A Quote by Sinead O'Connor
The music business is a place where the artists are all treated like we're working for the people who are working for us. That can obviously be exaggerated when you're a female.
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I find that as a female boss in the music industry, it's difficult to actually be treated as if you actually are the boss and to have people act on your instructions and take you seriously. Like you call up people who are working for you and say, "I'd like to see such-and-such document," and they tell you that you don't need it. Then you have to spend time convincing them that it doesn't matter whether they think you need it or not, they're supposed to hand it to you.
There are very few of us, who reach my advanced age, who are still working in the business, as writers. As artists, people can hang out longer.
The Internet might be killing the business for music labels, but it is working well for independent artists. I released my songs online and I got positive response from a lot of people.
Jhene Aiko, I like Zara Larsson, I like working with female artists.
I love working with people and having them bring something to the table that I couldn't. I think one of my favourite artists to work with has been Kucka. She's Australian, too, and it's great working with her because we kind of have a very similar take on music, and we like a lot of the same stuff. We're not super-precious about ideas.
I would like to remind you that both assimilation and integration apply to the working classes in the nineteenth century, at least in Britain and also Germany. Like most outsider groups compared with the establishment, the working classes were treated more or less with the same kind of stigmatization as immigrant groups are treated today.
Don't buy society’s definition of success. Because it’s not working for anyone. It’s not working for women, it's not working for men, it's not working for polar bears, it's not working for the cicadas that are apparently about to emerge and swarm us. It’s only truly working for those who make pharmaceuticals for stress, sleeplessness and high blood pressure.
When I first started acting, I was actually working with the National Youth Theatre in London doing anti-knife crime workshops, so I was listening to a lot of music that was around us all the time, around the guys I was working with, and the kids - lots of young grime artists from London.
That's just like America. It's made up of lots of different people. We're all different colors, different ages, we do different jobs -- but it takes all of us black people, white people, brown people, men and women, young and old, working in the factories, working in the fields, working in offices, working in stores -- it takes a lot of different kinds of people to get the job done for America.
Fellow workers and peasants, this is the socialist and democratic revolution of the working people, with the working people, and for the working people. And for this revolution of the working people, by the working people, and for the working people we are prepared to give our lives.
Working with great actors - being part of something of that magnitude and not knowing the business and what the business entailed or any of that. I was so wet behind the ears, I didn't know anything. It's, like, you're watching movies, and then here you are in front of those people and working with them. It was pretty interesting.
I'm just trying to be an example for all the young artists that are becoming artists every day and working on their craft and trying to help them avoid the pitfalls of the upper management in music and the non-music side of music.
The business of horror movies goes up and down, and people are always like, 'It's working,' 'It's not working,' but generally, I think if you make a good movie that's scary, people will come.
Sometimes I start with music on and then I get distracted because I'm working to a different rhythm; I'm not working to myself. So, I don't have music on when I'm working.
Somebody approached me about working with Michael Jackson, and I did say no because I like working with new artists or people that I've worked with in the past. I can develop them from the ground up. There's no set standard that I have to live up to or anything like that.
For me the journey of making a film is a journey of discovery as to what that film is. I mean what I do is what other artists do, painters, novelists, people that make music, poets, sculptors, you name it. It's about starting out and working with the material and discovering through making, working with the material the artifact.
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