My whole thing is feel free to hate me - I so don't care if you hate me, but meet me, and listen to my record, and know me before you hate me.
Anyone who's an executive at a record label does not understand what the Internet is, how it works, how people use it, how fans and consumers interact - no idea. I'm surprised they know how to use e-mail.
Today, if you do put out a record on a label, traditionally, most people are going to hear it via a leak that happens two weeks - if not two months - before it comes out. There's no real way around that.
I think that the idea of having a different approach to every single one of my albums is so exciting to me. I never want to make the same record twice. Why do it? What's the point?
I've often said there's no such thing as a track record in TV. I seen people who created things much more successful than mine treated like dirt.
President Obama's proposal to raise the top rate to 39 percent is equal to the rate under President Clinton in the 1990s when Wall Street reached record high levels and the economy produced lots of jobs.
We're gonna release a studio album probably a year from now and we've got these recordings that we did with Coco Taylor and Johnny Johnson, who was Chuck Berry's piano player.
Because I've a track record of talking about books I never write, in Australia they think I'm about to write a book about Jane Austen. Something I said at some festival.
I think that certainly, whenever you have a new band, the first record always has a certain energy to it before you know what you're doing. I think some of the early Sonic Youth stuff was maybe like that.
I consoled myself with Granddaddy's words on the fossil record and the Book of Genesis: It was more important to understand something than to like it. Liking wasn't necessary for understanding. Liking didn't enter into it.
I knew that I could be more creative onstage, to state my own case and deliver my own interpretation of the role much more aggressively than in the recording studio.
You're always in a different headspace when you make each record, so hopefully they're all different. You just pick up things that you wish you hadn't done on the first one.
It's like, on my solo stuff, every single person who buys the record, gets it. On the other stuff, the masses... when you have a hit on the radio, not everyone's going to get it. They are going to buy it for the hit.
360 deals are the new things of the industry. It's not about selling records; it's about selling T-shirts, getting a piece of your publishing, getting a piece of your touring, and all these other kind of properties.
As a 13, - 14-year-old kid, I'd sit on my bed with a tape recorder and a newspaper. I would do my own newscast. I would practice my diction.
I've had offers to sign a record deal, but the people I've talked to have wanted to package me and have me meet with songwriters who've written stuff for Whitney Houston, that sort of thing. That's not at all my style.
I wasn't the kind of person that liked waiting for autographs or following them, I just liked to go to the shows, study their records, driving many, many hours to different states to go to concerts.
It was almost two years after I left Capital that I put out the first one on Chrysalis and that was really instructive because it was no better in particular than any other record I'd done.
I've always wanted to be on an original cast recording. I grew up listening to them, and now to know that my voice is heard on three or four of them is just surreal. I never thought I would be that person.
Well that's true, and what is actually happening now is that there are accusations that those records contain conspiratorial information that has been concealed from the American people and that is a dangerous situation that just cannot be tolerated.
If Nirvana had remained a small, underground punk rock band, Kurt Cobain would still be alive. And he'd probably be living in Seattle, getting kind of fat and balding, be relatively happy and producing records for other people.
