Artist Quotes - Page 177

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I have a lot of projects I get asked for, but the opera house really is my house - my home. It's where I feel comfortable and confident and I get to explore these big human stories and dramas and collaborate with extraordinary people, great talented artists and administrators and other people who are passionate about it and support it. It's like working with a great big family - the family you love and enjoy being with all the time.

Unfortunately, you don't get artist development anymore. Record companies have become a huge corporate thing. It used to be you'd meet someone [in the business] and they'd have a little history of music. Some people in the companies now don't even like music. It's just a job. So I miss the days when someone would go out on a limb and pick a band that was different. I just don't see that anymore. It's the same with the film industry.

We singer-songwriter people, we're used to getting up and doing our own thing in front of people, and we're it. We're the band, artist, writer, producer, front man. We're the whole thing. You develop, it's not smugness, but this self-reliance, that can limit your creativity. When you're willing and able to invite others into it, you wind up getting a piece of work that's bigger and better than anything you ever imagined it could be.

I'm the first artist of any kind, good or bad, that was ever prosecuted by the Federal Government. Thirdly, they used the law retroactively. The obscenity statutes had changed in the early '70s, and they tried me under a 1969 statute. It was a railroad job. I was with a judge that was a Nixon appointee. A District Attorney who was a Nixon appointee. The only reason I never went to prison is because the Democrats took the White House.

And with a few moments like that, with doubt from here and there, and within ourselves we were just striving for excellence. We had somehow understood and felt that all the musicians who would come to the House later on, that all the singers, the big artists, were striving for excellence in their life and we thought a house for them, there’s no limit to the excellence it should have because it should match their strive for perfection

There's always peripheral things that you like that you don't know, but starting with whatever his British influences are, are some of my favourite artists, and the American things are what I grew up on as well. In the end, for me, it's those foundations of the music business - those things that are a lot of the foundations of what music today is. You can hear a bit of all of those things that we talk about in almost all music today.

I do not think it is any benefit for artists or fans to have all the new, wide distribution channels in the online world controlled by those who have controlled the old, narrower ones, .. This is especially true if they achieve that control by leveraging their dominance in content or conduit space in an anticompetitive way to control the new, independent music services that are attempting to enhance the consumer's experience of music.

I realized that the artists who managed to fight through this recession have a better shot at longevity than most. The recession was a test of your resolve and passion. I think as we come out of these rough times we will be more adept at survival and will have gained the skills necessary to make a long fruitful artistic career. There will still be those that fade away but we are more likely to grow and bend with the times and prosper.

The bottom-line, you just have to. You do it because you want to do it and need to do it. You live life just one time. Why sit around and wait for the phone to ring? Even though I'm in a hit phenomenal show and it happens once every ten years - a show this big and popular - the last thing I want to do as an artist is feel comfortable and bide my time. Now is the time, more than ever, in this artistic explosion to do as much as we can!

You kind of notice what's going on in your body, and you can kind of feel a certain tightening, or fear, which is something that, as an artist, I've kind of befriended. I can pretty much count on it for anything that I engage in - that thing like, "Am I going to be able to pull this off?" Well, what am I gonna do with this feeling? The more nervous you get, the more worried you get about it. So you pay attention to what you might need.

Very few men can be genuinely happy in a life involving continual self-assertion against the skepticism of the mass of mankind, unless they can shut themselves up in a coterie and forget the cold outer world. The man of science has no need of a coterie, since he is thought well of by everybody except his colleagues. The artist, on the contrary, is in the painful situation of having to choose between being despised and being despicable.

There are all these different areas of specialization. That's it. You have to be a specialist nowadays. There's no other way. I was an artist for a long time, but I was always into being a general practitioner. I did a little of this and a little of that. And nothing got me anywhere. You have to specialize. If you don't specialize, it takes you until you're about fifty years old before anybody notices that you're doing anything at all.

As an artist, you are always striving toward an ultimate achievement but never seem to reach it. You shoot a film, and the result could have always been better. You try again, and fail once more. In some ways I find it enjoyable. You never lose sight of your goal. I don’t do my job to make money or to break box office records, I simply try things out. What would happen if I were to achieve perfection at some point? What would I do then?

