A Quote by Ginuwine
A lot of artists still will not get that far. And get that far and be as successful. So, it's a great thing for me, and hopefully I can make it to number 10. And then I would want to start managing other artists, 'cause I think the best manager is an artist, his, or herself, that has been in the business and been successful and knows the ins and outs of the business.
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When I got into the business of entertainment, I did it for a reason. I didn't do it to not be successful. I did it to be successful. And to hopefully get to the highest level that I possibly could. Thus far, I'm achieving those goals. That doesn't make you stop. That doesn't make you complacent. It makes you want to do more.
You should pursue your passion. If you're passionate about something and you work hard, then I think you'll be successful. If you start a business because you think you're going to make a lot of money at it, then you probably won't be successful, because that's the wrong reason to start a business. You have to really believe in what you're doing, be passionate enough about it so that you will put in the hours and hard work that it takes to actually succeed there, and then you'll be successful.
To me, I would much rather be part of a healthy industry than being the only player in a dead industry. There are so many great artists out there. And the goal is to make great movies, you know? So to be successful, quality is the best business plan as I always say.
The Internet is a big reason I've been successful so far. It's working for a lot of new wave artists, which I consider myself a part of.
In the record business, if you sign an artist that don't really know too much about the business, you can really get over on them in a lot of different ways, so it's a lot of people that don't give artist the game because they're trying to make the most money in the fastest way off their artists.
Independent content these days can be more successful than previously because of the power of social media. However, there are still systems in place to make sure independent artists don't get as far as signed ones.
I've had far more success than I ever expected. But I do think that a lot of successful artists have an aim to be successful, even if they don't outwardly sound like it. I never really expected success.
I think functioning as a business manager can be a hindrance to having a real dialogue with the artist. I do think that artists need good lawyers and accountants, because they're dealing with serious money. But an artist who stands behind a manager? That's a little different. I think that can be a bad buffer.
I have just returned from Arenas and feel very tired. His Excellency loaded me with a thousand honours; I have painted his portrait and that of his wife and boy and girl with unexpected success, for other artists had been there previously and not been successful.
The people who are competing business-wise out there want what other successful labels and artists have. I don't want what they have; I want my own path, my own sound, my own identity. Record labels care nothing about identity or artistic freedom, they want good business.
Is it better to strive for success as a self-representing artist or try to get your feet wet in the gallery world? That is such a common question these days among artists. I truly believe that most artists will come to a cross road where they will have to decide on which route to take as it's extremely hard to be successful in both worlds.
I think festivals are way more easygoing than back-to-back tours are. 'Cause for me, when you get to go to a festival, you get to hang out all day, and you're really taken care of, and there's usually a little artist village where all the artists have their own tents, and it's catered, and then you go and play an hour-long set depending on where you are on the lineup. And then you go back and you hang out and you even get to go watch other artists play. So it's really just a fun interactive experience for everybody.
I think I've been able to witness Canadian hip-hop get a lot more respect from our own people. I think some of the artists that came before me were doing their thing but lacked a strong next generation of artists to help them capitalize.
Phil is of a generation that probably would have been happier never getting married. He just doesn't want to get married again; it's not that he doesn't want to marry me. It took me a while to understand that, and I'm fine with it now. We've been together for over 10 years. This relationship has been my longest and most successful.
In the world of comics, Jack Kirby and Will Eisner may have been more influential artists, but Joe Kubert was its most influential man. Even if he were to be remembered solely for his body of illustration work, he’d still be one of the greats, but by opening the Kubert School in 1976, he was able to personally mentor and educate literally thousands of successful artists who owe their careers to his teachings.
I think a business guy is different from an artist. They walk different paths. Artists create the best outputs when they're having fun. And when a good business partner supports them from the side, it creates great synergy. When someone's trying to do both, I think the music gets bad and the business gets bad, too.
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