We gave the show away and in return, we received a certain number of minutes per hour for the three-hour show that we could sell to Madison Avenue. One of the first sponsors was MGM Records.
One day, people in China may be able to see the records of conversations between multinational tech companies and the Chinese authorities.
I'm a singer and as long as I can sing - which, thank God, is something that I still seem to be able to do - I'd like to carry on making records.
When you write a song you have an idea of how it should be sung but it doesn't work out that way if someone else records it.
All of my style came from listening to records.
The last two records I liked playing a lot.
I am evidence that you don't have to sell a lot of records or succeed in the usual way to have a big audience and a job.
I was named after my mother. And I guess when I started making records, Madonna Ciccone seemed too long and complicated, and I just got stuck with Madonna.
Century-old records are the closest thing we have to a time machine. To listen to the voice of Theodore Roosevelt or the piano playing of Claude Debussy is to feel the years falling away like autumn leaves from a maple tree.
I was a snot-nosed teenage skater at one point, who listened to only punk records and hung around people that had that idea of what is okay to do and what isn't okay to do.
I wasn't on 'You Really Got Me,' but I did play on the Kinks' records.
I went out there to play my game for the fun of it and never based my career around records.
I've made my records and I've done all the interviews. I've done lots of long tours. I've made stupid videos. I've done all that stuff and learned all the lingo and gone to radio stations and shmoozed with DJs on the air and met retail people.
I've made more than 50 records with a wide range of music. I've often veered to check something out.
When I graduated, everyone was like, 'You got to do pop and R&B to make it,' like very contemporary pop and R&B. I tried for a little while, but I just realized my voice wasn't quite fitting some of the records that I was doing.
I'm lyric conscious. I like to tell stories, give advice. Instead of writing a 'Dear Abby' column, I do it on records.
Well concerning the world records that I did, I think it helps a lot to me, yeah. I think it's a very individual thing because I heard some people say, like, oh I don't like it at all. But I definitely, for me it really made a big difference.
To us, there was Bob Dylan, and there was dad. As for what he meant to other people, that was never glorified in our house. There were no accolades there, no gold records.
I spent a lot of time in Tower Records. I'm a huge music nerd, and Tower was instrumental to me when I was growing up.
There's nothing like Nashville for making records.
At the time I attempted to purchase the rights back for the 3 Homestead records, but the owner demanded an outrageous sum in the neighborhood of $10,000, about 10 times more money than I could get my hands on at the time.
You can read all the textbooks and listen to all the records, but you have to play with musicians that are better than you.
You would think that, at this point, with records being kept and the vast amount of knowledge on these drugs, the pharmacists could wave off prescriptions that are dangerous to customers.
No one in this world, so far as I know - and I have searched the records for years, and employed agents to help me - has ever lost money by underestimating the intelligence of the great masses of the plain people.
I remember when I first came out as an artist, back in 2004 or 2005, the record label used to take me to all the radio stations and just have me sit in, like, their lunchroom or their conference room, and play for the whole staff. Just to introduce them to me so they would play my records.
Most of them are pretty down records, pretty unhappy, pretty confused. Which only reflects how people in general were feeling, I mean really the sense that you get is society running down.
I like records that flow really well and you don't have to skip around because there's lot of different jumps.
I don't plan tours necessarily around records. I know that's what most people do.
My goal was never to sell many records.
Rap records don't make you feel good no more. Six months after release, it can't come back as a classic.
All I want to do is sing on other people's records.
If I could sell 500 million records every time, it would be great. But I've also had the luxury experience of having it when I was a teenager, in a very kind of model version of it.
I would sell 2 million records, a million went to teenagers and a million went to the adults. So, when The Beatles became so popular, I lost a million to the teenagers, but I was still selling a million to the adults.
People out there maybe know who Junior Parker is and some of those Sun Records blues guys.
All I knew about Ethiopia was from a few records that I like, as well as what I read about the famine. But you get there and it's another world. It's filled with art and music and poetry and intellectuals and writers - all kinds of people.
I'm a huge fan of Geffen records. Everything about them - their artists, their videos, their marketing.
