A Quote by Vivienne Westwood
We moved into the back, made it into a little 50s sitting room and started to sell the records. We had an immediate success. For one thing, these Teddy Boys were thrilled to buy the records.
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Most artists are making as much money now as they could have made... in the heyday of Def Jam [when the] Beastie Boys would sell 10 million records or DMX would sell 6 or 7 million records. Those records are one thing, but then all the other ways to exploit the emotional relationship between artist and community is so much greater that I would guess that they're making as much or more money than they could have ever made.
In the beginning, because of the Pavement thing, we were able to sell a certain amount of records. We were able to sell not such a great amount of records, but enough to live on. So there was no incentive to do what didn't come naturally.
I'm not the cool thing, and I'm not going to be the cool thing for a really long time, and it isn't like I'm not the cool thing and I sell 3,000,000 records every time. I'm not the cool thing, and I barely sell 150,000 records, if that, ever. So I'm obviously working really hard to sustain myself. I'm actually a target to be dropped, because that's just not enough records for a big company.
I don't sell millions of records. As a matter of fact, I'm not even interested in selling millions of records. I enjoy MCing. I make a decent amount of money. I can feed my kids. I keep a roof over my head. I don't have to sell a million records to maintain my lifestyle.
When I was a bit older I had all of the George Carlin records, all of the Steve Martin records, all of the Cheech and Chong records and all of the Richard Pryor records.
My dad would play me all of these records: Miles Davis records, John Coltrane records, Bill Evans records, a lot of jazz records. My first exposure to music was listening to jazz records.
My mom had early rap records, like Jimmy Spicer. In the middle of the records was a turntable and a receiver - I used to scratch records on it - and on top was a reel-to-reel. In front of that wall were more stacks of records. It was either Mom's record or Pop's record, and they had their names on each and every one.
I grew up on listening to, like, Mantronix and BDP and EPMD and Kool G Rap and Ultramag and Public Enemy and Fat Boys and Run DMC and a lot of those early records, those Rubin-era records. Those were always snare- and stab-heavy records.
I think it's ridiculous to try to sell records to teenagers, because teenagers don't buy my records. And there ain't that many teenagers out there in the marketplace.
I didn't want to do a double album. I just felt like the last two records I made were like that, and a lot of records I was buying were like that, and it started to feel like it was too much music to digest at once.
We made records to document ourselves, not to sell a lot of records. I still feel that way. I put out a record because I think it's beautiful, not necessarily commercial.
I see myself as real. Like I mean if I was the President I would have a responsibility, because people put me there. Nobody put me here. They just buy my records. They wouldn't buy my records if my records wasn't good. I'm being who i am in the record.
I made records in the past that are as traditional as any other country records that have been made, but at the same time the records have a contemporary slant on it too.
I feel like records are moments in time, a modern moment that feels right then and it found its way to us then, that minute. We can all try and repeat records we have made that had success, but it's not possible.
I've put out records over the years, whether it's with Blackfield or No-Man or Bass Communion or Porcupine Tree, that are pop records, ambient records, metal records, singer-songwriter records.
The records - what little we know about Shakespeare, including the records of the plays in his playhouse - were often the story of how quickly they came off if they didn't work. They had to move on. They were absolutely led by box office.
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