The thing about being on the majors, from the beginning, going into this, I was like, "I'm not going to be treated like a factory," because that's never the way it was done before. You're talking about a major label, we're talking about serious business; you're not an artist anymore, you're a business, you have to work in terms of product, you have to release a product, and I don't really think that way at all.
I think from a major-label perspective, if you were on the flip side of things and that's the world you were used to working in, your interpretation could be, "Oh, they're having trouble writing songs," when really it's like, "No, I'm not ready to write songs, I don't want to write a song right now, if I did write a song, it would be forced."
I hate to do what I'm told, that's why I'm not good at 9-to-5s.
Someone told me once that Lucinda Williams takes six years between albums, and that's what stuck to me; it's like, you really are a factory. You don't do things to make them, on your own time.
When you get a certain amount of media attention, I think people are like, "Where's your other album?"
You don't pigeonhole yourself, people pigeonhole you. If the world is not at a place yet where it can just be like, "This music is gay and it's music," then it's not my fault that it gets pigeonholed, it's not the people in the band's fault, it's because people won't just let music be music, people who need to put a name on something or to critique something.
I think if the world were a fair and just place, there wouldn't even need to be a gay label.
I'm like cheddar: Yes, other cheeses are more ooh la la, but I'm strong, mature, and oh so delicious.
