A Quote by Paul Stanley

Music critics are, for the most part, bitter people who are intent at dragging people down for being successful at what they want to do, which is probably music. The oddity of being a critic is: You don't get a diploma, you just decide you're a critic. If someone listens to your opinion rather than their own, it's their mistake. Any critic's top 10, any year, it's something controversial or something that will make them look hipper-than-thou. The whole critic game, we've never played.
You find very few critics who approach their job with a combination of information and enthusiasm and humility that makes for a good critic. But there is nothing wrong with critics as long as people don't pay any attention to them. I mean, nobody wants to put them out of a job and a good critic is not necessarily a dead critic. It's just that people take what a critic says as a fact rather than an opinion, and you have to know whether the opinion of the critic is informed or uninformed, intelligent of stupid -- but most people don't take the trouble.
I never wanted to do music to get girls, right, to get popular, or anything like that. I really love music and I want to make it better the best I can. I can tell when something's real, or when something's put together. I can just feel it. So I'm my own worst critic and harshest critic and I just want to put honest music out there.
I just kind of shoot the finger to the critics. I don't give sh - what a critic says. To me a critic is some loser who has no idea... someone with an opinion. We all have opinions.
I'm my own worst critic and harshest critic and I just want to put honest music out there.
There's lots of room to be your own worse critic. It's just you, so I think that's inherit, that voice that's always that's there monitoring everything you do. It's definitely worse; the critic is harder when it's just you. If you're doing a show, then the critic can blame the other actors your with.
I don't have any bone to pick with critics. In fact, if I wasn't a filmmaker I would probably be a film critic. Most of my bone is I would be a better film critic than most of the film critics I read.
I don't think the role of the critic has changed very much. In the most positive sense, the music critic is one who helps the public navigate what's out there, especially in bringing attention to things they otherwise wouldn't hear about, or to provide a new window into something familiar.
I was the first critic ever to win a Tony - for co-authoring 'Elaine Stritch at Liberty.' Criticism is a life without risk; the critic is risking his opinion, the maker is risking his life. It's a humbling thought but important for the critic to keep it in mind - a thought he can only know if he's made something himself.
Everybody wants to be a critic: a critic without the actual accolades to be a critic.
The hardest thing in the world is being a critic of your own work. For me time has always been the best critic. If I can put something away and then come back, it's like taking a painting you're working on, turning it upside down, squinting at it, or walking away to get a new view. Time helps you know whether it's worth saving or whether it should be dumped.
I've never been competitive with other actors. I've been competitive with myself and I'm my own worst critic, a terrible critic I am, and unless I get something right, I feel very unhappy.
Your harshest critic is always going to be yourself. Don't ignore that critic, but don't give it more attention than it deserves.
Your harshest critic is always going to be yourself. Don't ignore that critic but don't give it more attention than it deserves.
I learned more in the rehearsals for 'The Letter' than I have ever dreamed of know in the theater as a critic. If it doesn't make me a better critic, I'm an idiot.
I didn't do myself any favours. I would be resentful of my own ideas even before I'd said them out loud. But music was always the most consistent and peaceful thing for me. So I taught myself to be my harshest critic rather than just a mean voice in the back of my head.
Technique is really personality. That is the reason why the artist cannot teach it, why the pupil cannot learn it, and why the aesthetic critic can understand it. To the great poet, there is only one method of music - his own. To the great painter, there is only one manner of painting - that which he himself employs. The aesthetic critic, and the aesthetic critic alone, can appreciate all forms and all modes. It is to him that Art makes her appeal.
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