A Quote by Bebe Rexha
When I first was a part of 'The Monster,' I really wanted to put it out under my name, but no record label thought it was good enough - until Eminem liked it.
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Remember the Stax label and how if you liked one record, you liked all the others as well? You don't talk to a lot of people who tell you how much they love their record label. I don't care how many records they sell.
George was the easy part. As for Michael, I had always liked the name, and my father's brother is named Michael. I thought it was a good idea because there are a lot of Greeks in England with the second name of Michael; as a child I had a Greek friend whose second name was Michael. It was like getting the name that I wanted without having to get rid of the Greek element.
I wanted to put out a solo record because I was stuck on a major label and sick of it.
There is such a thing as good interference from your record label. I don't think I get enough interference from my record label.
I made songs really for myself - I didn't ever expect to put it out there and make this a record for mass consumption, this was really just a way for me to get out of my own situation and reclaim that part of myself - so when making the songs, I wanted a testament to what I'd gone through, I wanted a snapshot of those moments.
The idea that somebody out there is that eager to hear my music in advance can only be a good thing. But growing up, I always liked that system where "release day" was a big thing, and for bands I really liked, I'd know that date. It'd be on my calendar, and I'd go to the record store that day. Sitting down and listening to the record for the first time was a real event. I wish it was still that way, but that's not the way the world works any more.
I was 17 when I released my first record. I didn't really figure out what I wanted to say, how to get a message and put it together.
I love the way I make hip-hop and I refuse to make pop-rap. I don't refuse to make mainstream music, which is why I did a soul record. There was no reason why soul music couldn't get played on the radio and I still wanted to have a relationship with my record label. So, I really enjoyed doing the Strickland Banks album. But there's no point in my trying to release underground hip-hop music on a major label. That part of my talent, or part of my art, had to live somewhere else and feature film was the perfect vehicle for it.
When John Cena came to Raw, he immediately got off on the wrong foot with Eric Bischoff. Eric Bischoff said that he thought John Cena was a would be Eminem, and Lord knows one Eminem is enough, but since that time, I have come to respect and really like this kid. This John Cena is a good guy. You can't say anything differently than that.
I badly wanted to play Dr. Aziz but I knew I wasn't going to get it. I didn't go to be interviewed until I finally was forced to by the director I was working with in Calcutta. I thought, they aren't going to give me that part. I didn't want to go there and be told I wasn't good enough, or that I didn't suit the part.
I love the Bach Prelude No. 2 in C Minor and had that stuck in my head: why don't I put this on Imaginaryland? So I brought it to my friend Tom Grimley who recorded That Dog's first record. I played him all my a cappella pieces, and he said, "P, you should really make a record, it would be great! You can record it at my studio and I'll put it out!"
I wanted to play in bands and get signed by a record label and tour the world and stuff, but that never really worked out.
There was a time when certain producers could produce just about anything, and the label execs would say, "That's a such-and-such record. Let's put that out as the first single."
The first two major label records I did what I wanted to do. It wasn't a problem until after I finished my part. They didn't understand I was an artist, a capable artist. When you're the money dealing with the talent, you need to let that talent develop, your job is to figure out how to sell it.
Originally, after 'Tambourine' came out, another record was supposed to come out, but I had issues with my record label at the time, which was Interscope. We couldn't agree on a record, so that took some time. I had to leave them and find a new label.
I liked working with Republicans. We had five pretty good years after we had that bad year in '95 that culminated in two government shutdowns. But then they really decided that they liked being in the majority for the first time in forty years, and they wanted to get some things done, and I agreed, to get things I wanted. It was all perfectly transparent. Everybody knew what they wanted and what I wanted.
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