What kind of morons do you have working at newspapers in Austin that would base an entire review of an artist's performance on whether or not they had a good seat?
And with this sort of increased visibility, there's more money going around in the industry, and it changes a lot, in terms of who gets into the business as a creator, who sticks with it, and who gets pushed out. And I do think it's sort of too bad that what once was a safe haven for truly eccentric, outsider artists is no longer that thing. But there are definitely pros and cons. You could also look at it as bringing in a more diverse crowd.
What the artist is always looking for is the mode of existence in which soul and body are one and indivisible: in which the outward is expressive of the inward: in which form reveals.
Our label is very digital-friendly. We try to provide some free stuff to get interest in the band, but we have to pay our artists. They have to get paid.
I'm excited about there being more of a sisterhood these days. Back in the '90s there was a lot of hate - the women I looked up to as artists were dissing me! It's not so patriarchal these days - there's more love and a lot less hate!
This perversion of the truth, familiar to the artist though it was, always unnerved him afresh and proved too much for him. What was a consequence of the premature ending of his fast was here presented as the cause of it! To fight against this lack of understanding, against a whole world of nonunderstanding, was impossible.
The label's going great, because we're not idiots. We're not trying to sue everyone that downloads everything. We try to give the fans a bunch of free stuff, and then have them buy the record. Without buying the record, it doesn't support your artist. These idiots like Radiohead and Sharon Osbourne that are like, "Free Ozzfest!", "Pay what you can for a record!" - Radiohead's already got their yachts and mansions. Sharon Osbourne already has her empire.