A Quote by Crystal Gayle
It used to be that Nashville would work to develop promising artists.
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My album was recorded in Nashville. It used to be all about "We're from Texas, forget Nashville," well you'll never hear me say that. Nashville isn't bad as long as you're true to yourself.
In 1985, I went to work for MTM Records, Mary Tyler Moore's Nashville record label, and stayed three years. After that, I spent two years as an independent promoter, then worked for MCA Nashville Records, DreamWorks Nashville, and Universal Music Nashville.
My paintings used to be so realistic and I found it a little bit boring, especially now that I'm in New York. I wanted to be more free, first in my mind and then, slowly, in my work. Many artists have these jumps in their work and at some point it looks like a supermarket. For me it was important to develop.
I think it would be bad for culture and the art if artists and people who develop the apparatus to support those artists don't get paid.
I was worried that I, the artist Morimura, would have conflicts with the participating artists and develop a strenuous relationship with them. But the actual experience was completely the opposite. The artists accepted my requests rather positively, because it came from a fellow artist. I strongly feel that the fact that my being an artist avoided the usual curator vs artist tension, and led to creating a positive atmosphere as well as developing a solidarity amongst artists and building a community for artists.
A lot of artists are much more concerned about how their work is used and how it's disseminated. That, to artists, is as important as the money, for some people.
I see interracial couples all the time in Nashville. I'm a Jew in Nashville. I'm a gay person in Nashville. It's a non-issue in most of the time. That's a huge leap forward.
Artists have been used over and over again since the early 1980s as the legitimizers of a neighborhood in New York. And entrepreneurial artists, meaning people who themselves start out as painters, musicians, dancers, and who open a café, a bar, a restaurant, or even a co-op art gallery - they unintentionally develop the kinds of attractions that bring the middle class with some kind of cultural ambition.
Nashville, I think, for me, personally, would be where I want to live and work. L.A. is a whole other world and has a whole other vibe to it, so I would like to come out here for work for a couple of months, but L.A. is just not really my scene, per se.
I learned a long time ago to be honest when I'm talking to other artists. Up-and-coming artists used to come and say something, they would have a demo reel, and I would try to tell them the truth. I don't go up and say something unless I really feel it.
I realize I was more of a curiosity to the older Nashville artists than the new ones.
It's something that Cory Morrow said to me a long time ago - "Don't ever forget why Nashville is Nashville. The Opry is there for a reason. Country music lives there. Don't be bitter. And don't ever treat Texas or Nashville like either one isn't important."
Vulnerability of artists is definitely what makes organizations like PEN necessary because, as I tried to argue, the actual work that writers and artists do has an ornery way of surviving. Particularly in this age of the internet, it is very easy for forbidden work to be found online somewhere if you know where to look. Artists themselves, however, are in increasing danger, and not just artists. The great concern is that year after year, rising numbers of journalists are being killed in pursuit of their work.
I would love to see more dialogue around the "responsibilities" of art consumers - how can audiences better financially support artists we love, artists who are doing the work, so that artists have a more solid foundation upon which to make art?
I'm one of the lucky artists in Nashville that gets to - I know it sounds cliche - but just write from the heart.
I would say it's a lot easier to develop a decoy system than to develop the intercontinental ballistic missile itself. I would think that any country that could develop the missile could develop quite a decoy system. It doesn't have to be terribly sophisticated.
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