A Quote by Lindsey Buckingham

You come off the kind of commercial success that 'Rumours' had, and you see that there are limitations to that as well as freedoms. — © Lindsey Buckingham
You come off the kind of commercial success that 'Rumours' had, and you see that there are limitations to that as well as freedoms.
The life of Dumas is not only a monument of endeavour and success, it is a sort of labyrinth as well. It abounds in pseudonyms and disguises, in sudden and unexpected appearances and retreats as unexpected and sudden, in scandals and in rumours, in mysteries and traps and ambuscades of every kind.
Commercial record has never interested me. It's amazing I was in a band like The Police that had such phenomenal commercial success. Part of what made The Police what it was was that we didn't all come in with obvious mainstream musical tastes. We were a rock band and somehow we had to make rock music, but it was informed by a lot of things outside of the mainstream for sure.
I couldn’t see Pritkin’s face very well, just a pale blur against the shadows, but he didn’t sound happy. Some people thought he had only one mode... pissed off. In reality, he had plenty of them. Over the past few weeks, I’d learned to tell the difference between real pissed off, impatient pissed off and scared pissed off. I suspected that this was the last kind. If so, that made two of us.
My dad had limitations. That's what my good-hearted mom always told us. He had limitations, but he meant no harm. It was kind of her to say, but he did do harm.
Success is when you try to achieve your inward vision externally and have it come off the way you see it. Then YOU feel successful about it; that's how success is measured.
Despite whatever commercial kind of success you might have or radio success, I don't want to do something just to get as many people as possible to listen.
After the success of 'Rumours,' we were in this zone with this certain scale of success. By that point, the success detaches from the music, and the success becomes about the success. The phenomenon becomes about the phenomenon.
There is a problem on the so-called commercial stage in New York. The price of a ticket is exorbitant, and there are no longer original productions possible, apparently, on the commercial stage. They are all plays that were taken from either England or smaller theaters, off-Broadway theaters, and so on. The one justification there used to be for the commercial theater was that it originated everything we had, and now it originates nothing. But the powers that be seem perfectly content to have it that way. They don't risk anything anymore, and they simply pick off the cream.
You have to look at what 'Rumours' was, what drove the subject matter. You had two couples who were broken up or breaking up. And probably, you could say, success we had achieved was the catalyst for those breakups.
The freedoms that people have that flow from all civic institutions fundamentally come from the success of a market system.
I think Oppenheimer Analysis had the most accessible material for commercial success. Martin Dupont, Deux, Linear Movement, Moderne and Stereo held a lot of potential as well.
I think the American people would be compassionate and practical. But we need to be talking about assimilation as well, something that is politically incorrect, I know, to say that people should learn English, should learn American exceptionalism, shouldn't come here to use our freedoms to undermine the freedoms we give to everybody. But there's nothing wrong with saying people who want to come here should want to be Americans.
I studied English Literature. I wasn’t a very good student, but one thing I did get from it, while I was making films at the same time with the college film society, was that I started thinking about the narrative freedoms that authors had enjoyed for centuries and it seemed to me that filmmakers should enjoy those freedoms as well.
When I started to write music that was completely divorced from any sort of idea of commercial success, the real me started to come out. Normally, a musician in a session for a pop record would have to discard a lot of ideas because they won't fit, because they're not commercial.
Oh, well, I'd like to have commercial success. I guess.
Before the real city could be seen it had to be imagined, the way rumours and tall tales were a kind of charting.
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