A Quote by John Lennon

If you're an unknown artist you're lucky to get an hour in a studio - it's a hierarchy and if you don't have hits, you don't get recorded again. — © John Lennon
If you're an unknown artist you're lucky to get an hour in a studio - it's a hierarchy and if you don't have hits, you don't get recorded again.
I never felt in competition with anybody in war photography. You're lucky to get your ass in and out again. It's as simple as that. It's the easiest photography in the world to shoot somebody who's been shot up. It doesn't take a genius. That's easy. The only thing you need to know is your photography. Get in and if you're lucky get out. And get as close as you can get.
'Can't Get Closer' I originally recorded in about half an hour, just on my bed with a microphone. I actually re-recorded the song with a cleaner vocal take, but I decided to leave the demo version on there, just because I felt that instant where it was created is what captured the most emotion.
I don't want to get caught up and be an artist always on the go. Because once you do that, it's hard to get into the studio and do what I do.
I hate studios. A studio is a black hole. I never use a studio to work. It's very artificial to go to a studio to get new ideas. You have to get new ideas from life, not from the studio. Then you go to the studio to realize the idea.
Every night is a joy; you get an hour and a half of all these hits. It's a lot of fun.
Many online journals get the most hits of the day during the lunch hour.
Out of ten swings at the bat, you get maybe seven strikeouts, two base hits, and if you are lucky, one home run. The base hits and the home runs pay for all the strikeouts
You go to any Jay-Z concert, and he plays his hits. Comedians don't have hits. You have to have a whole brand-new hour. You have no hits to rely on. It's the hardest thing.
Well — I was lucky once, wasn't I?” said Harry, pointing at his scar. “I might get lucky again.
It's so hard to get started creatively - it's really hard to get those first ideas out. You just have to do it over and over again, and hopefully better ones start to come. Also, anytime a good idea comes up, for a long time I think, "Oh, my God, that was so lucky that I thought of that idea, whew, I hope that happens again." The more you work at it, the more it happens, but it still feels lucky.
I hung at the studio. Myself and James Booker and several other musicians, as kids, we just literally hung at the studio, hoping somebody would get sick or get hurt and that we'd get to sub for them.
The process is to me is going onstage night after night after night after night until I get a new hour. And then once that hour is solidified and recorded, I move on.
I wish I had a really cool, esoteric answer, but what the process is to me is going onstage night after night after night after night until I get a new hour. And then once that hour is solidified and recorded, I move on.
What is it that an artist does when he is left alone in his studio? My conclusion was that if I was an artist and I was in the studio, then everything I was doing in the studio should be art . . . . From that point on, art became more of an activity and less of a product.
In the hierarchy, the artist faces outward. Meeting someone new he asks himself, What can this person do for me? How can this person advance my standing? In the hierarchy, the artist looks up and looks down. The one place he can't look is that place he must: within.
Most people with a big idea, great talent and/or something to say don't get lucky at first. Or second. Or even third. It's so easy to conclude that if you're not lucky, you're not good. So persistence becomes an essential element of good, because without persistence, you never get a chance to get lucky.
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