I think swag is very important to rappers. It's the overall appearance and style of an artist - these blue shorts and this blue hat and this $80,000 chain, this jewelry and all these tattoos, that's swag.
As for an authentic villain, the real thing, the absolute, the artist, one rarely meets him even once in a lifetime. The ordinary bad hat is always in part a decent fellow.
There are countless artists whose shoes I am not worthy to polish - whose prints would not pay the printer. The question of judgment is a puzzling one.
The artist must forget the audience, forget the critics, forget the technique, forget everything but love for the music. Then, the music speaks through the performance, and the performer and the listener will walk together with the soul of the compos...
If you can see yourself as an artist, and you can see that your life is your own creation, then why not create the most beautiful story for yourself?
I'm not a politician. I don't know how to solve the problems of the world. But as an artist, I have one duty: to ask questions.
I hadn't been a recording artist all that long when albums came on the scene, and I was one of the first singers to point the way to how varied an album's contents could be.
The reason I put make-up on or wear the costume is to try and find my own style. It's like my guitar style - I'm just trying to be an original artist.
I feel responsible to make something original as a Japanese artist. There are lots of singers and guitarists, but I feel that on stage it's meaningless to copy something someone has done before.
There are many artists that I present that I admit I like less than I do others. But I think that they warrant being presented by my own, personal standards.
I have more artistic control in a smaller show. But it doesn't really matter. Sometimes you can have the smallest role in the smallest production and still make a big impact.
I think for an artist it's really important to have experiences, and I've had a lot of those. It's definitely inspired my lyrics and my style, even down to what I wear.
I'm the daughter of two Indian immigrant doctors, and I have an older sister and younger brother, and none of us have pursued medicine as a career. We're all over the artistic side of things.
If you're convinced as an artist of what you're doing, the only move is to, no matter what people say or what management says or your best friends say or people on Facebook, do what you do, and people will find their way to it.
My best business decision was to be independent as a musician and artist. My worst was compromising on certain aspects of a deal for the sake of other members of my group when I shouldn't have, because I was right in the end.
A show can be artistically successful; a show can be financially successful; a show can be successful by the transformative experience the audience is having; a show can be successful from the point of view of what is experienced by the cast and the ...
Artists need some kind of stimulating experience a lot of times, which crystallizes when you sing about it or paint it or sculpt it. You literally mold the experience the way you want. It's therapy.
The truth is that painting is all about scale; you use scale to create experience. A lot of artists have lost that ability. They don't even know that's something they should be doing.
Before and after my debut, I've helped out other manga artists from time to time, but I have no experience of being exclusively an assistant. Nor have I done individual or self-published manga.
I've always said that the experience of meeting an artist that you are in awe of and that you hope to create with one day is usually disappointing because you put them up on a pedestal, and then you're like, 'Wow, that's not a nice person.'
I feel like we want to compartmentalise things and say, 'Well, that's emotional, artistic and subjective, while this is intellectual, objective and measured.' I have difficulty thinking that's the way we experience things.
