I am just a choreographer, and I am trying to make productions, not dance concerts.
It's really a lot of fun to see that this music can actually survive, that it can be concert music. My solo shows are already going along that path. You have the freedom to basically push to party, or you can tell a story from nothing with soundscapes, moving images, to a real party mood. At some concerts, people get out of their seats and start dancing after a while.
It's really not that hard. If I do a Tonight Show, it's six or seven minutes. If I do a concert, it's 90 minutes. If I do an interview, that's 15 minutes. So by the end of the day I've done three hours worth of work.
I literally wouldn't have dreamed of it in a million years that I'm going to be standing there with George (Strait) and Garth and Kenny (Chesney) and Reba (McEntire) and Brooks & Dunn. I don't really have any clue what I'm actually doing with those people because I feel like I'm still just getting started and I've seen them all in concert and they're all my heroes.
The only I would say is a little different is when I know my parents are in the audience. That's never going to be the same as another concert.
We are all strings in the concert of God's joy.
When I was young I was one of those kids that got pulled onstage at a Green Day concert. That was pretty awesome.
I worked on it [ Too Much Tuna] for a little bit downtown and it was a great experience. I couldn't believe how enthusiastic the audience was for it. It was just extraordinary. It felt like you were at a rock concert, which was just unusual for shows at Cherry Lane, which are usually intimate plays about big ideas, you know.
There was one tour where I thought, "If I can't get this feeling back of being excited to be on the stage, then I will quit." Because I have friends who have dialed it in and I watch their concerts and shake my head. I'm sure the audience can tell, too.
Mathematicians - for what they do - are really poorly rewarded. And it's a very competitive field, almost as bad as being a concert pianist.
[Brian Hyland autograph] was what got me started on going to concerts, because from then on, I was at every concert for everybody.
I just want to be worthy. I just want to be able to make people understand that okay, Eddie is still good at what he does, so we can now go and buy that ticket [to his concert], and I can feel like they bought it and they got their money's worth.
My fan base is extremely random. It's the 14-year-old white kid sitting next to your auntie from St. Luke's Baptist Church, to the 20-year-old Black girl who probably would go to a Rihanna concert, but she's coming to my show.
I never went to the Beatles' concerts to scream. I never screamed at anybody's show. I was on my feet with the entire, all of the crowned heads of Motown, and we were shrieking our guts out.
I loved radio for the music, concerts, parties and to think you could get paid for it.
If you read reviews of concerts, the word 'creative' comes up all the time. However, performers playing music usually aren't creative. Critics might say they are, but they're just playing another persons work. They didn't create it.
Film writing and concert writing are two very different things. In film writing I am serving the film and it tells you what to write. I have to stay within the parameters of the film. In writing concert music for the stage I can write anything I want and in this day and modern age rules can be broken.
Why should we not enter into our inheritance in the church as well as the concert hall?
People listen for cues - when they are searching for a decision, they look to people they know. Young people can be apathetic in certain ways unless they hear from someone they like and admire about why they should be engaged and involved. If someone you love is doing a rally or concert, you may be engaged to register.
When you go to a concert, part of being there is that you're all hearing the same thing. It's about being in a crowd. If you go to a gig and there are two people there, then it's not the same thing.
I did a whole concert in Atlanta with my fly open, and I had a black suit on and a white shirt. My white shirt was protruding from the fly.
I still get butterflies. It's because there's a certain level of responsibility you carry when doing a concert. You've got to sound at least as good as the record.
I still do live concerts all over the country - about four a month - with singing and characters and improv. It keeps me limber. I'll never lose that. And comedy is still the bread and butter.
Prime Minister Dmitry Medvedev can no longer attend concerts by his favorite group Deep Purple without having to fear that the musicians will wear T-shirts with Pussy Riot written on them.
As a mode of public pedagogy, a state of permanent war needs willing subjects to abide by its values, ideology, and narratives of fear and violence. Such legitimation is largely provided through a market-driven culture addicted to the production of consumerism, militarism and organized violence, largely circulated through various registers of popular culture that extend from high fashion and Hollywood movies to the creation of violent video games and music concerts sponsored by the Pentagon.
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