In a genre where most of the artists are one-hit wonders, I've been able to hang around longer than most "serious" acts. I pride myself in being a very talented leech.
every portrait that is painted with feeling is a portrait of the artist, not of the sitter. The sitter is merely the accident, the occasion. It is not he who is revealed by the painter; it is rather the painter who, on the coloured canvas, reveals himself.
While the aesthetics of consumption (photographic or otherwise) requires a heroicized myth of the artist, the exemplary practice of the player-off codes requires only an operator, a producer, a scriptor, or a pasticheur.
You really can't be a good artist if you can't say what you really feel. And people may be offended, but, you know, that's how you feel, and that is your right, and that is your gift as well.
All artists are vain, they long to be recognized and to leave something to posterity. They want to be loved, and at the same time they want to be free. But nobody is free.
The interesting thing about this is I don't know what my vision [ in Salome the play and Salomaybe] is yet about. I'm sensing something and I'm going along with it. It reminds me of a painting, the way Jackson Pollack painted - Jackson Pollack, the great, great artist.
You are right in demanding that an artist approach his work consciously, but you are confusing two concepts: the solution of a problem and the correct formulation of a problem. Only the second is required of the artist.
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.
We had a missionary zeal about blues music, and I felt, particularly, that Mickie Most was attempting to homogenize, sweeten, and make it accessible for the mass market. Which is understandable if you're the producer, but aggravating if you're the artist.
The influence that Oakland has on my sound is about 90%. There's so many different elements to Oakland. Of course you have the street elements, but then you also have the culture and there's so much culture around. It's a competitive city, it's full of just great artists and talent. It gave me the confidence, the passion, the realness I try my hardest to portray, so it has had about 90% influence on me.
You have too take from each artist what works for you, and then create your own sound. You put different combinations in the mix and it becomes something unique in the end.
Record industry's not so much against artists, but certain people are just wicked people that sit up in the industry who go against the artist. The thing is, if you're in the recording business, where's our health benefits? Where's the royalties from when you put stuff on labels in different countries? And now, with all these 500 cable channels, you want your mechanical royalties, your licensing. There's so much technology that you've got to stay on top. They always try to tell you, "Oh, don't worry about the business side, just do the music."
You know, it's no accident that the great painters came from areas like Europe where there is a lot of clouds and rain, which begets color and subtle washes of tone. Most great graphic artists come from areas with prevalent sun, where line and shadow are paramount.