Quotes About Artists

There are certain performers that the gay community receives and recognizes with love, and my whole life, I've always responded to those same artists.

In my music career, I never was interested in working and writing and creating songs based on what kind of rewards I could receive in return - a hit song, per se, is what most contemporary artists have to deal with when they deal with a label.

I actually received a lot of messages from Central and South American artists who complimented my songs and showed interest in collaborating with me.

I'm quite a precious painter; my style is a messy fine art - sort of impressionist. I do portraits, I love painting other artists, but recently, I've been playing around with self portraits, putting on different characters.

The way the recession has affected Hollywood, a lot of actors that had robust opportunities before in film no longer have such plum options, so cable has done a good job of becoming a happy medium for artists deemed film actors.

There are a lot of artists that come and go very quickly, and I understand why just because someone has a No. 1 doesn't necessarily mean they should be up for best male or female categories. I understand that Aria are protecting the integrity of what Aria is, but I do think that pop music isn't recognised enough.

It was amazing to be on the map, to be recognised by other artists, and to be so successful.

We still have a lot of work to do as African artists to get more recognition in the U.K. and the U.S., but right now, definitely, we're getting the recognition. The thing is we have to earn it. Keep working. Stay working.

Once avant-garde artists receive official recognition, they start a double life. In one, they inspire younger artists to do more. In the other, they inspire a mass of imitators who make the work respectable and exclusionary. The artists and their art become intellectual brand names.

One thing I love about the Grammys is that they love to recognize old, risky music.

I know that often times a lot of people who work in music, whether they be labels and so on or even artists, want personal recognition. We want to be recognized for something, for what we did. I'd rather my song be recognized for what it's doing and that's important. It's not so important how many people know me.

At the end of the day, the Grammys are about recognizing genres that are making an impact.

I hate that my opinions are gonna be on record... that my opinions of other artists are going to be on record.

I didn't feel comfortable as an executive. I felt comfortable around artists and record producers... and then I found my niche: I gotta find great producers, and I produce them.

I grew up with 'best-of' cassettes. My first Smiths record was 'Hatful Of Hollow,' and I had hits albums by Elton John and The Cars.

I feel like a lot of artists, when they're on their fourth record, they're perceived as the old guys. At least in this day and age. I like that people perceive us as just getting started because that's how we perceive ourselves.

There are no record companies in Waikiki.

A lot of very popular mainstream artists are products of record companies and marketing companies, and any time anyone can stand outside of that, that's interesting.

Record companies are not unique. Artists are. Period!

Most artists have contracts directly with the record company, and when they do music, all of their music is owned by the record company. But I did mine through a production company.

Artists and the traditional record company model are at odds. The music business has notoriously taken from the artist. That shouldn't be the narrative.

I'm from Israel, so America has no limits. I started a record label, and then I started managing other artists, like Liza Minelli.

I feel like some artists need a record label, and some don't.

I've been an educator all my life pretty much. It's important as a manager and also as a record label, to educate your artists on public speaking, how to build that connection, how to communicate effectively, to have a general working knowledge of the music industry.