I usually prepare a track and then I work with the artist when it's time to do the vocals.

It might be a huge hit, it might not; but you learn something doing it.

I'm continuing to produce and will start a new record soon, as well.

The whole process of this record was an education for me as a musician.

There's artists that I'm working with on a new label of mine. Foxy Nova and Supa Nova.

I think that in order for music to be heard in a lot of different situations you have to always consider that.

I enjoy music that is commercial.

I don't necessarily want people to know all my intimate feelings about Tracey.

The most exciting thing for all of us is movies and movie stars.

Unfortunately, a lot of executives aren't like producers, and can't hear the diamond in the rough.

I usually prepare a track and then I work with the artist when it's time to do the vocals.

It's about finding great artists and being part of their careers.

When I was in top 40 bands, I always had to learn new material and new styles.

I don't go to that many Broadway shows, so I can't really say anything.

Commercial music, for the most part, is popular music and you always have to keep that in mind.

You can find a diamond in the rough a lot of times.

I think that whenever there's a good script we try to make that happen, but it's all based off of a good story, a good script, but I don't believe you should do it just because it's African-American.

I would say that I've been lucky. Being blessed and not really ever giving up.

I could easily not be the person that people know.

The Internet is a whole new world opening up.

There are people that bring artists to me to look at it and it's a question of whether I like their music and their look and if I think there's something they have that makes them different and commercial.

It's like spicy food - sometimes you have to tone it down so more people can enjoy it.

The reality is, some people don't want you to change or go anywhere different.

But a lot of the old fans are listening to a lot of the younger music. So I gotta keep moving forward, and they'll move forward too.

I still write the same way and have the same perspective.

Being a cover artist is not like being a real artist. That's just copying what someone else did.

The artist need not know very much; best of all let him work instinctively and paint as naturally as he breathes or walks.

What an artist learns matters little. What he himself discovers has a real worth for him, and gives him the necessary incitement to work.

Beauty, like truth, is relative to the time when one lives and to the individual who can grasp it. The expression of beauty is in direct ratio to the power of conception the artist has acquired.

I'm inspired by nature. Other artist's work is important for developing my perception.

There is only one position for an artist anywhere; and that is upright.

The difference between a bad artist and a good one is: the bad artist seems to copy a great deal; the good one really does.

To say that an artist sells out means that an artist is making a conscious choice to compromise his music, to to weaken his music for the sake of commercial gain.

What do you say when someone has truly inspired you? How do you express to an artist how deeply their work has affected you?

An original artist is unable to copy. So he has only to copy in order to be original.

When I say artist I mean the man who is building things - creating molding the earth - whether it be the plains of the west - or the iron ore of Penn. It's all a big game of construction - some with a brush - some with a shovel - some choose a pen.

You have to find what makes you stable in the storm. Then, no matter what's happening round you, no matter what the hype or the publicity, you can still manage to make leaps in your work as an artist.

The key to the mystery of a great artist is that for reasons unknown, he will give away his energies and his life just to make sure that one note follows another... and leaves us with the feeling that something is right in the world.

I've always felt that if one was going to take seriously this vocation as an artist, you have to get beyond that decorative facade.

Art is a private thing, the artist makes it for himself; a comprehensible work is the product of a journalist. We need works that are strong, straight, precise, and forever beyond understanding.

The most colorful section of a bookstore is the display of SF books, with art by people like Wayne Barlow, who is a terrific artist.

Arguably, no artist grows up: If he sheds the perceptions of childhood, he ceases being an artist.

Let not a man do what his sense of right bids him not to do, nor desire what it forbids him to desire. This is sufficient. The skillful artist will not alter his measures for the sake of a stupid workman.

I so much appreciate it when anybody tries to make something and tries to be an artist - I'm happy to see the work.

The artist is seen like a producer of commodities, like a factory that turns our refrigerators.

I've also been willing to share any help that I could give to any other artist.

An artist, under pain of oblivion, must have confidence in himself, and listen only to his real master: Nature.

What is it they want from the man that they didn't get from the work? What do they expect? What is there left when he's done with his work, what's any artist but the dregs of his work, the human shambles that follows it around?

No artist work is so high, so noble, so grand, so enduring, so important for all time, as the making of character is a child.