A Quote by Giorgio Moroder
Disco does work better with black artists or players. They just feel it more.
Related Quotes
It would be very difficult to find a more complete player than Milner. There are players who are better technically. There are quicker players. There are players who head the ball better. But show me a player who does all the things that Milner does well, and there isn't one.
I'm just hoping that, as more black artists take control of the narratives that are out there, more opportunities will come around for artists of colour. We want to make the same waves that the white artists do.
If black artists can win major commissions and international acclaim, why do we assume that to be black is always to be marginal, or in need of special support? We have to recognize how diversity initiatives can make black artists feel ghettoized and, as some cultural commentators have argued, bear 'the burden of representation.'
How does it feel? Really, I don't know because I never try to feel more or less than any player in Leverkusen or Mexico. I don't feel like I'm more famous than other players; I'm just one more footballer who wants to achieve their dreams and to try to help their team as much as they can to do that.
Even though it's called Music Of Black Origin, it's not just music for black people. Music is for everybody. I think it's good that black music is acknowledged, and it's open for lots of artists, including white artists who have been inspired by black musical heritage.
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?
It's what great artists do. They suffer and feel more within the human condition than others. They're not better for that, just more sensitive, and there's a burden to that.
Poitier opened the doors to so many artists, not just black artists. There is a line that goes from black to Latin to Asian with regards to roles.
I feel like because black Cuban artists don't have the kind of pressure to thematize race in the way that African-American artists do, there's more space for them to do their art without having to discuss it in terms of racial identity.
Well there is a lot of work here for younger and older musicians now. Our Ministry of Culture has now really embarked on changing things for artists, and it is getting much better. We just have to organize ourselves as artists, and then things will be better.
That big hit 'Get Lucky' is a disco song - not only the melody and the whole concept, but we had one of the great disco guys and one of the best guitarists ever, Nile Rodgers, to play on it. So that's great disco, but a modern disco, because it has great vocoders and synthesizers.
I would imagine, a very large percentage of people who get something for art and they do something else, and they have some excess resources. And they trade those resources with artists whose work makes them feel good, or feel better, or question. And the artist, if they're smart, they use it to buy the most expensive thing in the world: time to make more. The more that come, the better it is for these people, their children, the people they care about, fills the society with a real constant thing.
Artists talk about art in sort of straightforward terms, more like the way you talk about plumbing fixtures. Does it function well? Does it bring the hot water up from the cellar efficiently, or does it lose too much thermodynamic energy in the process? Artists are also very ruthless with each other and can be very brutal in evaluating each other's work because their criteria is almost more mechanistic. Does it do what it's supposed to be doing in an efficient way? That doesn't mean that intention is not part of the conversation, but it's not the foreground.
The NBA is getting bigger. Basketball is getting better around the world. There are more players. There are better coaches around it, so that's why there are more international players, not only Hispanic players, but from everywhere.
We've been fighting our whole lives to say we're just human beings like everyone else. When we start separating ourselves in our work, that doesn't help the cause. I've heard it for years: 'How do you feel being a black filmmaker?' I'm not a black filmmaker, I'm a filmmaker. I'm a black man, I have black children. But I'm just a filmmaker.
I think for us, we don't feel like the future of music is in the act of being a record company. We feel like the future of the music business is in empowering artists to have better and better tools to communicate with their fans. We want to be people who are saying to artists, "Look, you don't need that company over there to release your album. You can do it this way." Almost more of a band partnership than a label-artist relationship. Not about ownership of content, but about empowerment.
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