I really like John Legend as an artist and as a person. As well as Lyfe Jennings. Jeezy is good people as well. I like to interview Nick Cannon. He always has something interesting to say. I still enjoy talking to Jay-Z or Nas which was weird since we had so much history. I also enjoyed talking to the Mayor of Detroit as politicians because they need to hear the hip hop side of the community that they don't hear from on a regular basis.

Standing in the nordic nook of the kitchen, I can gaze down at the flimsy-limbed joggers heading south towards the Park. It's nearly as bad as New York. Some of these gasping fatsos, these too-little-too-late artists, they look as though they're running up rising ground, climbing ground. My generation, we started all this. Before, everyone was presumably content to feel like death the whole time. Now they want to feel terrific for ever.

When I started acting, I had a really strong discipline of knowing that you had to be on time, knowing that you had to work 12 to 16 hours a day, knowing you had to be prepared, knowing you had to be ready, and it's very interesting because if you're an artist and you're creating, you can work very, very long hours but as you're putting out that love of creation, it's almost like you're charged by it, you're charged by the process of it.

I think most artists start off playing in front of people and are used to doing it before they go out. I kind of did it the opposite. The thing got blown sky high and I'm on TV on "Good Morning America" doing my first performance in front of everybody. I think it was backward and from that, what I got out of it, the end is what I wanted, which was headlining my own tour, having people come because they loved my record and loved my music.

I feel like I'm being put inside a box, and I'm not necessarily getting a chance. Like I'm not getting the shot that I deserve. So that's what Rare is about 'cause I feel because I am the way that I am, and I don't necessarily fit the mold of a lot of different artists that's out, it's like I'm not getting the chance to show what I can do. So, that's basically all the frustration of that, and everything is pretty much Rare for me anyway.

It's how you tell the story that makes it new. That's what artists do. They let us look at the world from a different perspective. They let us look at birds in a way that makes us never see birds again in the same way. That's why I don't think computers are healthy for kids. They're too literal. You pop a button and a bluebird comes out. You pop another button and you can take the color blue and shove it into the outline of the bluebird.

Any really good scientist is as much an artist as a scientist. All the interesting stuff is found on the edge between knowing and not knowing. I know that sounds like a meditation teacher speaking, but when you're in the laboratory, or you're theorizing about physics, you need to know what you know, but if you can't get out from under that, you won't be able to make that insightful, first-time connection that nobody else has seen before.

I am myself a professional creator of images, a film-maker. And then there are the images made by the artists I collect, and I have noticed that the images I create are not so very different from theirs. Such images seem to suggest how I feel about being here, on this planet. And maybe that is why it is so exciting to live with images created by other people, images that either conflict with one's own or demonstrate similarities to them.

My job as an artist is to take all my thoughts and feelings and put them on your iPod so that you can digest them. Whatever it is that brings you comfort and joy as a mode of resistance, do it. If it's music, that's what I do, that's my mode of resistance, I refuse for the world to steal my joy. If it's church, go to church, if it's working with kids, work with kids, but do something positive in your community that's going to lift you up.

We have to remember examples of many artists of conscious rap who have been coopted by the Department of State of the United States to be cultural ambassadors in different parts of the world, like Syria, like other parts of the Middle East, including conscious Islamic-American rappers that are representing an international political agenda for the United States through cultures more affable for people of color in other parts of the world.

I think that's what so exquisite and unique about New York, it's a city that allows you to hone your craft as much as possible. There is no good or bad, somehow, strangely, there is no beginning or end. You certainly qualify it with the opening or closing of a run, but what's extraordinary is that you are actually allowed to be an artist here. It's very "belle époque," but somehow continually. That's why I love New York so much, honestly.

For me, it's just a normal artistic endeavour to explore the dark side. Certainly, I'm not alone in it. Artists generally don't like to accept the version of reality that society and culture hand them. They want to know what's really going on. So you're always looking in the ceilings, under the floorboards and behind the walls, trying to find the mechanisms, the structures, and the truth. I find that often leads you into some dark places.

A professional entertainer who allows himself to become known as a singer of folk songs is bound to have trouble with his conscience provided, of course, that he possesses one. As a performing artist, he will pride himself on timing and other techniques designed to keep the audience in his control ... his respect for genuine folklore reminds him that these changes, and these techniques, may give the audience a false picture of folk music.

