A Quote by Jim Drain

I like to imagine that the Neanderthals were all really good artists. — © Jim Drain
I like to imagine that the Neanderthals were all really good artists.
This is the birth of the modern human soul. The artists are like us, not like the Neanderthals, who had no culture - and who incidentally were still roaming the landscape at the time the paintings were made. It is striking that there is a distant cultural echo that seems to reach all the way down to us, over dozens of millennia.
When I first started, in 2006, it was an exciting time. Independent, cool, weird artists were being successful, and magazines were writing about them, and people were getting played on radio that were, like, really good.
I think you have a lot of really good artists today. You have your Beyonce, Usher, Nicki Minaj and the like. But our generation, the artists were stronger. You're talking about myself, Ray Charles, Stevie Wonder, Roberta Flack, Gladys Knight, The Temptations, The Four Tops.
What's changed is we now have good anatomical, geological, archaeological evidence that Neanderthals are not our ancestors. When I wrote 'Lucy,' I considered Neanderthals ancestors of modern humans. We have gone back twice the age of Lucy, six million years. And we see that upright bipedal walking goes back that far in time.
I get a great laugh from artists who ridicule the critics as parasites and artists manqués — sucha horrible joke. I can’t imagine a more perfect art form, a moreperfect career than criticism. I can’t imagine anything more valuableto do.
She was astonished, and at the same time she knew. There were many things in life like that. You couldn’t imagine it, and then it happened and you couldn’t really imagine it hadn’t.
I've always associated consciousness with artists like Bob Marley or Joni Mitchell or Bob Dylan. You know, artists that really talked about what was going on in the world and really artists that are timeless.
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.
Green Day is like sex, when were good, were really good, when were bad . . . were still pretty damn good.
A lot of stuff you hear on the radio is like instant hooky pop, but I can't imagine it being covered in the future by other artists. It's really for themselves.
I think artists like Justin Bieber really opened up a door for younger artists to be respected in the industry. I really like what he did.
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.
I was really inspired by these larger-than-life female artists like Lee Bontecou and Eva Hesse and Yvonne Rainier and the incredible Lynda Benglis. There were many women who were really driven and became successful, who were part of essential paradigm shifts, despite the fact that the art world was still dominated by men.
The paralysis that we have right now when we think about migration is partly because we can't imagine what the world would look like in the future. So I think it's important for writers and artists to try to imagine that.
So not only can you not imagine dying, you can't really imagine existence before you were born.
I feel like Canada is really good at nurturing their artists, and America's not so good at that. The artistic community is so important to a country.
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