The more far-out artists, the better.

I didn't develop or build synths. I had my technicians modify them for my live stage performances.

I always wanted to do something completely different.

The more far-out artists, the better.

The Internet is both great and terrible. As a source of information, a tool for delivering music and art, it's great. But spamming ads and piracy of music is terrible. It's stealing.

My music and lyrics became an extension of this Indian philosophy.

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.

Artists were nurtured back in the '70s. Their music was developed by the record companies.

In 1972, George Harrison invited me to accompany him on a trip to India.

We lived on a farm in the English countryside, where we wrote a lot of our music. You really were treated like an artist during those days-not like product, which is now the mode.

The idea to do the album only on keyboards kind of happened by accident. I was quite happy with the sound and felt it really didn't need more instruments, so I didn't use them.

Music's staying power is a function of how timeless the lyrics, song and production are.

I like Anastacia's version of Love is Alive best.

India profoundly changed my outlook on life because you see how people can be content and very happy with little or even no possessions. It's the reverse of the West.

George Harrison is perhaps one of the most creative people I ever met, not only in his music and songwriting, but just the way he lived his life, decorated his gardens and homes. He was a dear friend of mine. His entire approach to music was very unique.

I'm developing artists for my new record label, my son's band, Intangible, being one of them.

I will be developing artists for my new label. The rest is in God's Hands.

We visited Ravi. We didn't study with him, as such.

As a kid, I used to love to play baseball and be in Little League and sleep outside with my friends and do all those kind of things.

By the law of averages, there has to be life elsewhere. The universe is so huge, and I don't think God would have created this whole big huge cosmos and just say there's only going to be life on Earth, and that's it.

I had no idea 'The Dream Weaver' would be so successful. Everything just fell into place with that album. I pioneered a number of ideas with that album and subsequent tour. The all-keyboard approach with no guitars was a new one, and I was one of the first to use a drum machine in concert. It was an amazing time.

I was the first artist, I think, to ever do an all-keyboard album. There were things that resembled it, like Stevie Wonder. A lot of his stuff was on keyboards, but he used brass and he used other things as well. I was the first artist, also, to use drum machines. I was really the one who kind of started that whole thing.

I went to Berlin to study psychology but decided that I was more interested in music and started an R and B band.

Music is an extremely powerful force if used properly to uplift people. I believe music should be uplifting and not downgrading... it's a very, very powerful tool.

My voice hasn't changed really very much. I still do all my songs when I perform live and still do them in the original keys. I've been blessed with that ability to retain that.

Sometimes when you make a record and it's not successful, you just don't want to go through that process for a while. You want to have your wounds heal.

Unfortunately, music devolved instead of evolved. The music business got into the hands of lawyers and accountants rather than the entrepreneurial creative people, and that's when the beginning of the end started. It's all based on money instead of art and creativity.

But I found a lot of artists at the Cedar Bar were difficult for me to talk to.

Journeys, like artists, are born and not made. A thousand differing circumstances contribute to them, few of them willed or determined by the will-whatever we may think.

I got to sit down with people who I admired, and have conversations with some of the greatest thinkers and artists and performers. It's a huge privilege for me to be a journalist.

I don't believe in art. I believe in artists.

David Cronenberg knows what we actors do as artists.

The truth is, we haven't really figured out yet how artists are going to thrive in modern mass societies. We're all experiments.

Many of the artists who have represented Negro life have seen only the comic, ludicrous side of it, and have lacked sympathy with and appreciation for the warm big heart that dwells within such a rough exterior.

A great thing happening now in art is that artists are using the figure, the body, clothing, life.

The number of contemporary artists who appeal to me is infinitesimal.

I have to plead basic ignorance of most new jazz artists here.

Music is art, art is life, and we are who we are, and all of these aforementioned women, unless they should choose not to, will be performing well into the next many decades because they are great artists.

Because when the film was first mooted, the Beatles didn't like the idea at all. In fact they wouldn't have any part in it. And when Brian had committed them, it was part of a deal he did with United Artists, I think.

Artists are like everybody else.

When artists make art, they shouldn't question whether it is permissible to do one thing or another.

My proudest achievement has been the success of the shows and artists I have been involved with, because they were made in Britain.

The refusal to rest content, the willingness to risk excess on behalf of one's obsessions, is what distinguishes artists from entertainers, and what makes some artists adventurers on behalf of us all.

I didn't want to save art - I respected the older artists too much to think art needed saving. But I knew it was finished, even though, at that time, I didn't know what I would do.

Music is more emotional than prose, more revolutionary than poetry. I'm not saying I've got the answers, just a of questions that I don't hear other artists asking.

Lesser artists borrow, great artists steal.

I've never understood why artists, who so often condescend to the cliches of their own culture, are so eager to embrace the cliches of cultures they know nothing about.

I want to run for the Senate from Tennessee. Not now, but when I'm 50, when music dies down a little bit. I know lots of artists and actors have those delusions of grandeur, but ever since I was a kid, it's been of interest to me.

Let's look at people as artists and try to support them; just because Picasso painted a couple of bad paintings, that's no reason to say he's a lousy painter.