Our cover has always been really important. For those of you who haven’t seen itCharles Burns, who is a graphic artist, does four portraits, so it’s split into quadrants and there’s four heads, basically—portraits of people. We’ve actually often thought and freaked out, what if something happened to Charles Burns? Because he’s so identified with the cover of our magazine, I don’t know what we would do if anything happened to Charles Burns.

I put out a lot of different kinds of material, and maybe people read that as egotistical. Or maybe, since a lot of it does involve some aspect of me, they find it self-aggrandizing. But there’s a long tradition of artists using themselves. Look, I know I’m not perfect. And, who knows, maybe a part of it has to do with self-obsession. But it’s also about using this weird thing that is a public persona as raw material for creative projects.

I think there's an interest right now in the performance aspect of artworks, instead of just hanging things on walls. We're in a moment when a lot of younger artists are looking at work from the '60s and '70s - they are looking at the pieces by Marina Abramovic or Vito Acconci. These pieces have a time element. They were performed live. To perform them again now isn't simply an homage, because it's a different audience, a different moment.

The books I made, most of those books were made in the '80s or early '90s. I was reacting emotionally at that time; it wasn't an intellectual thing. I didn't make those things for public presentation; those were for my friends. So I wasn't doing this to be an advocate for what I'm talking about right about now. But I'm realizing I was working properly as an artist, or whatever you want to call it, as somebody that naturally was inquisitive.

No doubt other writers have often put a thing more brilliantly, more subtly than even a very cunning artist in words can hope to emulate, a supreme phrase being a bit of luck that only happens now and then. And inasmuch as the condiments and secret travail of human nature are always the same, and that certain psychological moments must ever and ever recur, what more tempting than to pin down such a moment with the blow of a borrowed hammer?

It is surprising that people do not believe that there is imagination in science. It is a very interesting kind of imagination, unlike that of the artist. The great difficulty is in trying to imagine something that you have never seen, that is consistent in every detail with what has already been seen, and that is different from what has been thought of; furthermore, it must be definite and not a vague proposition. That is indeed difficult.

Taro came into the room, strands of hair flying free of the tie at the back of his skull, sweat plastering his cream-colored shirt against his chest and back. I wished I had an artist's skill, that I could make renderings of him in all his states of beauty. He would never want to look at them, or even know about them. I would just like them for myself. Maybe he would want to see them when he was much older, and beautiful in a different way.

I think a lot of directors nowadays come from the commercial world, which is about seduction, which has nothing to do with personal directing. If you are trying to seduce an actor he might like it but I can guarantee you that he'll hate it when you start shooting. They are looking for somebody who is like a compadre, their brother, or sister, who can tell them the honest truth and help them to become a better artist than they are right then.

I have always been involved with radio, whether it was as an artist talking to radio about my own songs, or as a promotion man at Def Jam to working records through my company. In 2000 I was asked to host a show in Norfolk VA and through that show I was then asked to host the morning show in Detroit. The concept of the show was around Hip Hop. We were active in the community and we wanted to do a local show that had a hip hop feel around it.

The Opera ghost really existed. He was not, as was long believed, a creature of the imagination of the artists, the superstition of the managers, or a product of the absurd and impressionable brains of the young ladies of the ballet, their mothers, the box-keepers, the cloak-room attendants or the concierge. Yes, he existed in flesh and blood, although he assumed the complete appearance of a real phantom; that is to say, of a spectral shade.

There's the instability of my attitude as an artist, the instability of our perception of the world, and the idea that with this mix, you never know exactly what's the point of view of the filmmaker. This breaks the stability of the belief that a filmmaker is somebody who has a logical relationship with his own material. These elements create this atmosphere that I find more interesting than a normal atmosphere, based only on the characters.

Bernard [Leach] knew Ben Nicholson, Barbara Hepworth, Terry Frost, Peter Lanyon, Johnny Wells. I can think of a number of people that we met there just because we were living with Bernard. Some of them became our friends, particularly the younger artists, but we were privileged to at least meet and talk with the older artists also. And they would come to dinner, and we would simply be included in the conversation, which was quite fascinating.

