A Quote by Tevin Campbell
My main concern about coming back is being able to financially support it on my own. I don't want to depend on any record company to do it for me. But I have a fan base, people still streaming my music.
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I like being able to own things, to not have to depend on music to support myself. Music hadn't supported me since 2000. I mean, it really hasn't. I just do it because I love doing it.
Any external support, if you want to call it support, let's use this world, is... how to say... it's going to be additional, but it's not the base to depend on more than the Syrian support.
My life has shifted to different levels financially, in terms of fame as a result of being blessed enough to be able to share my music with the world, and what that has done for me. Despite all of that, I always want people to listen to my music and be able to relate to it as well as to me.
If it came back I would be thrilled. I would be delighted to write more songs. I need them now because I want to make an album and I have to depend on other people's music, which I've done for years. But still, it'd be really nice to be able to sprinkle it with my own.
There are a lot of people who talk about a formula for being able to start a fan base. But for me, it's been about songs and just being hard on myself as a writer, feeling like there is a purpose to it all.
These 'Supernatural' conventions are such a great time. The fan base is like none other, and I'm sure I'll never experience a fan base that support is the same with - their kind of unbridled decency towards the actors makes me not have to worry about going into the crowd.
I've gone from having a huge fan base to losing a huge fan base to having a kind of fluctuating fan base. I've always had a core of fans who've stuck by me but, depending on the kind of music I do, I end up appealing to certain groups of people and alienating others.
In some ways, I value specificity. I think that there's power in, once you know who your fan base is, being able to speak to them. I hope to cultivate a fan base of black girls and black people and people of color, women of color, queer people, people who are are marginalized in general.
The mindset of chasing that next #1 record doesn't exist for me anymore. It's more about being a well-rounded entertainer than being a pop artist. Obviously, it would be wonderful to have a hit record but I don't base my happiness on that anymore. It's about the accomplishment of a project that satisfies me. I just want to enjoy the ride.
Well the first record is something that you just put so much into. And the second record, people always talk about the sophomore jinx and everything, but I was still able to get through it and still focus on what I needed to do and make timeless music.
Well, I don't let anyone record with me that is not a fan of mine or believe in my music. Everybody that records for me, from Bob Dylan on down to George Jones, everybody loves me and my music, and I knew they would do their best that they could do, and they did. I didn't doubt them a bit. There's some country people that I wouldn't want, which didn't record with me.
I think you can see the evolution of me as an artist, and just becoming confident and coming into my own and becoming my own person throughout each mixtape. One thing I could learn from looking back at my old mixtapes, what I could learn from my old self, is just to keep that hunger and that drive and that feeling of an underdog and also the feeling of being a fan, still lookin up to people - you just want to impress them.
If I want to do an orchestral record, if I want to do an acoustic record, if I want to do a death-metal record, if I want to do a jazz record - I can move in whichever direction I want, and no one is going to get upset about that. Except maybe my manager and my record company.
I'm the ayatollah of the Jane Austen fan base! I want to lead the fan base, not be attacked and devoured by the fan base.
I never had many problems to do my music and to give it to a record company. Rarely do they try to argue with me about my music, probably because it's still too far-out.
It's hard to get people at a record company to talk about music. They don't seem to want to talk about music, it's all marketing, and that's part of a record, you gotta get it out there, people have gotta hear it, but you could do it in a way that's not repulsive.
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