I'm always happy when I hear about people selling records or selling books or selling movies. It makes me proud of them.
Food fighters in Japan think of themselves as athletes. They have a higher recognition of the game and are constantly thinking about records. I probably won't continue for long because it puts pressure on the body. But I am at the age where I can perform my best.
My mom and I used to listen to records, read, and take train rides across the country in the summer. It was a very chill life. She didn't expose me to anything that was ahead of my development, but she expected me to adjust to her world - she did not expect to adjust to mine.
People always say 'Etta, you know what your problem is? You're neither fish nor fowl. There is no place to rack you.' When I would go in a record shop, you might find one or two records by me in different stacks.
Brooklyn is where I primarily developed. I had an opportunity to make records and perform in clubs here and there, and I started networking with the right people in the right places.
I get most of my inspiration from older records and older production styles, and that ends up rearing its head in the records that I make.
Bob Dylan is quite a songwriter, and a great singer and musician. I won't bother with comparing myself to him, but I will say that I heard his records at a very young age and I still listen to all his records.
I'm very proud of it as a Yes record amongst many of the other Yes records.
I wanted to make good records. But my problem is I've got a low boredom threshold, so I wanted it to look and sound different with each album, which is really tantamount to suicide, cause people lose it, they lose it - they say: 'I like that, and that's not this.'
Bob Hurwitz, the president of Nonesuch, the company that releases my records, is a mentor. He taught me how to assemble a script to record an album.
My fans, they know my dad as Guitar Guy or whatever, and he's kind of just this shredder that plays on my records sometimes. But they don't know his ear and how rich his harmonic scope is.
My whole goal is to make good records and keep myself inspired and able to accomplish what I need to accomplish.
I love Bob Dylan. 'Blood on the Tracks' is one of my top five records.
There is a possibility that there is somebody out there alive today over 122, but we'll probably never know it, because in all likelihood they come from either China or India, and they don't have reliable birth records.
No one's playing records anymore, so find your favorite and frame it, then get rid of the rest - try selling or donating them.
I didn't want my records to sound like anybody else, and when I've got my guys in the studio, I have a language with those guys because we work together every day. A lot of times, you bring in outside guys, studio players, whatever, and they're great musicians. It's just that they don't necessarily play the way I want it to be played.
Effortlessly, I feel like my records have longevity.
Trust me, the only real way to understand 'Chic' is in highfalutin terms. Our chord progressions were based on European modal melodies. I made those early 'Chic' records to impress my jazz friends.
I think we make too many records. One record a year is crazy to me. But some people have to sell tickets. The label has to meet their quarterly number: 'We need a record a year.' All of a sudden, the tail's wagging the dog. It's not the music; it's everything else making the music. That's just backwards. It's wrong.
I have never made money selling records. I have never really made money touring, either, or with merchandise, surprisingly. But I do make money by just having my songs in the background of television shows or in commercials or movie trailers. That's been really good.
The government can still conduct clandestine searches of innocent people's private information such as library, medical, and financial records. This is wrong and should have been addressed in a true compromise.
Do not think about records, because one day, they will break.
I don't just throw out microwave records.
The films that I really liked and the ones that really blew my mind when I was younger were independent films. They're like great records to me.
Everything from the lyrics to the production, solos to the writing - it's all democratic. At the end of the day, you know, when you're all done with the grind - which it is always an incredible grind for us to write records - I think it makes it that much more special to hear the final product.
We feel more and more intensely about the music we make. It's unexpected, and not always what you would think of in Beach House. It's all art in the end. We aren't making records because we have to; it's because it's what we want to express.
You know, punk bands now sell with one record - their first or second record - sell 10 times the amount of records than the Ramones did throughout their career with 20-something records. That's why I go over to Johnny Ramone's house and do yard work three times a week, just to absolve some of the guilt.
As parents and as consumers, we have the right and the power to pressure the entertainment industry to respond to our needs. Americans, after all, should insist that every corporate giant - whether it produces chemicals or records - accept responsibility for what it produces.
Why do we make records? Because we want to say something. Why are you in art? Because you want to say something. The second you don't have anything to say, you stop making art - you might start making product. And I'm interested in being an artist.
Billy Konchellah with his World Championship titles, Paul Ereng with his Olympic gold and Wilson Kipketer with his World records are my role models.
As borrowers, we may feel guilty about running up debt, anxious about making payments, and resentful of the constraints that old obligations (and old credit records) impose on our current choices. We may find it too easy to buy things we may later regret.
I think right now, you've seen these artists pop up over the last decade who've flirted with branching together a lot of different kinds of music. Some of them have been huge, and sold millions of records. And I think over time it's become a little bit of what the industry can be.
I have to say when a man lives for himself, it's hard to live with him. That's pretty much the story of all my divorces. I've been making records since I was 22 and done things my way, and it's hard for me to compromise. And of course, to have a successful relationship, one has to compromise. Sometimes I'm not good at it.
I'm over being a pop star. I don't wanna be a hot girl. I wanna be iconic. And I feel like I've accomplished a lot. I feel like I'm highly respected, which is more important than any award or any amount of records. And I feel like there comes a point when being a pop star is not enough.
It's funny - some producers ask me, 'Man, how do you work on a Bieber record? That would kill my career.' I can work on any record there is as long as they are good records and you're pushing things forward.
Yeah, if someone's selling downloads and collecting money for our songs I would be unhappy about that but if they're trading it I don't mind, obviously if I make a thousand records or CDs or whatever, I like to sell a thousand.
