A Quote by Jim Sullivan
I like to work with artists who are as wide in their musical taste as I am.
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My musical taste has always been wide. I started out as a folky before I moved on to blues and soul.
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.
I feel like everyone directs their own career according to their taste, what they migrate to emotionally and what kind of artists they want to work with.
My mom was real into like a lot of different musical artists, real artists, even back when Jay-Z and Beyonce was together.
I am not a music snob. If anything, my musical taste is bad by any critical standards.
Vulnerability of artists is definitely what makes organizations like PEN necessary because, as I tried to argue, the actual work that writers and artists do has an ornery way of surviving. Particularly in this age of the internet, it is very easy for forbidden work to be found online somewhere if you know where to look. Artists themselves, however, are in increasing danger, and not just artists. The great concern is that year after year, rising numbers of journalists are being killed in pursuit of their work.
We get better product when the focus is on the fans and the artists - all artists; musical artists; singers, the graphic designers, the painters, the DJs, I mean everybody, the writers. We can't allow ourselves to feel as if we're not important in the equation when we are everything!
taste governs every free - as opposed to rote - human response. Nothing is more decisive. There is taste in people, visual taste, taste in emotion - and there is taste in acts, taste in morality. Intelligence, as well, is really a kind of taste: taste in ideas.
I'm wary about this thing about being in the generation of social networking where people are like, 'I am my musical taste.' I am not just a collection of music. Or a collection of movies. I think that's a thing that people romanticize: 'Oh my God, she likes this band so she is a dream.'
I feel like everyone directs their own career according to their taste, what they migrate to emotionally and what kind of artists they want to work with. And I'm lucky enough to be in a position where I can wait six months for a project that really interests me.
I have some tracks and songs written for future collaboration, and I'm happy to work with artists who have the right voice and taste.
Elvis might have compromised his musical style a bit towards the end, but that doesn't mean that artists from the rock n' roll/folk-roots culture - of which he was not really a part - shouldn't get better as they get older, like the great jazz or blues artists.
Our visual and musical artists have no incentive to be educated. So what we get is a bunch of uneducated artists inspiring misinformation, miseducation and illiteracy.
One thing I really like about philosophy is that it's possible actually to do work in a wide range of different areas. I am particularly happy that I've even been able to do work in logic that has allowed me to use and develop my mathematical abilities, as well as to work on quite distant topics in philosophy of language and mind.
My musical taste and image is going to change naturally. It's not forced; I do what comes natural to me. Sometimes, I like to be dark... other times, I like to be really light and ladylike.
My real musical discovery started when I was 10 with Stevie Wonder and the Jackson 5, and acts that I connected with because they were young when they were doing it, like me. Then I kind of came into my own a couple of years later; I found new artists that shaped my musical landscape. For instance, Kings of Leon played a big part in that.
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