A Quote by Fat Joe
I collaborate with Tidal because they're for the artists - the up and coming artists and the O.G.s in the game. It's like a home, the only place we have for the artists to find support.
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I've worked with jazz artists, country artists, classical artists, pop artists. I never wanted there to be categories, because when I was a kid there weren't.
People who are artists professionally are not artists because they want to be artists; they have to be artists. They're compelled to get that creativity out and to share that with others.
Revolt is designed to be a home for the next generation of musical artists, and we are investing in the artists and fans of the future. Revolt is for artists, by artists. This won't just be the P. Diddy network.
The only artists I have ever known who are personally delightful are bad artists. Good artists exist simply in what they make, and consequently are perfectly uninteresting in what they are.
There are dance artists, painting artists and writing artists. Authors are writing artists. You can practice art in whatever medium you choose, and words are mine.
I like the idea of the museum world and the university-academic situation where artists talk to each other or where artists or art students study with artists.
Bad artists ignore the darkness of human existence. Good artists often get stuck there. Great artists embrace the full catastrophe of our condition and find beyond it an even deeper truth of peace, healing, and redemption.
When we talk about contemporary art and contemporary artists, we usually imagine artists who are alive. But I feel very uncomfortable about placing a border between living artists and dead artists.
Basically I feel like my role is to find great songs with the artists, for the artists, and have them shine.
I think white artists have a responsibility to be not only naming white supremacy, but to be using their power and privilege to support artists of color.
The best artists are people who don't consider themselves artists, and the people who do are usually the most pretentious and annoying. They've got their priorities wrong. They're just doing it to be artists rather than because they want to do it.
A lot of artists give up because it's just too damn hard to go on making art in a culture that by and large does not support its artists. But the people who don't give up are the people who find a way to believe in abundance rather than scarcity.
They've taken into their hearts the idea that there is enough for all of us, that success will manifest itself in different ways for different sorts of artists, that keeping the faith is more important than cashing the check, that being genuinely happy for someone else who got something you hope to get makes you genuinely happier too.
If music is to continue to support the livelihoods of artists, it cannot be taken without the permission of artists.
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?
Artists look at the environment, and the best artists correctly diagnose the problem. I'm not saying artists can't be leaders, but that's not the job of art, to lead. Bob Marley, Nina Simone, Harry Belafonte - there are artists all through history who have become leaders, but that was already in them, nothing to do with their art.
I think the entrepreneurial activities that make art visible and attractive are what lure people into the amusement park that SoHo has become or that Bushwick or Williamsburg has become. It's not that outsiders come to an area because they hear artists are living there. A lot of people came who were not that interested in living with artists, but they were interested in living like artists and socializing the way that they thought artists socialized.
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