Lindsey Stirling Quotes

This is a very screwed-up business. Record labels don't sign a lot of bands these days. We just want to find a home and stay there and make records and do our thing and not have to look over our shoulder.

Artist development is something that I've been passionate about from my days at Uptown and Motown Records.

There are people who are genetically made to start record labels, and I'm not one of those people. People just have it in their blood and are good at it. Corey Rusk from Touch and Go and Ian MacKaye. These are people who have made their own labels.

If it wasn't for the TLC story, many artists would not have smartened up, and you wouldn't have the Lil Waynes and people with their own labels.

The music industry is a strange combination of having real and intangible assets: pop bands are brand names in themselves, and at a given stage in their careers their name alone can practically gaurantee hit records.

A lot of very popular mainstream artists are products of record companies and marketing companies, and any time anyone can stand outside of that, that's interesting.

I think that the music industry is such an interesting place, and there are so many situations that people don't know about.

A lot of big labels will just sign bands like a write off.

As for the music business itself, the key things have not changed that much. It operates like any business and money still keeps things moving.

I don't believe in the philosophy of stumbling across hit records.

If you're part of a record company, you're a manufactured product. It doesn't mean that you're not talented.

Being a recording artist, selling music, selling concerts out, having a reality show, starting film; it's great, it's beautiful.

We've managed to have a long career that is still quite vibrant, yet we've never had to kow-tow to record companies who said we weren't commercial enough.

You think publishing is tough but the music world is ten times tougher.

Doing things in my day was simple: you either signed to a big label or you signed to a very small label, and you worked with that one, and then they eventually signed you on to a big one.

I would love to continue working behind the scenes in music - to produce and manage up-and-coming musical talent would be a dream!

I decided to combine my musical background, business education and creative abilities - and go into the record business.

I don't want a record company, but I need one, unfortunately.

I just have so much love for my record label.

I think the record industry has gotten to be more about labels wondering what the new single is rather than labels nurturing artists. It's gotten away from making a full album of music that someone would want to listen to all the way through.

I love the music business very much.

I know it is common nowadays for artists to start labels but this is a thoroughly constructed vehicle for inspired talent. This is a market that we've been living, breathing and eating for our entire lives - one where a huge void currently exists. Favored Nations is a long-term commitment.

I remember talking with Arcade Fire after their first record, when they were getting all kinds of offers from major labels, and I don't think I gave them any advice. They survived that whole onslaught pretty well anyway without me.

Since I was 17, I had been just making records and promoting them.

I was with PolyGram; that was the big label that I was with for the longest, like 12 years.