A Quote by Chesney Hawkes
People still look for that elusive record deal, but you still can release records on your own, which is amazing.
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The real amazing thing about all of this is I think I've maintained the mentality of a musician throughout it all, which I'm proudest of. And I'm still playing on people's records and singing on people's records.
Fortunately I own a vintage brain, and I am alive and well in the 21st century, still making records, still working at an intense pace and most of all, still having fun doing it.
Times are completely different now. If you're a brand new artist with a record you want to release to the masses, I would suggest you try and get it hot yourself first. This way you can create your own demand so you'll end up having the option of demanding what you want if you do decide to sign with a label. If you don't and you still get on hot on your own, you then have the ability to reap all of your profits.
I've been around for such a long time. My first hit record was over 20 years ago and the people who bought my records then are married now and they probably still play these records and their children like them.
If I never sang on a record again I can still look at my walls. They are covered floor to ceiling with gold and platinum records from all over the world.
The worst thing was being in the car and hearing someone else do your show. Three records in, 'She's still not here.' Four records in, 'She's still not here.'
I still look good. I'm trippin', but people tell me that all the time. So check it out, I'm 63, and still kicking. I've been putting records out every year.
Commercial success still hasn't come to an artist that isn't signed to a record label. There are very few artists that can succeed without the help of a record label. The role of the record label is still required, it's still necessary.
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.
There is still a great deal of self-hatred that we refuse to deal with because we are still measuring ourselves against the norms of a masculine, heterosexual world. That is the backdrop with which we measure the man.
I remember when I signed with Kedar Entertainment through Universal Records. It was my first record deal and it's the one I still have now. At that time, there had been a couple of opportunities I was almost given, but at the last minute the giver came back and told me it couldn't happen.
It's always important to draw a line somewhere in a respectful way where you're still approachable, you're still there for the people and meeting them halfway, but you're not neglecting your own duties and your own time to rejuvenate to be able to do it again.
I don't want people to think that just because I do club records, I can't do an album record or an R&B single. I can do R&B, I do pop, I do whatever - but it's still Mustard.
You look at the world and see how scary it can be sometimes and still try to deal with the fear. Comedy can deal with the fear and still not paralyze you or tell you that it's going away. You say, OK, you got certain choices here, you can laugh at them and then once you've laughed at them and you have expunged the demon, now you can deal with them. That's what I do when I do my act.
I was 19. 'The One And Only' was my first record. It went to No. 1 and I was this big star. I thought that was what happened when you released records. Of course that is not normal. It's a great record and I'm still really proud of it but I think it was a bit of a fluke.
The marketing costs are insane now. So even if you've got a picture like 'Flipped' which cost under $14 million, or $13.5 million, you're still going to spend on an national basis, if you release with a good national release, you're still going to spend, you know, $30-$40 million.
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