A Quote by Sheryl Crow
I hate how I've had the mantle set on my shoulders as being against the record label. We've had some issues, but that is the nature of business.
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Originally, after 'Tambourine' came out, another record was supposed to come out, but I had issues with my record label at the time, which was Interscope. We couldn't agree on a record, so that took some time. I had to leave them and find a new label.
Friends of friends had bands in college or in their early 20s and had a moment where they had some kind of interest from a record label or manager. It's always interesting how people handle those decisions and those moments.
When I first came to New York I was a dancer, and a French record label offered me a recording contract and I had to go to Paris to do it. So I went there and that's how I really got into the music business. But I didn't like what I was doing when I got there, so I left, and I never did a record there.
When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn't understand how to make records for big labels. I was waiting for a new kind of record label to emerge.
I'm a humorist. A guy like Paul Simon just makes my life so much simpler. When I was there, he had a hearing against hate. Steven Spielberg came and testified against hate. Paul Simon said hate was bad. Orrin Hatch was there, and he was against hate too. Everyone was opposed to hate. Is this really a wonderful way to spend our tax dollars, to have these men drone away about how against hate they are?
By the time 1997 had rolled around, I had been in the music business for all my life, from the age of 15. I started recording professionally when I was 18. I had seen how record companies work, how the business works, and truth be told, I was pretty disgusted by everything by that time.
I've always had a love for poetry and when I got signed to a record label I thought, 'How odd that I'm doing a record before a book of poetry,'
I've always had a love for poetry and when I got signed to a record label I thought, 'How odd that I'm doing a record before a book of poetry.'
Remember the Stax label and how if you liked one record, you liked all the others as well? You don't talk to a lot of people who tell you how much they love their record label. I don't care how many records they sell.
You know in fairness Gary [Johnson] and I have not agreed on a number of substantive issues in this campaign, tax policy, we've had some influence on each other, I think I've had some influence on him, on constructive engagement around the world, he's had some influence on me in criminal justice reform issues.
I'm a big boy with big shoulders and I've had some real world issues so getting some stick online doesn't bother me.
Let's just cut a live record with three microphones in four days and talk about lizards and aliens. If I had taken that idea to even an independent label, I don't see a label out there that would've said, 'Oh yeah, that sounds great. We know how to market this.'
I was 21. At the time, I was under the thumb of my label, and I felt like I had to do, say and act out everything they asked me to do. I was trying to please them and the public and finally I had to say, "Enough. I'm going to make a record that makes me happy and addresses all facets of being a woman. I don't care if I sell one or one million records." That's how I came to make Stripped.
I had some issues. When I first had to deal with being in 'Star Wars,' you know, who wouldn't?
We had some rough times in TNA. We had some pay issues, and this and that, they were some other issues. But at that time, we were working harder than we ever worked. Even though, you know, we were being paid late and all, we worked harder than we worked before.
Women are against women, and men are against women. Like, women have to rise above so much to get ahead. I feel guilty that sometimes I hate being a woman. I hate it because there's so much weight on your shoulders at all times. Maybe I'm just really sensitive.
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