Quotes of All Topics . Occasions . Authors
We have a habit of turning to scientists when we want factual answers and artists when we want entertainment, but where are the facts about the nature of the self? Neurologists peering at PET scans and fMRIs know they aren't seeing the soul in there.
Everyone seems so excited by the fact that music is more accessible, people can find new artists more easily and it's cheaper, without focusing on the potential negatives, not least of which is that idiots can more easily listen to your favourite music.
I photograph artists, and some of them are very well known, but if you ask the average man on the street, 'Do you like Anselm Kiefer?' He would stare at you with a blank stare, because these are not celebrities. They are celebrated in a specific circle.
I'll always work with Stones Throw, but I'm trying to start my own label to release my old material and sign new artists. I want to do everything from rock, to jazz, to electronic, to noise records and movie sound tracks. Both sampled and original music.
Oh first, let me tell you how amazed I am by the wealth of talents in the Philippines. I remember watching a lot of home videos about Filipino artists, and they are really very talented. That really motivated me to always do my best and to stay inspired.
Even with G.O.O.D. Music, we have artists that have done very well, and we've had artists that haven't. Being attached to Kanye is only going to get you so far. You've still got to have the records and the talent and the artistry on your own to carry it.
A lot of music influences me in other ways than this, but I've always taken a lot of influence from Stevie Wonder, Frank Ocean, and Jeff Rosenstock for the Rex music. They were also the first three artists that released albums where I enjoyed every song.
Artists are the people that no matter what, pick up the pen, pick up a paintbrush. They take the time to translate what is happening to create something that resonates deeply with the rest of the people that are caught in the middle of their own reality.
Breughel is an example of an artist - I mean, this is true about artists and painters in general, but he is a specific example of an artist whose work contains more than you think it does at first glance. Whose work rewards, sustains attention and looking.
I grew up in eastern Kentucky, and we would sing in the churches, and there's lots of good mountain church singers out there. Like a lot of folks who turn out to be secular music artists, that's a lot of the training you put in, whether you know it or not.
My idea about the role of artists is to get people to look at things in a way that's different than the way they normally would if they are being told how to think, what to do. I think when people receive information through art, they are more open-minded.
I don't think successful musicians were really put on this planet in order to have a great time, pat themselves on the back and say, 'Oh, what a clever boy I am!' I think that, like most artists, we were put on the planet to suffer just a little. And we do.
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.'
It used to take me a really long time, and I used to not be able to write in the studio because I felt there was a lot of pressure to be perfect. The more I'm collaborating with other artists, the more I realize being in the studio is about catching a vibe.
New York has always had a love for Southern artists. There's no place else that makes me feel like the city does. I just love the immediate nature of the city, you can get whatever you want whenever you want it and do whatever you want whenever you want to.
It's high time for the art world to admit that the avant-garde is dead. It was killed by my hero, Andy Warhol, who incorporated into his art all the gaudy commercial imagery of capitalism (like Campbell's soup cans) that most artists had stubbornly scorned.
I admire actresses who are willing to jettison the easy route toward exposure and commercial success as an actor in favor or a slow burn, choosing projects carefully, and building an artistic practice over time that feels specific to who they are as artists.
I just feel like we as a human race tend to fear that which we don't understand. It's cause for a lot of bad things and bad behavior to exist on the planet. Artists have a way of touching people and changing minds in a way that sometimes other mediums don't.
If people think that Colorado is a beacon for artists and creative people who are really talented, I think they're going to be a little happier during the day, and I think they're going to be a little more successful at their job, no matter what their job is.
Favored Nations is a long-term commitment. Our hope is that those who are passionate about real musicianship will want to hear and own most of our albums. We will set out to attain the same direct relationship with our customers that we have with our artists.
I don't know any Beatles songs. My dad never listened to Elvis or Sting or Bowie. Any band name that's on a t-shirt, I probably won't know their music, like AC/DC or whatever. I don't know what that is. As a kid, I would sing along to artists like Tania Maria.
There are two kinds of artists in this world; those that work because the spirit is in them, and they cannot be silent if they would, and those that speak from a conscientious desire to make apparent to others the beauty that has awakened their own admiration.
You see a lot of bands and a lot of artists making that mistake: They become successful for doing something, and then they change everything. They change the people; they change the approach. And then, all of a sudden, almost the essence of what you do is gone.
Lauryn Hill's always been a hero of mine. And Bruno Mars, Janelle Monae and Adele, those are the current artists I would reference in terms of who's been able to do really amazing pop records with really cool, organic throwback elements of soul in there as well.
There are many artists that I know exactly where they are born and what their names are and where they live, which are still very, sort of, hidden. Even Nick Cave, who has a film about himself nowadays, is still someone who I would claim to be utterly enigmatic.
I've talked to a lot of artists - painters, writers, musicians - many of whom have had great ideas on trains. The only explanation I have is all that stuff is coming at you while you're relaxed, so somehow it kicks you into hyperspace in terms of brain function.
