Make music a service that's easy to consume, and there'll be plenty of money for everyone.
I suppose people also have to be a little more careful or circumspect if they're going to leverage their celebrity to promote their political aims. The problem is that politics is about the accretion of power, and it's very difficult not to get giddy with power.
Artists should re-emphasize performance and de-emphasize recording. You always make more money if you have a healthy performing life than you will if you have even a moderately healthy recording life. Don't make recording the most important thing you do. Make performing the most important thing you do, and then you can make recordings and sell them at your shows, because record labels aren't going to be around to help you get on the radio stations, and the radio stations probably aren't going to play you anyway.
There are any number of conditions as to why your life didn't turn out the way you intended it to. My whole philosophy has always been that there is no way to change anything else in the world if you don't have the capacity to change yourself.
If you're not satisfied with the way the world is, or if you think the world can be better, you have to figure out a way to know yourself and better yourself. Then you have the assurance that something in the world has improved.
There are people who are known for some contribution to pop culture, but that doesn't mean that you've survived solely on your relevance to whatever is currently popular. That's what a pop star is, in that sense. You might start out as a pop star, but that's just an opportunity to become more relevant, if you possibly can.
I've always said, rather glibly, that the message of my career has been about individualism, about getting to know yourself and taking responsibility, not just for what you do, but what you think.
Many of us would probably not be in the music business - or never would have been in the music business - had The Beatles not demonstrated that this kind of music, or this kind of performance, was actually viable as a career alternative.
Michael Jackson is a cake-and-eat-it kind of guy. He has never recognized or accepted the fact that when you shove yourself in people's face, they're not going to look just at the part you're showing them. People want to see everything that's connected to the face.
People got a little too self-conscious about the techniques that go into recording because sometimes, if you sing too well in tune, people accuse you of auto-tuning. It's like you have to use auto-detuning or something.
Recorded music has always been in a sense promotion for live performance, and some artists have discovered that giving it away is as effective as trying to sell it.
I guess country music works better in supermarkets.
Аs long as I've got an audience out there to play for, I'm going to continue to play. I have at least enough people that I can go out on the road for 10, 11 weeks at a time.
I've had production offers with artists I really admire, and oftentimes that doesn't work out. Sometimes it does, but... For instance I was asked if I wanted to do a Talking Heads album back in the late '70s, early '80s, and I was already working on a different project and didn't have time, so I never got the opportunity to work with them.
As much as I'd like to be listening to other things, I can't do that until I get all of this sort of put to bed.
I've been essentially not only deconstructing and reconstructing the material to make it suitable for the performance, but I've gone back and found some older material that's appropriate for the show and I've re-recorded that as well in kind of a newer format. So I've been pretty much focused on my own thing.
Music gets recorded usually in one format, and when you have to take it out and perform it there are other applications and things like that that are better for the live performance.
Sometimes you're a psychiatrist and sometimes you're a group therapist. The dynamics in between people and the misgivings sometimes that artists have when they get into the studio because they're under a different level of scrutiny. A lot of them can be insecure about it. My job is not simply to make musical determinations but sometimes to just keep people from flipping out during the process.
I'd like to continue to play until I drop dead on stage or something.
It's never the same relationship. I see my job as filling in the blanks. Whatever it is that the artist lacks in the process of making a record, I'm supposed to fill that in. And sometimes it's a lot of stuff and I have to hector them about working on the material and that sort of thing. Sometimes you have an artist that's really fairly self-sufficient; they just need another ear to offer some objective criticism, but otherwise pretty much know what they're doing. It varies a lot.
If you're familiar enough with my body of work, my voice is a familiar totem, in a sense. I guess I have something characteristic in the way that I sing, although I'm not very personally self-conscious about it, so I don't think about it that much. But when I hear the record I can tell it's me.
You would have thought that as you got older the voice would tend to deteriorate in some ways, but I always look at somebody like Tony Bennett, who is my senior, and still can hit those high notes and still can belt it out as good as he ever did. So it must be something about the voice that's unlike the rest of the muscles in your body.
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