Quotes About Artists

la pintura de costumbres del presente. El pasado es interesante no solo por la belleza que supieron extraer de él los artistas para quienes era presente, sino además por pasado, por su valor histórico. Lo mismo ocurre con el presente. El placer que obtenemos en las representaciones del presente depende no solo de la belleza que este pueda revestir, sino además de su cualidad esencial de presente.

Creation is like anything else good: You have to wait on it; ambition has killed more Artists than indolence.

The biggest misconception in the hip-hop industry is that people are only focused on the money. We should just be happy for everybody that is working in the hip-hop culture.

I made a lot mistakes that I'm grateful for, because I won't make them again and I won't let my artists make them, or I'll tell them, 'Don't do this.' A lot of them still make them anyway, but you can't be told things when you're doing your own thing.

I would say I grew up listening a lot to Barbra Streisand and Judy Garland and Joan Baez and Joni Mitchell. I grew up listening to those because my parents were kind of into folk music.

You have to learn how to read contracts, how to position yourself, and about marketing. That is why you find the most successful artists are the ones who can mix creativity with business.

Most artists value my opinion a lot, and I think that's due to 'Beast Mode.'

Our business model rises or falls on our ability to serve the artists. If others can do it better, the artists will go elsewhere.

I kept the first Rickenbacker I ever got, a little short-scale John Lennon-type model. And I've got a couple of 12-string models, which are really nice, and I've got a Pete Townshend model, which Pete gave me a few years ago. But that's about it.

Artists aren't role models. If you want to do that, go into politics.

I think probably, the makeup artists don't really know how long it's going to take until they really work with your face and they kind of mold it and build it as they're going along.

When we watch dance, the artists and the audience are part of a momentary collective experience that will never happen again.

We see new male artists have their first single reach No. 1 on the charts, but it generally takes a female a lot longer to build momentum.

We haven't had a slew of artists, but the artists we do come out with have always had the same momentum.

Miles Davis and Felonious Monk, they're both great artists who enhance things.

We've all had our thing. I listened to the Monkees when I was little kid.

I grew up listening to Barney Kessel and Wes Montgomery, Kenny Burrell, guys with blues backgrounds.

GYBE are among my, erm, two favourite Montreal bands, Arcade Fire being the other.

Eventually, with success, I started to feel more and more isolated - like I didn't have a community of artists.

I'm lucky, I'm very, very lucky. I work with some of the most amazing artists.

Kids bring their mothers and grandmothers to our concerts. You don't see that with a lot of artists today.

To be able to make decisions and see them come to fruition and feel the excitement around them, what it generates within the company, how the artists get motivated - that's the most rewarding part; feeling I can be a catalyst for an artistic experience for our artists and for the public.

Growing up, I liked all the stuff that everyone else was listening to, like Motown, but the biggest group of all was The Beatles.

Style and image - it's what Motown is about. They had a charm school led by Maxine Powell. There was literally an artists' development department.