark [Twisted] Fantasy" and "Watch the Throne": neither was nominated for Album of the Year, and I made both of those in one year. I don't know if this is statistically right, but I'm assuming I have the most Grammys of anyone my age, but I haven't won one against a white person. But the thing is, I don't care about the Grammys; I just would like for the statistics to be more accurate.”

“I don’t know if this is statistically right, but I’m assuming I have the most Grammys of anyone my age, but I haven’t won one against a white person.”

“Sometimes you have the trends that's not that cool. You may have certain artists portraying these trends and don't really have that lifestyle, and then it gives off the wrong thing. And it becomes kinda corny after awhile. It's really about keeping hip-hop original and pushing away the corniness in it.”

“It depends who they are. If it's Mick (Jagger) or the Old Guard as I call them, yeah, they're the Old Guard. Elton (John), David (Bowie) are the newies. I don't feel like an old uncle, dear, 'cause I'm not that much older than half of 'em, hehe.”

“If you're an unknown artist you're lucky to get an hour in a studio - it's a hierarchy and if you don't have hits, you don't get recorded again.”

“You have to be a bastard to make it, and that's a fact. And the Beatles are the biggest bastards on earth.”

“When we came along there was only Decca, Philips and EMI who could really produce a record for you. You had to go through the whole bureaucracy to get into the recording studio. You were in such a humble position, you didn't have more than 12 hours to make a whole album, which is what we did in the early days.”

“In Hamburg the waiters always had Preludin - and various other pills, but I remember Preludin because it was such a big trip - and they were all taking these pills to keep themselves awake, to work these incredible hours in this all-night place. And so the waiters, when they'd see the musicians falling over with tiredness or with drink, they'd give you the pill. You'd take the pill, you'd be talking, you'd sober up, you could work almost endlessly - until the pill wore off, then you'd have to have another.”

“At the (record company) meeting Paul just kept mithering on about what we were going to do, so in the end I just said, 'I think you're daft. I want a divorce.'”

“In the early days, Porter Wagoner would not exactly scold me, but he's say, 'You're writing too many damn verses. You're makin' these songs too damn long.' And I'd say, 'Yeah, but I'm tellin' a story. I have a story to tell.' And he'd say, 'Well, you're not going to get it on the radio.' If I start writing a song, I'm writing it for a reason. People would say that I had to have two verses, and a chorus, and a bridge. I tried to learn that formula.”