Quotes About Artists

My dad was into the 1950s doo-wop era. If you look at those groups, or at James Brown, Jackie Wilson and the Temptations in the 1960s, you'll see you had to be sharp onstage.

I think more people in the mainstream, folks like Nancy Wilson and Luther Vandross, they have openly expressed their love for God, and when mainstream artists start expressing their love for God openly in their concerts and including gospel songs in their concert, and, you know, people started embracing it.

Atlantic's Jerry Wexler believes first-rate records are made by first-rate voices. He certainly has worked with enough of them: Clyde McPhatter, Joe Turner, La Vern Baker, Ray Charles, Otis Redding, Solomon Burke, Wilson Pickett and Aretha Franklin.

I am in love with old school funk and soul music. That's what I grew up listening to, and I want to bring that style back with my music. I love artists like Stevie Wonder, Donna Summer, Aretha Franklin, Michael Jackson, Earth, Wind, & Fire, Bruno Mars, Justin Timberlake, and more!

My career has been wacky and not at all normal. I've never had a manager, nobody gets jobs for me. I wind up working with artists that I meet.

I think that, for me, the great books like that, autobiographies, are great when the artists who write them throw caution to the wind and really put it out there as they saw it.

In 1964, Jeanne-Claude and I became illegal aliens. That's when we moved here from Paris. And for three years, we were illegal aliens living in an illegal building. At that time, some artists started to move to SoHo, and they put A.I.R. - artists-in-residence - up on their windows.

Rumors sound of galleries asking artists for upsized art and more of it. I've heard of photographers asked to print larger to increase the wall power and salability of their work. Everything winds up set to maximum in order to feed the beast.

I listen to a lot of '80s stuff, like 'Owner of a Lonely Heart,' by the group Yes. And Mr. Mister's 'Broken Wings.'

Open Wings - Broken Strings is an opportunity for you to get to the heart of your favorite artists and their songs in a unique and compelling way. Stripped down, intimate and acoustic, you'll hear the strings on the guitar vibrate and buzz, the vocal chords hum and pulsate as the songs you love come to life like you never knew they could.

Does the Grammys intentionally use artists for their celebrity, popularity, and cultural appeal when they already know the winners and then program a show against this expectation? Meanwhile, the National Academy of Recording Arts and Sciences hides behind the 'peer' voting system to escape culpability for not even rethinking its approach.

I got southern roots from Texas all the way to Louisiana, went to Grambling State back in the day, my whole career I've done songs with down South artists.

They would come down in Mississippi, they hired me as a talent scout. And I would go all over Mississippi, Alabama, Texas, and find out different artists for them.

When the show opens, fans can text to a number we flash up on the screen, and then we do a meet-and-greet with 60 to 80 people every night. It's something I love doing, and I would say that's probably more fans than most artists bring backstage after a show.

Comics don't work if the story is all in the text and the images are illustrative. It's hard to have enough faith in the artists to allow them to do their job.

I am really into '70s music, like The Rolling Stones, The Doors and what not.

I listen to a lot of Pink Floyd, the Doors, Elton John, Sabbath, Metallica, GN'R, Megadeth - just classic rock, classic metal stuff.

I liked back in the sixties where you'd turn on the radio and go 'Oh that's Hendrix, that's Creedence Clearwater, that's The Doors, there's The Grass Roots, The Monkees, there's Big Brother.' You could just instantly hear it and tell. But in the eighties and nineties there's no way you could do that.

If you want to do what you want to do, you cannot work. So art is going to be finished, and this is the will of the Islamic republic: to not have any artists or art and close the doors of all the cinemas and music and everything.

I went back and researched the history of gospel; where it came from, slavery times, communicating with each other without their master knowing what they are saying, and that gospel artists view themselves differently.

I don't want to be the cranky old guy, but a lot of critics are too forgiving of mediocre artists. When you see these 'American Idol' people on the cover of 'Rolling Stone' being written about as serious artists, there's something wrong with that. You can erase them from the history of rock n' roll, and you wouldn't notice.

Too often, if you look back through the history of representation and you take the work of African-American artists, the work is on such a modest scale that it becomes sort of inconsequential.

Most of the greatest albums in the history of music are one producer. It's just a fact. Or one collective.

I like work, I like song writing, and I like the history of Atlantic Records. They've sat in the studio with so many artists - like Ray Charles, for example - and created something amazing. As a label, they seem to be great at growing bands rather than telling you how to do it.