A Quote by Joe Cocker

It's nice to get a response from the artists that I cover. — © Joe Cocker
It's nice to get a response from the artists that I cover.
It is important that artists are not outside the equation, we don't stand on the sidelines. Artists are part of the story of a response, we cannot stand aside and let others make the response.
I think the response I get to one 'New Yorker' cover outweighs five books that I publish.
When our embassy is attacked in Benghazi by terrorists and there is no response, you get more bad behavior. When Russia invades Ukraine and there is no response, you get more bad behavior. When Syria crosses the red line and there is no response, you get more bad behavior. When Iran launches tests of ballistic missiles and there is no response, you get more bad behavior. When North Korea attacks Sony Pictures and there is no response, you get more bad behavior. In other words, Mrs. Clinton, you cannot lead from behind. We must respond when we are attacked or provoked.
I have a suspicion that a lot of artists are trying to get a laugh but, unlike stand-ups, they don't get an immediate response from their audience; a laugh is a rare thing in a gallery.
People who are artists professionally are not artists because they want to be artists; they have to be artists. They're compelled to get that creativity out and to share that with others.
I don't take anything for granted; awards and all that go with it are very nice, and it's nice to get a positive response, but for me, it's about the music. I don't make music to win awards. I make music for the people.
I try and stay away from my comment section on Twitter. But for the most part, the response that I get usually is very positive - and so it's nice.
Imagine a music business where all the music press talked about, all day long, was cover bands of old rock and pop groups. Beatles cover bands, Rolling Stones cover bands, The Who cover bands, Led Zeppelin cover bands. Cover bands, cover bands, everywhere you go.
As a journalist, I never critiqued anyone. I never review books. I've never felt qualified as a musician to say whether someone is a good musician or a bad musician. What happens with Black writers and Black artists is that if you're critiqued, for example, by a Black historian who wants to get his name on the cover of "The New York Times," and he says something, like, wacky, well, he'll get his name on the cover of "The New York Times" and he might get tenure, and your career suffers.
Among the mysteries of the creative ego is how the transcendence of what artists do is their own response to the darkness of who they are, and the same personal darkness that is at odds with the art is what propels artists to the light of what they create.
When we're talking about the "American response" to any disaster, it's not just a government response, an official response, it's a popular response.
I think as competitors, that's why we get into this, to gain respect from the guys who have played the game, and you walk away and they say, 'He was a tough cover - that dude was nice.'
In France, I'm not going to say the audience will laugh for nothing, but you could compare the response I get to the response Louis CK or Chris Rock would get if they go up in a club in Denver tonight.
I don't want to be the cranky old guy, but a lot of critics are too forgiving of mediocre artists. When you see these 'American Idol' people on the cover of 'Rolling Stone' being written about as serious artists, there's something wrong with that. You can erase them from the history of rock n' roll, and you wouldn't notice.
It's cool that I'm 20 and am on the cover of the video game. A lot of kids play hockey, and a few get drafted, and only a few get to be on the cover. It's a great feeling.
It's nice to sometimes get things out of life, rather than stealing from other artists. I'm trying to steal from the real people.
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