All tours are filled with humiliation. My publisher once hired a private jet to fly me to a venue where 1,000 people were waiting. It almost bankrupted him.
My aim as a frontman is always to try and shrink the venue, if you can, to turn that football stadium into the world's smallest club. At least you have to try.
The only way to ensure a film is going to sell is put Will Smith in it and you open it in 3,000 theaters and make sure we have all the top promotional spots in each venue.
After shows my face feels dirty with makeup and sweat, especially in the smaller venues, so it feels good to get back to the bus and smooth it away. Sometimes you need something alcohol-based, especially on tour when you don't always get a chance to keep washing your face all the time.
When you say 'failure,' that seems really dramatic, but a lot of failure is just really depressing and mundane. I remember the first time I ever played a concert in Italy. I played a venue that held 900 people, and I think five people showed up. It wasn't a big, 'John Carter of Mars' type failure. It wasn't dramatic; it was just depressing.
Every audience is different, even within the same venue. You have to just make every audience your audience; you can't pre-judge an audience based on the size of the room or the type of room.
My shows aren't about trying to save some place, because I don't feel that's the right venue for it. That's my politics right there: Don't bring politics to my shows.
I have never experienced anything like walking out onto the stage of an oversold venue and, before the first note is struck, realizing that there is not going to be enough oxygen for all of us.
I'm not someone who gets to play The O2 and places like that, but that's the kind of rock and roll venue. The popularity of stand-up means that some people are getting to play rock star venues.
If we can sell out a venue that's just as big as this in Omaha, if we can sell out DePaul in Chicago tomorrow, which looks like it's going to happen for 1100 or 1200 people, then obviously everyone will know that we can affect between 700 to 1000 people at a time in damn near every city in America, then I think that's a good start. It also tells people, and gives them an example, how independent hip-hop is able to do this without gigantic corporate support.
After the first few readings in comedy venues I did begin to write for laughs. There's something so gratifying about stimulating laughter.
I remember going foraging for breakfast in St. Louis once. I saw this one girl sitting in front of the venue, and she made this pink T-shirt with a big heart in the middle of it and a misty picture of our guitarist Mark [Potter]. She was so embarrassed when she saw me. And I was trying desperately not to laugh.
I love different themes, different venues, different movies. I love to jump about and tackle different subjects. I have no intellectual master plan.
I have never stopped performing live.I've been blessed with the talent to sing and play the piano so I can fit into a lot of different configurations and venues. I play public and private performances and it has served me well. And I've been fortunate to work in Europe and Asia as well as The US. So for those who have not attended my shows, it doesn't mean I'm not performing.
If there is one venue where Pakistan can beat Australia, then Adelaide is that ground
What Metallica always tries to do, as we go around and play a lot of the same cities, over and over again, year after year, is to give a different experience. We try to never play the same venues, or if we play indoors, we'll play outdoors, and all that type of stuff. It's always about just trying to do a different kind of experience.
It was special with me being from Memphis and knowing the history of the venue, knowing all of the artists who performed in the Orpheum before me. Even having the idea to approach it was ambitious on my part, but I thought they would turn me down at first.
If I could make the same amount of money doing standup it would be no contest. The problem is that if you do make that kind of money doing standup, it's not in clubs, it's in big auditoriums and large venues, and I really think something is lost when you do standup for a big crowd.
I can't begin to predict how news will be delivered to readers in, say, 100 years. But I do know one thing that hasn't changed: Whatever the delivery system, whether it's a magazine, book or blog, people like vivid writing, strong stories and credible people. So while the venue is changing rapidly, human nature isn't, which I find soothing.
The hour on stage is rarely a drag. In fact, I can't really say that its ever a drag. The few times that its been challenging has been when you don't have a sympathetic audience or there is the occasional strange corporate gig or something that you take or that you're not sure and you're like, "Wait a second. That's just the wrong venue".
I loathe hecklers. I haven't got a good syllable to say. When you come out of the club circuit and into the concert hall, they should be gone. There's an element of manners that should tell you that the ticket is dear and it's a different venue.
I'm not going to name any names, but let's just say, I want to do jokes on Donald Trump so badly, and I have no venue. So right now, I'm just dry Trumping.
The World Series is something that rarely gets to a number of venues in professional baseball. And that's one problem because we want the fan base of particular cities to participate in the World Series, even though there may be a lull in the particular performance of the regional team.
I love the intimacy of small venues, I really do, I like that look that people have that they feel like they're special and they can hear and they can see the band as well.
When I dj at big venues I try to play tracks that I would want to hear if I were e'd up in a field with 50,000 other people.
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