I have a feeling a lot of artists' work got lost [because of AIDS]. Howard was fortunate because his family and friends supported him, but a chilling thing I remember was these guys at St. Vincent's [Hospital] who would call out for someone to listen to them, just for a moment. They were dying alone. Who knows what happened to their work? It's been a process to follow the thread to find out everything Howard did. It's getting over that shock.

And with this sort of increased visibility, there's more money going around in the industry, and it changes a lot, in terms of who gets into the business as a creator, who sticks with it, and who gets pushed out. And I do think it's sort of too bad that what once was a safe haven for truly eccentric, outsider artists is no longer that thing. But there are definitely pros and cons. You could also look at it as bringing in a more diverse crowd.

The UFOs do not seem to exist as tangible, manufactured objects. They do not conform to the accepted natural laws of our environment. They seem to be nothing more than transmogrifications tailoring themselves to our ability to understand. The thousands of contacts with the entities indicates that they are liars and put-on artists, the UFO manifestations seem to be, by and large, merely minor variations of the age-old demonological phenomenon.

I'm a controversial artist, one who dares to have an opinion and bothers to create music and videos that challenge people's ideas in a world that is watered-down and hollow. In my work I examine the America we live in, and I've always tried to show people that the devil we blame our atrocities on is really just each one of us. So don't expect the end of the world to come one day out of the blue – it's been happening every day for a long time.

There are some really amazing artists and people behind the scenes who are really effective in championing feminism in the music industry, and I think that's really important for people in the industry and for young girls and guys to see. It should become universal. It's really about the other people understanding that everybody's equal and that women are equally as valid creatives, businesswomen, powerhouses...whatever you want to call them.

The director’s task is to recreate life, its movement, its contradictions, its dynamic and conflicts. It is his duty to reveal every iota of the truth he has seen, even if not everyone finds that truth acceptable. Of course an artist can lose his way, but even his mistakes are interesting provided they are sincere. For they represent the reality of his inner life, of the peregrinations and struggle into which the external world has thrown him.

Growing up I wasn’t sure I was female. As I grew further I wanted to be a lesbian but I wasn’t sure I would meet even the most basic membership criteria (though eventually I created a ‘femme dyke’ persona that worked well for over fifteen years). It wasn’t until my early twenties that I was sure of at least one thing: I was an artist. Quite an accomplishment for anyone assigned female at birth in a culture that calls only male artists ‘great’.

There are some superficial things that connect me to the stream. There's instrumentation, there's timbre, use of electronics, the way that samples are used, the way the electric guitar is used. I'm thinking of things that are particular to this era. But I don't always feel particularly close to the music of my peers. I often feel that I have more in common with writers and visual artists. I try to connect to people in an emotional kind of way.

I think there's a great storytelling tradition in the restaurant business that tends to attract people with an oral tradition of bulls - ting and bollocking. Creative people, people for whom the 9-to-5 world is not attractive or impossible. It seems that way. There are a lot of stories in the business, and a lot of characters - and it seems to attract its share of artists and writers and people who hope to do something creative in their lives.

I'm being explicit about really horrifying experiences in my life, but my hope has always been to be responsible as an artist and to avoid indulging in my misery, or to come off as an exhibitionist. I don't want to make the listener complicit in my vulnerable prose poem of depression, I just want to honor the experience. I'm not the victim here, and I'm not seeking other peoples' sympathy. I don't blame my parents, they did the best they could.

Several people inspired me like Lil' Wayne, Juvenile, the whole Cash Money camp, the No Limit camp, DMX, Jay-Z, Eminem, LL Cool J, I listened to all type of sh*t. I listened to R&B like Teena Marie, just good music - anybody that made good music. When I was growing up out west I listened to Twista, Do or Die, and Crucial Conflict. They were the "it" artists in Chicago. I wanted to be like them on TV and all of that so that's how it all started.

The main joy I have in owning or being a part of my own label is the platform I've created to really push other artists and this other kind of musical muscle I get to exercise, it's not just me as a creator of music but me as a curator. That's been really exciting and I do get to have the autonomy and control and all those things with my releases, but now I get to go and find artists that I really love and like and share them with the world too.

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