Quotes About Artists

I got into dub a long time ago. I was into dub before I even had any interest in reggae or Jamaican songs, Bob Marley, or any of those established artists. I just thought it was such an unusual sound.

The music industry the last 120 years has been insane. It's just continual chaos. So it's not unusual that something like the Internet comes around, but as one door closes another one opens, and that certainly is the case where now, artists can have a lot of control over how they display to the world, all at once, their new record.

I grew up on 23, country music highway, which is a stretch of road where Ricky Skaggs and Dwight Yoakam and Loretta Lynn played. Driving up and down that on the way to school - to baseball games, to anywhere - you see all these signs commemorating these artists. It was a point of pride for my area growing up.

I make a lot of money off featuring, doing songs with up-and-coming artists. I can charge someone $10,000 to $15,000 to do one song.

With 'Twilight,' I felt the actors needed to be up-and-coming artists that haven't been recognized yet.

I learned a long time ago to be honest when I'm talking to other artists. Up-and-coming artists used to come and say something, they would have a demo reel, and I would try to tell them the truth. I don't go up and say something unless I really feel it.

To be a mentor for up-and-coming artists is right up my alley.

I think for us up-and-coming artists, once you're out there, once you've put stuff up, once people know who you are, once you discover who you are, we're all in the same boat: it's down to whether people appreciate the music or not.

There's benefits of having established artists on the record, Liam Payne on 'Polaroid' for example. If you look at that song you have Lennon Stella, who's an up-and-coming artist, so there's a balance on there because I still want people to focus on the song just as much as Liam being an amazing superstar.

You're born with a certain love of something. Music was my first love, and that's the world I work from. Growing up, I was surrounded by artists, so my upbringing supported this lifestyle.

When we uplift artists who reflect diverse perspectives their stories not only tell us how people view others, but how they view themselves.

I have a problem with men that are supposed to be R&B artists that talk about women in a certain way, because you're supposed in the cornerstone of uplifting love in a sense.

I'm just trying to be an example for all the young artists that are becoming artists every day and working on their craft and trying to help them avoid the pitfalls of the upper management in music and the non-music side of music.

To all of the artists that attend the Grammys: Stop accepting the invitation to be the upset of the year and demand that this body upholds its mission for advocacy and support of artistry as culture evolves. Demand that they change this system and truly reflect and truly acknowledge your art.

I actually am a country music fan. I listen to a lot of Blake Shelton and Carrie Underwood and Maren Morris and Keith Urban.

When I started out as a cover band, I was obsessed with Keith Urban and Jason Aldean and Eric Church; those are the songs I chose to sing as a cover band.

English urban artists were very used to making secondhand American music, and I thought that was boring.

I love 50 Cent. I know it sounds weird 'cause a lot of kids might not say that right now, but I definitely want to work with 50 Cent, Jay-Z, Coldplay: I want to work with different artists that are going to push my music to a new level. Not just in urban music.

Most inventors and engineers I've met are like me. They're shy and they live in their heads. The very best of them are artists. And artists work best alone.

I think musicians and artists are the most philanthropic people I know. Their charity record of the music business would hold up to the work of anybody.

I believe that artists should be part of the culture. I think that my work clearly bears that out.

It used to be that Nashville would work to develop promising artists.

I belong to the scarce minority of artists who work in good faith, around whom the phenomenal world vanishes, as it happens to the mystics when they give themselves to prayer.

I work with many jazz artists as Miles Davis, Laughlin, etc.. One of the things all these artists had in common is that they had no fear.