Quotes About Rejection

I hear a lot of 'Top Model' girls say they are dismissed by clients because they recognize them, but it never happened to me.

I wouldn't recommend being a musician to anyone. It's not glamorous. It's a lot of being dirty, not eating, playing for five people and one of them is the bartender.

The record companies didn't want 'Stony Road,' and it ended up being a gold album. They didn't want 'Blue Guitars,' and we did 165,000 books.

From the age of 14 to about 20, I bombarded record companies and DJs with my demos. I was desperate to get it out there. Most of the time, I got nothing back.

We were ready to launch Barry White, but the record company wouldn't put it out. Said it wouldn't sell.

I had ballooned out to close to 400 pounds at one point. And in the '80s, we were just beginning to get on video and disco. So therefore, I did not fit in, and my record company let me go because they said, 'Look, you're just not marketable enough with the weight problem.'

I don't know what record company would sign a 45-year-old former 80s pop star.

In the early Nineties, after my first round of financial problems, I started a studio in Kensal Road in London right at the time when no record company wanted to hear anything from Leo Sayer.

Missing You' almost didn't get on the No Brakes' album, because the record company said, 'The album's finished. We don't need any more songs.'

I went to Nashville when I was 10. Tried to get a record deal. Everybody was like, 'You're 10. It's not gonna happen. Come back later.'

It was actually really hard to get a record deal after 'American Idol.'

When I first was a part of 'The Monster,' I really wanted to put it out under my name, but no record label thought it was good enough - until Eminem liked it.

The record label used to try and make us do stuff, like dance, and we'd say, nah, not doing that.

I got out of the business because I went from being the biggest artist on my record label to someone they didn't even want to have around.

It's the worst feeling, going into your record label when you haven't got a hit. It was like: 'Maybe you've lost it.' And, once you're done, that's it. There's no support, or anyone to help you.

I had basically been shelved by the record label for two years and I was writing songs every day. I made two albums that just never came out, and that was just a really big knock to my confidence, because everything I sent seemed like it just wasn't good enough.

I don't have audition horror stories, I just have situations in which I was made to feel so small. That's the worst of all, because it's really hard to recover from.

I wanted to do Buddy Faro as a small budget movie. They said no. So I wanted to do it as a series of recurring TV movies, and they said no. So I agreed to do it as a series.

I'm not invited. I'm not on the A list, haven't been on it in 20 years and my feet have never trod its red fluffy carpets.

People always used to say to me, 'Don't you want your own show? That'd be so cool if you had your own show.' I said, 'You know, it's not gonna happen. So - no.'

When I go in front of an audience, I'll admit I sometimes have a certain amount of fear in me, because maybe the people are not going to accept what I'm doing today. That's bad for any artist, especially if what you're doing is not in line with what's happening today.

I don't do all that well in the writerly world. I'm happier being outside the flow.

Basically, I had a hard time getting anyone to want to make any of the features that I had written.

When you can't have someone but you're not willing to accept that, you try harder and become more extreme about it. Either you win the person back or you drive him away.