You start as an audience member and create a world you're interested in, and then you move into the telling of those stories, bringing what has interested you as an audience member.
In theatre, the main objective is to make the art happy, not the audience!
Son-In-Law was kind of my crossover. It was the movie that brought me out of the MTV audience into the mainstream.
When I got to LA and was with the James Gang, I got the opportunity to write a lot, to play in front of large audiences, make some money.
I love the theater. I love being on stage; I love the live audience. I also love dressing up and all of the make-believe.
What I've been trying to do for years is to get the music played on a station other than jazz stations, you know, to expand the audience.
If you are writing a story and trying to draw an audience to come and hear you tell it, it's got to in some way relate to them. Who wants to come and hear about your specific problems? It's not therapy - it's supposed to be a communal piece of entertainment.
I've passed on a lot of huge-money jobs. Money doesn't enter into the decision-making. If I do a big blockbuster, it's about how big an audience you'll get and where you can take them.
I wasn't necessarily frustrated in Fall Out Boy, but there were things that didn't get satisfied, desires left wanting. We didn't all meet on the same kind of music. When bands break up, there are all these buzz words that get tossed around to maintain a front for the audience, but in this case there literally were creative differences.
Maybe just as many women writers as male writers could be billed as the next great American writer by their publisher. Maybe book criticism sections could review an equal amount of female and male writers. Maybe Oprah could start putting some books by women authors in her book club, since most of her audience is women.
You never know who's going to be in the audience. You never know who is going to be hearing that piece for the first time, and you never know who is going to be hearing that piece for the last time.
There was a point in the '80s when I looked out at my audience and I saw people that - were I not on the stage - they'd sooner slug me as they walked by me on the sidewalk. And I realized that I was way beyond the choir.
I guess I prefer to play live, but I don't want to have only live CDs. I like playing live because there are alot of things that can happen. I can interact with the audience and say some things to get me in trouble. On the other hand, the studio is nice because you can really take your time and make something that you know is the best thing that you can ever do. But nothing beats being up on stage in front of all that energy.
I do have a large audience overseas, and I want to continue to be an international artist.
You know...sometimes I'll be looking out at the audience and I'll be in the middle of a song, and I'll just stop dead. I'll look out at them, and think what is this... There's one thing that keeps me doing it though, I really love it, I believe in it.
I love playing the CMA Music Festival each year because it's one of the very best audiences you could hope for. It's one of the places you can perform where you know everyone there is a big Country Music fan.
People come with expectations and as a bandleader I constantly try to remind the audience to leave its expectations in the lobby.
When I was a kid in Eugene, Oregon, there was this fantastic guitar player who went out on the tables, chairs, out in the audience and played. So I started taking my guitar in the audience. I tripped, fell backwards and ripped my pants.
My audience is often hands-up, standing and cheering and on tables and all of that kind of things.
I started out as a folk singer, and kinda got sidetracked playin' honky tonks and such, but I was always a working musician. I didn't want to be Townes Van Zandt or Guy Clark, but I wanted to play in front of their audiences, you know what I mean?
If I didn't have to worry about money, I would be doing the same thing I'm doing now. Additionally, I would maintain other creative outlets -- glassblowing and woodworking. I would operate a salon-format venue geared towards deviation; a destabilization of the audience/rock star dynamic.
When I look at great singers like Sinatra, Bennett and (Tom) Jones, I see great performers that can really move an audience. I really consider myself a troubadour privately and a song-plugger publicly.
I like the communication and trust that comes from a long-term relationship. When you really know people as musicians and as people, you feel you can really count on them. That frees you to take more chances and ... it takes the music to a higher level. It translates into a better product for audiences. There are two levels to these relationships. The first level is being with guys for the first few years, you're getting used to guys - he's got this to offer, he's got that to offer, I don't like this, I do like this. You both praise them and are critical as you get to know one another.
God has given us a vision to see the body of Christ move from being an inactive audience to a Spirit-filled army. . . God is about to unloose a powerful outpouring of the Holy Spirit of an unprecedented magnitude. . . He is looking for individuals who will be 'dread champions' for his cause.
I am not doctor who and I can't turn back time. I once said the audience was all punks and little girls, now they are old punks and old little girls. I don't mind the fans being maturer, if there are younger fans that's good too.
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