I was mostly surprised by the rap artists, actually, that were influenced by Sabbath. That was a surprise. But it's very nice and I'm very honored. It's nice to know after 27 years now that what I said in the first place has stuck, and that was the belief in it.
Variety shows didn't disappear; it was the caliber of the artists, the classic vaudevillians that have passed on. They are gone, so there's a different caliber performer that's come along that hasn't had the time to work in the small clubs and get the experience.
People ask why there are so few female artists who succeed. It's because women are not ready to sacrifice as much as men. Women want a man, they want a family, they want to have children, they want to be loved, and to be an artist. And they can't; it's impossible.
I had joined Yes in 1971. I was a classically trained musician who had worked with numerous artists as a session musician. I played on David Bowie's 'Life On Mars,' Cat Stevens's 'Morning Has Broken' and even on some Des O'Connor records, though I kept that quiet.
Ever since Romanticism, an oppositional mode, artists have the right, and indeed the duty, to attack social convention. But it is ridiculous and in fact self-infantilizing for them to expect to be financially supported by the general public whom they are insulting.
They say the music you listen to in your formative years stays with you and leaves an impression for the rest of your life. For me, the things that I fell in love with happened in the '70s, when artists were nurtured by record companies and it wasn't about singles.
By coincidence and not design, 'Everstar' is written and drawn by an all-female creative team, and it makes me smile to think that there may be young female readers out there, future writers and artists, who get to see that comics doesn't have to be a 'boys' club.'
I don't use the big video screens that a lot of other artists use because personally, I think it's kind of a crutch. I think sometimes it's like watching television as opposed to really getting involved with what is happening onstage and the people in your section.
I'm one of those artists that nobody ever sees coming. We started with Virgin in 1993. If you look at the climate of that time in reggae and you were to pick the top five people that'd have a shot at having mainstream success, I was nowhere in that equation at all.
R&B is the one thing that has influenced every kind of music. Every artist that there is, from those that are sung the most to Adele - you know, she was so influenced by so many R&B artists and soul music - it's clear in her writing that that's where it comes from.
Auditioning is a horrible experience because you know you are being absolutely scrutinized and judged. There are days where you can do it and days where it's just not happening, and I feel like that's how it is with all artists; you have some days it kind of works.
Over the years, I've come to realize that writing 'I Ain't Living Long Like This' was an exercise in combined musical influence, mostly that of Hank Williams, Chuck Berry, Elvis Presley, Jerry Lee Lewis, the Beatles, and Bob Dylan - artists no one has ever heard of.
Comedy is so subjective. If you trip and fall down, some people will laugh, and some people will say, 'Oh, physical comedy is so pedestrian.' Some people look at Three Stooges as lowbrow; some people consider them artists. No one is wrong. It's just a personal take.
I never really thought of myself as a musician. I'm not saying Sonic Youth was a conceptual-art project for me, but in a way, it was an extension of Warhol. Instead of making criticism about popular culture, as a lot of artists do, I worked within it to do something.
Sometimes you have to be a diva. All the artists I admire from Madonna to Whitney to Mariah have all been called divas. If you are strong, if you have vision, if you are an artist, you have to do what you believe in. And if you get called a diva for it, then so what.
New needs need new techniques. And the modern artists have found new ways and new means of making their statements... the modern painter cannot express this age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or of any other past culture.
Sound as medium has an incredible elasticity. So, of course, it is tempting for artists of other fields to try something with sounds. Why not? We are living in the age when there is no limit in gathering all forms of art and music to mix it together if you so desire.
You may be guided by the unending effort of poets and artists, biologists and psychiatrists to describe that irreplaceable and still mysterious emotion so essential to the human condition, but all the search engines in the universe cannot compete with the first kiss.
I've always been singing. Since day one. I started doing musical theater and you have to sing in musical theater and so that's where I got most of my training. So singing on stage, you just inevitably, when you're around other vocal artists, you get better at singing.
I never went out. I was not the guy at the club. I was almost scared of going to the club. All of a sudden, I found myself working with certain artists from L.A. and hanging out in L.A. and being introduced to a whole new lifestyle... and getting in trouble with them.
The idea of an animated film is you always kind of get a little bit daunted by it as a filmmaker because it feels like a lot of your communication is going to be with computer artists, and you're going to have to kind of channel the movie through extra pairs of hands.
I saw 'Sleeping Beauty' when I was, like, 6 years old at the Mercury Theatre. Then, when I came to Disney, I was in the company of these wonderful artists. People like Glen Keane, like Mark Henn, who were brilliant animators who could really bring these things to life.
Human nature is not amenable to prediction based on the trends or tendencies prevailing at the time. It is amenable to startling creativity of the kind practiced by great artists, directors, writers, musicians, actors, who know how to touch a chord in humans everywhere.
In the '60s, people were still very protective of each field that they belonged to. Avant-garde artists didn't know about rock or pop or jazz. And the jazz people of course didn't want to know about any other music. They were all just kind of protecting their territory.