Cupcakke Quotes

Nowadays you need so much money to be able to launch a new artist, notably in America; you would hardly believe the sums involved.

Actually, we got signed in November of 2000 with Dreamworks which is the most amazing label. We have friends on other labels and though we are not selling millions of records, yet, they treat us with tons of respect and give us some very good guidance.

However, the radio and national media depend much more on the hype from a good record label, and from a ' buzz ' about a band, then from just one or two good shows. There are a lot of artists that have a ton of good press going for them, and still do not make it big in the US.

A few years ago, one of our singles got beaten out by Better Than Ezra. The label could only have one band at a time being taken to the right people at radio, and they opted for Better Than Ezra instead of us. Who knows.

I feel very lucky to get to fly the flag of RCA Records and Sony Music.

I love having a major label behind me. Independent was really great to start off, as and I made some really big moves and gained a lot of fans.

Jimmy Iovine signed me personally to a million-dollar contract, and I lost my identity for a long time. That system is so predicated on making a hit, or you're out of here.

You know, I didn't have enough money to quit my day job... the myth of the major label deal. Nowadays, you have a tour bus and a stylist and all this stuff. But back then, no way.

So there was a way for you to get promoted and survive as an artist without worrying about AM radio hits.

I was kicked off a record label and didn't get picked up again. It was devastating at first because I thought, 'Oh my God. My career is over. What's gonna happen? What am I going to do?' Once I got that I could have a career, a very good career, without having a hit record, then I changed.

We turned what is virtually a glorified independent label into one of the powerhouse labels in the town.

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.

I would be a huge hypocrite if I didn't tell you that at one time in my life I thought the way that you made music was you got on a major label and you got famous.

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 did my thing with Jive. I was a national recording artist, but I had run into a wall.

I must tell you, to get started today must be very difficult 'cause whatever it takes today is very tough. They have to invest a million dollars in a video just to see if you have a hit record.

I'm very new to the industry. I'm not on the Billboard 200 and that is alarming to me. But when I sat down with my management they said it's not a big deal and that it happens all the time.

There's a big difference between doing the odd gig and actually having a record out and your name being on the ticket.

After two years in the songwriting world, I wrote 'All About That Bass.' L.A. Reid heard it and signed me as an artist.

Selling records is fantastic. But if you're not loving what you do, and if everybody is throwing knives at you, it can get old very fast.

Swimming upstream in the music business is a hard thing to do.

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

I knew that it was my only shot to be taken seriously in the recording industry, because it's fast and broad.

My record label is treating me like I'm a new artist, which is exciting after all this time.

A lot of people thought my career was over. If you're not releasing records, then something must be wrong. Either the record company doesn't like your music, or you've been dropped. It has to something negative. It's not like you wanted to take a break, or want some balance, or smell the roses.