A Quote by Grace Potter

I was a general contractor when I was paying for my first record. — © Grace Potter
I was a general contractor when I was paying for my first record.
The first album is a special one for most bands or most artists in general. The first record is your whole life, and then after that you have a couple of months to write stuff and get it for the next record.
General Atomics, the progenitor of General Atomics Aeronautical Systems, started life in 1955 when a major military contractor, General Dynamics, feared that the military hardware market might dry up. It began exploring peacetime uses of atomic energy, but abandoned the effort when cold-war military spending took off.
I became a general contractor in my early 20s. I have been in the business for over 35 years
I became a general contractor in my early 20s. I have been in the business for over 35 years.
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
Our first record as the Veronicas was a big mainstream success. Maybe if we'd had the indie record first, then the breakout record, it would have been supported by Triple J.
It is true that SpaceX is partially a government contractor, but it would be unfair to say that SpaceX is entirely a government contractor.
I never intended to be a defense contractor in the first place.
Like the vast majority of my constituents, I continue to be concerned about record profits reported by petroleum companies at a time when consumers are paying record high prices for gasoline.
I met Arcade Fire on their first record, 'Funeral.' I loved that record, and it was a record I was listening to while I wrote 'Where the Wild Things Are.' Those songs - especially 'Wake Up' and 'Neighbourhood' - there's a lot of that record that's about childhood.
I do not want and will not take a royalty on any record I record. I think paying a royalty to a producer or engineer is ethically indefensible. The band write the songs. The band play the music. It's the band's fans who buy the records. The band is responsible for whether it's a great record or a horrible record. Royalties belong to the band. I would like to be paid like a plumber. I do the job and you pay me what it's worth.
There's no certainty to the next couple of years, but people are paying attention now. And I want to put out a record when people are paying attention, because that's when it has the best chance of being heard.
Those albums are so important to me because, for the first time, I was making my own music, paying for it, finding strengths in it, and going through the process of finding the right music for the record.
In one week, I went from being a girl who owed a guy thousands of dollars - my manager Anthony was paying for my outfits, paying for my food; I was sleeping in his parents' basement - to taking meetings with every major label in America. The next morning, I had a record deal and wrote him a cheque to pay back all that money.
In 1980, I moved to Chicago, and I recorded demo tapes for my friends' bands, and in 1981, the first Big Black record - the first thing I did that was an actual record.
I would have to say that my very first encounter with the arts was when my mother bought me my first record player when I was six years old as well as a Karen Carpenter record.
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