There's not a lot of precedent for weird, bald musicians in the Lower East Side making records in their bedrooms and going on to sell a lot of copies of the record. Especially if you look at the pop climate.
I'm a weird, bald musician who makes records in his bedroom and lives in the Lower East Side.
There are a lot of musicians who are still desperately trying to pretend that it's 1998 and by having a huge marketing campaign, they somehow believe that they can sell 10 million records. That's delusional. No one sells 10 million records. The days of musicians getting rich off of selling records are done.
I thought of a lot of people from the same era when I was making a lot of records that had continued making a lot of records. A lot of it didn't seem terribly inspired.
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 have a feeling a lot of the records I grew up listening to and the records I still like, as hard as musicians worked making them, I feel like they were really enjoying what they were going through. They weren't just going through the process. You can tell that with certain things that you listen to.
My records are borderline dance records. They've got a real electro-rock heart and soul, and the vibe of the sentiment is pop, but there's a lot of people that were like, 'This is a dance record.'
I'm a black lady from the Lower East Side of New York. Not a lot intimidates me.
If you look at the charts, there's not a lot of male artists and for whatever reason, female artists sell a lot more records and get played a lot more on the radio.
We live in an age of music for people who don't like music. The record industry discovered some time ago that there aren't that many people who actually like music. For a lot of people, music's annoying, or at the very least they don't need it. They discovered if they could sell music to a lot of those people, they could sell a lot more records.
A lot of people still don't realize that, before Rascal Flatts, I was in a Christian band for four or five years, and I had the opportunity to work with some of the greatest pop musicians and producers in L.A. I learned a lot from Peter Wolf; he was one of my heroes growing up in the '80s. He was a producer of a lot legendary pop music.
A lot of people felt I was getting work because I was Boy George. My response at the time was that there's a lot of DJs making records, they're not all making good records, but they have the right to do that.
K-pop is a weird term because K-pop has everything - rap records - it's very pop-sounding; there are really boy-band-sounding records.
I'm the type, when I used to go to the record store I used to buy two or three copies of certain records so I've got a pretty large selection of a lot of 12 inches.
To have a No. 1 with 130,000 copies sold is, you know, I remember when we first started selling records, in order to have a No. 1, you'd have to sell at least a half a million if not more, for the rock side of things.
I have a lot of successful musician pals, and as I get older, I find that I'm lucky to be a writer. I have great anonymity compared to musicians who sell the same number of records as I do books.
My grandfather and his wife came to America at the end of the 19th century from Hungary. Everyone started out on the Lower East Side. They became embourgeoise and would move to the Upper West Side. Then, if they'd make money, they'd move to Park Avenue. Their kids would become artists and move down to the Lower East Side and the Village.