Henry Rollins Quotes

There's nothing remotely interesting to me about marketing music as a product.

Distributing the music is so easy it's moot. So now the delicate art of calling attention to your music means everything. Marketing is distribution.

Any real record person knows that the number one most powerful marketing tool when it comes to music is repetition.

There has never been any proper commitment to marketing these artists and their music. We are not Sony.

As an artist, you make music. And if you see people who don't know how to market your music, you get involved in it. Otherwise, what you want to accomplish 'gets lost in translation' - no pun intended.

With instrumental music, it is traditionally hard to get exposure.

After you make good, quality music, then it's your job to go out there and promote it and to market it and to get it out there to the people.

You got to understand: when you go into a record company and give them a something that doesn't sound like what's on the radio, it's hard to sell it.

The hardest part about the music industry for anyone is getting into the ears of the world.

No record company in the world would say, 'We're not promoting if you keep calling somebody a snitch.' They know what makes money. A record company would never be that stupid. Ever.

I just want to get my music out and make sure that it's heard in the right way.

Half the battle is selling music, not singing it. It's the image, not what you sing.

And you have a record company behind it, this is a key too, you need people to fight for your records, at least a little bit. So if you have a great song, it's catchy, and you've got a little bit of help, I think that's all you need. But there hasn't been that in music.

Being a part of exhibitions is not a burden; it's another way for an independent label such as mine to reach a larger audience by exposing them to my whole body of work.

The music business doesn't take up that much of my time. I probably should put a little more energy into it.

I'd love to get played on the radio, but it just doesn't happen.

We have meetings with our record label to tell them how to market us.

I don't tweet very much. I still believe in the mystery of an artist. I believe in going out when I'm ready to sell my product. A lot of artists are out there every day. But I remember the Julio Iglesiases, the Jose Joses - and it was about the music.

While working for Diplomat Records, I helped several artists with their online branding and social media. Once I left the label, I worked directly with artists and noticed many artists were overlooked and underrated if they weren't in 'XXL' or 'The Source.'

I want to keep the whole 'Lace Up' movement going. I want to take it national and international with a machine, a label.

People got to know us from hearing us live because there wasn't much publicity or radio airplay for a long time.

I just wanted to have my own dynasty. I wanted my own Cash Money or Roc-A-Fella. Outside of that, I also wanted my own media company.

When I release my music I will text Sharon Osborne and ask her about my songs.

Success came to me in my late 20s. I started touring when I was a teenager, so I had already seen the good, the bad, and the ugly side of the music business. Plus, setting up my own record company taught me a lot.

10 Summers isn't just a label, it's a lifestyle.