A Quote by Ruth B
I thought it was a prank. There is no way six different major labels trying to reach out to me. But it was actually happening.
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I was always looking to record, but how much I actually pursued it was another thing. The major labels weren't that interested in me, and the smaller labels didn't have any money to do anything.
There's a difference between a caper and a prank. A prank is like playing Ding-Dong-Ditch, you know, you ring the doorbell and then run and hide in the ditch. That's a prank. It has no shelf life, like reassembling the principal's car up on the roof of the gym. It's cute and everything but there's no shelf-life, and it can actually be kind of destructive. But a caper is different. It's something where everybody has made it in.
I just got a chance to see strong tenacity and a desire to be on top from some young women who have never seen six, seven women signed at a time to major record labels. But they believe that they can put their footprint in hip hop in a major way.
I've had a very different career than a lot of other musicians. I went through the major labels. I was signed to two major labels and bands. I've toured with Aerosmith, and I've had records on the charts, songs in the movies. If you had checklist of things a person wants to accomplish in music...I've done a lot. And I don't mean that in an egotistical way; I never take it for granted. But you can't think outside the box unless you know what's in the box.
I don't really see a difference in independent and major labels. To me, it's pretty much the same. There used to be a difference between indies and major labels, but I don't think there is anymore.
I want deeper connections with the people around me. I need to reach out more. Because not everyone leaves. Sometimes if you reach out, the person you’re trying to reach will be right there waiting.
The same way you can see me sit at a table in a movie and be six different people, the mother and the uncle and all these different things, when I'm in the studio, I can do that, too. I'm not trying to be a recording artist and have a certain type of music for the radio.
Independent labels take nothing and make something out of it. Major labels buy that something, and try to make more out of it.
You know, I've done this show for six years, and this could be the first time that I had a person that actually got no points, and I think it's a damn fine way to go out. I thought I was a loser until you walked up here; you made me feel like a man.
When the major labels didn't work out the first time around, it taught me not to force things. You gotta let it flow.
Especially moments when things are very difficult and complicated for me and I am still trying to grasp what is happening and I am still trying to understand and to reach family back home.
People don't know how to reach record labels, and a lot of time labels don't listen to stuff that's sent in randomly.
Before I studied story, I was trying to write a novel, and it was terrible. It wasn't going anywhere, and I couldn't figure out what I was trying to do. It was really hard; much harder than I thought it was going to be. Now that I've studied story, I think I'd have a different approach and maybe I could actually get it done.
Equal Vision seems to be doing really well. A lot of these major labels are just imploding and becoming indie labels, anyway.
Somebody out there was trying to use my language and trying to speak for me. Rather than have that happen, I thought I'd do it myself. It's a fun thing. It's a way for fans to connect.
Despite the fact that I trust the people at major labels who tell me that they want to offer me a home as a "stable artist," who can just do what he does for the long haul, time has shown that it rarely works out that way - the bottom line is the bottom line, not mention the threat of mergers and firings and whatnot, and people get dropped.
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