I grew up listening to such strong female solo artists. I love Whitney Houston, Mariah Carey, Christina Aguilera, Britney Spears.
I allowed artists to play for as long as they felt they could justifiably continue to create.
Coming from Britain, I was terrified of meeting all these other artists, because artists over there tend to fight with each other a lot, the premise being that there's not enough room for everybody.
Most artists come in and out of the country, they stay may be 2 weeks - or a month max and then they leave.
I'm a trained martial artist. My parents were both martial artists.
I paint German artists whom I admire. I paint their pictures, their work as painters, and their portraits too. But oddly enough, each of these portraits ends up as a picture of a woman with blonde hair. I myself have never been able to work out why this happens.
Art can only be taught by artists.
In the UK and the US especially you've got a lot of throwaway artists who have their 40 million dancers and they do their show. There's many artists who would not do a live show because they know they can't.
I only like artists older than myself. Time is so important. It's always been the same way, I guess.
I'm reaching a huge audience. I'm doing what artists like Beyonce are doing in terms of selling out stadiums. The difference is my audience speaks Spanish.
Artists usually don't make all that much money, and they often keep their artistic hobby despite the money rather than due to it.
I think all artists have a different story to tell, and no story is the same.
I just like artist-driven projects, but for artists themselves: artist spaces, artist mentor programs, and artists buying buildings and making lofts. Doing whatever we can do. Because at the end of the day, I really think that we as a community only have each other.
Most artists, you know, you spend their entire lives learning how to play music and write songs, and they don't really know how the music business works.
I get to study and I got to mimic and what I basically did was I stole from every person that I could steal from. I was an imitator. That's what I was. It was years before I could take all of these things that I loved about all of these different artists and put them together and find my voice.
I actually happened to be in Haiti right before the earthquake in 2010. I was there already with the organization I work with now, Artists for Peace and Justice, visiting the primary school that I had adopted, the Academy for Peace and Justice in Port-au-Prince. I came back, and within days, the earthquake happened.
When I first came out, like a lot of the artists at that time, I had a very polished, very overproduced sound.
The show business has all phases and grades of dignity, from the exhibition of a monkey to the exposition of that highest art in music or the drama which secures for the gifted artists a world-wide fame princes well might envy.
I've always said I'm more influenced in what I do by artists, and how they work, how they think, and the freedom they're given to work and think, than I really am by other writers.
For some reason, all artists have self-esteem issues.
As far as more recognition goes, I am happy with the amount of love and respect I have received from other artists and the public. Of course, I would love more, and think I deserve it.
Only the artists interest me whose hearts beat in unison with the poignant misery of the world. If you have not felt that, you have not lived. Pity is essential.
Brazil is a country I hold very dearly. I've got followers there who I've been interacting with for years, as well as fellow artists like Ivete Sangalo, and it also has huge figures like Pele. I'd love to go to that World Cup - I'm not sure in what capacity, but I'll definitely be there. I know that nobody wants to miss it, least of all me.
Expression without culture is flat. Many artists come out of art school and start doing things that don't last. They are audacious because of ignorance. They are irresponsible.
We could have gone with much bigger labels and more money, but we wanted to go with a company that is LA based, all in the same building, and really understands what the artists want.
In New Orleans, bounce music was prevalent. That was all they wanted to hear. It was new and trendy, and it was hot, and it was taking off. Artists were coming out of everywhere. They did some great songs, some really catchy, fun songs. That was just the feel of New Orleans music.
I love artists. I find them fascinating. To me, there really is a genuine magic in what they do.
Artists are expected to fit into fraudulent categories.
We're trying to do what Miles Davis would have wanted us to do, which is approach it as artists with his life as the canvas.
I'm listing to music all the time. I have favorite artists. Kid Rock loves the Civil Wars' song 'Barton Hollow.' We both said that's our favorite country song of the year. That knocks me out.
A lot of times, when a band finds success with a certain style or sound, they have a really hard time breaking away from that to grow as artists.
I like dirty boys. Mechanics, construction workers, artists who get paint and clay everywhere. They gotta have rough hands.
Well, a lot of people within government and big business are nervous of Hip Hop and Hip Hop artists, because they speak their minds. They talk about what they see and what they feel and what they know. They reflect what's around them.
I love the beginnings of artists when all they've got is raw talent and nothing else.
Marlene Dumas is one of the two or three most successful female artists alive, if you judge by prices. I've never reviewed her work, because I find nothing in it to get excited about no matter how hard I look.
From 20 years of experience hiring artists out of the schools, I know-they get worse every year. They're absolutely ridiculously retarded now.
