A Quote by Guy Garvey
Maybe Radiohead and R.E.M. Even a group like the National - artists who have crossed over without compromising. It's a special thing.
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I just recently crossed over into Europe. They're showing my special Hot and Fluffy in Europe and selling the DVD there too. And they're doing the same thing in Australia and Canada. And I think the biggest part was I did the special in a predominantly Latino area, but I kept the show mainstream and across the board.
I had 10 No. 1 country records before I ever crossed over, and the only reason I ever crossed over was because of a fad. It was that 'Urban Cowboy' thing, where everybody was riding fake bulls.
I don't know any artists or painters, like, "Oh that painting group." I want to write down this idea of a group of artists who treat it like a band. Like, "Who made the painting?" "All four of us did."
Even with so many artists using auto-tune, there's still a growing group of artists rising up and going in the opposite direction, making music that's real and fresh. And those cats are getting back to the basics without auto-tune. And a lot of those cats are packing out venues without getting played on the radio!
Democratic capitalism: A cooperative enterprise to earn enough money to buy enough Congressional influence to gain control over the government's guns so as to get even more money for your special-interest group.Social democratic capitalism: A cooperative enterprise to promise sufficient government benefits to enough voters to gain control over the government's guns so as to keep any other special-interest group from getting as much power as yours.
An artist's voice, communication, that's very important. The learning, the building of your energy to communicate deeper and deeper even without words, the expanse of your source-spark energy to reach people at deeper energy levels is very beautiful to learn about since it's our mission here as artists to help beings transcend limitations and any feeling, thing keeping their love down to show them that we are all artists with very special sides of energy light from the creator.
On the lip of the Grand Canyon. I've always wanted to do that. My very first TV special out of the Olympics was on a glacier in Alaska. Right after that one, I went and pitched this idea to skate in three National Parks. Like Voyageurs National Park, because it freezes over and you have these little islands that you can skate around. [The networks] were like, 'Way too expensive.'
The label's going great, because we're not idiots. We're not trying to sue everyone that downloads everything. We try to give the fans a bunch of free stuff, and then have them buy the record. Without buying the record, it doesn't support your artist. These idiots like Radiohead and Sharon Osbourne that are like, "Free Ozzfest!", "Pay what you can for a record!" - Radiohead's already got their yachts and mansions. Sharon Osbourne already has her empire.
Art should be able to be innovative without compromising itself. That's why I believe artists should have bigger preoccupations than checking the price tags on their work or becoming curators' darlings.
I'm never happier than when I'm part of an ensemble. The rhythm of working in a group and the dynamic of each individual relationship within that group coming together is such a special thing.
You know the best thing about aeroplanes? Apart from the peanuts in little silver bags, I mean. It's looking out of the windows at the clouds and thinking maybe I could go walking in there. Maybe it's a special place where everything's okay. Sometimes I do go walking in the clouds but it's just cold and wet and empty. But when you look out of a plane it's a special world... and I like it.
Their [artists'] essential effort is to catapult themselves wholly, without holding back one bit, into a course of action without having any idea where they will end up. They are like riders who gallop into the night, eagerly leaning on their horse's neck, peering into a blinding rain. And they have to do it over and over again.
There are masses of people who need affordable housing in New York. I think that, politically, it is very difficult to give preference to artists over another group. Now, could there be an impressive envisioning process where developers would be asked to collaborate with urban designers? Maybe envision a large-scale development with local shops, dense housing, maybe a few towers, maybe a few mid-rise buildings, and art workshops in the mix? That would be great. I don't see a call for those proposals. But I think that it would not be outrageous to propose that kind of vision.
Who knows? Maybe they’re right. Maybe we are driven crazy by our feelings. Maybe love is a disease, and we would be better off without it. But we have chosen a different road. And in the end that is the point of escaping the cure: We are free to choose. We are even free to choose the wrong thing.
I have my brain switched on and I might be thinking something else but we've come to an arrangement. That sort of play is maybe easier with someone who also thinks that way. But that is not necessarily a national thing, but maybe a little bit of a cultural thing.
The last time I was asked that, I said "A Year Without Spoons." Normally you get asked the same questions over and over, so it feels boring to say the same thing. But then I was like, I don't even know another essay I like. They're all good.
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