If you're an artist trying to put out your own record on your own label, it's hard to get a distribution deal because no one wants to sign a deal with one entity. They want to sign distribution deals with labels, who have lots of product, lots of artists.
I want to go and see things as a fan again. I am a fan, but I can't remember what it feels like to be a fan anymore. Because I've become an artist. I've become the artist.
Ability to download music for free might not be positive for the artists to get royalties, but in some ways it's still good that people can get your music, and hopefully in the course of that, people will want to see you live, around the world shows. It might get you to where you get to travel all over the planet. 'Cause now people are hungry: "Oh, I wanna see this guy, I wanna hear this music live, I wanna see if they're gonna remix it or funk it up differently when I see them."
I have desired, like every artist, to create a little world out of the beautiful, pleasant, and significant things of this marred and clumsy world, and to show in a vision something of the face of Ireland to any of my own people who would look where I bid them. I have therefore written down accurately and candidly much that I have heard and seen, and, except by way of commentary, nothing that I have merely imagined.
I'm just a fan of all music. My family owned a record shop so I grew up taking it all in on a daily basis. I'm not a person that needs to listen to just five good artists at one point. I love whatever is dope. We all can feel what's great.
I never really listen to what people say. My thing is that my favorite artists are artists that are theatrical. Obviously when you are doing a recording, things aren't gonna translate as over-the-top.
The poetical tendency of the present and of the preceding century has been divided in a manner singularly curious. One loud and conspicuous faction of bards, giving way to the corrupt influences of a decaying general culture, seems to have abandoned all the properties of versification and reason in its mad scramble after sensational novelty; whilst the other and quieter school constituting a more logical evolution from the poesy of the Georgian period, demands an accuracy of rhyme and metre unknown even to the polished artists of the age of Pope.
The artist never really has any control over the impact of his work. If he starts thinking about the impact of his work, then he becomes a lesser artist.