There's quite a few artists that didn't pop off until they were a little older - Rick James being one.
It's a great advantage to be able to play people off against each other, isn't it? You go to Christie's and get a quote on something. And then you go to Phillips' and you tell them what Christie's has given you. I like auctions for artists.
Museums are for dead artists. I'd never show my work in the Tate. You'd never get me in that place.
If I were not able to separate the art from the artists, I think I would limit myself a great deal, and life wouldn't be nearly as interesting.
Perhaps all artists were, in a sense, housewives: tenders of the earth household.
When the show opens, fans can text to a number we flash up on the screen, and then we do a meet-and-greet with 60 to 80 people every night. It's something I love doing, and I would say that's probably more fans than most artists bring backstage after a show.
I've been out with lots of other artists opening for them on tour, and you just learn that none of their success came easy - it was all hard work for them, and you have to buckle down and get ready for the hard work yourself, too.
My parents were journalists and friends with writers, artists, and just a really interesting assortment of people, so I was exposed to all lifestyles from a young age.
So ultimately, it's idealistic to think that artists are able to step away from the power of the media and the way it controls things, and go on doing their own things.
Coming from Britain, I was terrified of meeting all these other artists, because artists over there tend to fight with each other a lot, the premise being that there's not enough room for everybody.
The artists who stick around for a while are the ones who go, 'Oh, that's cool, never thought of that. Ought to do that.'
I don't think I'm influencing younger artists - they're not trying to be me. But I don't say that in bitterness. I say that with realism.
The nice thing about the world that I've been able to inhabit for the last couple of years is that I'm given a lot of freedom. Not all artists really get that.
Lauryn Hill's always been a hero of mine. And Bruno Mars, Janelle Monae and Adele, those are the current artists I would reference in terms of who's been able to do really amazing pop records with really cool, organic throwback elements of soul in there as well.
I'm listening to a lot of Katy Perry, Taylor Swift, and Rihanna. A lot of pop female artists. I have to say I'm pretty well-versed in the pop female category.
I grew up in an artists' community in New York, in a building that was government-subsidised for artists. No one made any money, but they made art for the sake of art.
We're focused on growing the pie so the artists can go back to making a meaningful amount of money.
We are passionate about making it so that users enjoy the music that they want to enjoy but at the same time fairly compensates artists. That's not the same as saving the music industry.
My ambition is we want artists to be able to afford to create the music they want to create, and if it takes them five years to sit down and make the album they want to make, they should be able to afford that. That's my goal.
It disturbed me that the music industry had gone down the drain, even though people were listening to more music than ever and from a greater diversity of artists.