A Quote by Dionne Warwick

Every time we buy a CD or download a song, the artist is paid for their work. You might not know that this isn't the case when a musician's work is played on the radio.
The idea is that instead of going to an online retail site ... and buying a physical CD and having it shipped to you, you actually can buy the song and download the song to your computer hard drive.
When you wrote a song way back in the day, you were writing material to play live. And you would buy the CD at the shows if you like the show. You may not listen to the CD, you might just throw it in the back of your car and let it warp in the sun. The main thing was you saw the song at the show.
I perform in art time and in real time, and you can't tell the difference - no one knows how to separate a real act from an art act in my work. When I lived on the street for a year, people only knew that I was homeless. They didn't know that I was an artist doing a piece. I have to use real time in my work. I do, however, have to find a subtle way of documenting real time, in order for people to have a response. That means punching into a work clock every hour in the case of one piece.
No one likes to work for free. To copy an artist's work and download it free is stealing. It's hard work writing and recording music, and it's morally wrong to steal it.
The power of a label and radio and a booking agency and all that - you never know until you experience it the first time, but being able to have a song on radio, but then go play a show for people that have heard the song on radio, and having it sung back to you, is - I don't know how to describe it.
Every time my song plays on radio or television, Hitesh records it and sends it to me. It feels very good; he appreciates my work.
I'm a musician, I always was a musician, and now I've got a song on the radio, so I'm definitely a musician.
I've always felt that I would rather see an actor, writer, or musician's work, rather than actually know the person. If you know too much about an artist, it somehow lessens their ability to do their work as well.
It was hard to work and work and work and not get your music played on the radio.
I've been on a real Credence Clearwater kick. I've been collecting their albums on CD -- right now I really like 'I Put a Spell on You.' I don't know who actually wrote it; it might be a traditional, or like, an old blues song, I haven't looked in the liner notes, but it's the first song on their first album. I love all the hits; I mean @#$%&, I like every one of them. I think my favorite song by John Fogerty is 'Have You Ever Seen the Rain?' They're my favorite American band of all time, totally.
In 1990 if you heard a song on the radio and you really wanted to hear it again you'd have to buy it on tape or CD. Hearing music doesn't hold that kind of value anymore because anyone can hear it. It's going to become even easier.
I am a big fan of A.R. Rahman and Mani Sharma, and I went to a shop to buy these music directors' CD. But I had only Rs 100, and Rahman's CD cost more, so I couldn't buy both. So I bought Rahman's CD and stole Mani Sharma's CD.
I can show you that I have played with just about every jazz musician, every African musician, every blues musician. It's not like I'm cashing in on a false concept. This is what I do.
I decided to make a CD that I would enjoy listening to. So I would finish a song and sit there, and I would say, 'What song, of all the songs I know, would I like to work on now? What song would make me happy?' And that's how I picked the songs.
Something we do every tour is to choose a song for the team CD that gets played in the dressing room prior to games.
I don't take my work ever for granted. I still work very hard on every song and try to outdo myself every time.
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