Quotes of All Topics . Occasions . Authors
There's a tendency to make more money at concerts. That's from a financial standpoint. Night clubs have a better feel, better contact between the artist and the audience.
I have to believe that I know what's best for me. For instance, I choose all my songs. I never record anything I don't want to record. No one tells me what concerts to do.
I followed Evan's career through the '90s and went to many Lemonheads concerts in N.Y.C. Since he was my best friend's family, he always felt like my family in a weird way.
It's wonderful doing concerts in places like New York and London, but I feel a responsibility to also bring my work home, to bring world-class, classical music to Somerset.
In the early '90s, Too Short was like one of the first dudes who kinda discovered Lil Jon. So I always used to see him at concerts and we'd pow wow - a good dude, you know?
We always got a strong response but I think in this day in age there is less of a marijuana fog at concerts and more of people just more naturally exuberant - it seems to me.
I go to movies and concerts and stuff - that's why I think all my money would be gone if I weren't working because I just keep spending it, on that, and CDs, and I don't know.
We never imagined ourselves in this unbelievable situation that we're in today such as having concerts all over the world and we believe this is all given to us by the Fox God.
Winning - when the game is big, that's all that matters. There's the hoopla, the halftime concerts, whatever. But people always remember who wins. They never remember who loses.
I love kids with a passion I usually reserve for hot cheese, miniature chairs, and Prince concerts, but I feel no stress to reproduce simply because of a fear of withering eggs.
People think top singers are overpaid, but opera houses have a top fee, which is a good thing. Of course concerts are different- everyone wants to make as much money as possible.
Pink Floyd are one of a handful of bands I've listened to a lot and whose concerts I've been to. I love the experience. I don't dance; I just jig up and down like everybody else.
I have normal friends. I sit at my house, and they practically live with me, and I watch them get ready to go to a high school party, hang out with their friends, go to concerts.
The way I feel today, as long as my health is good and I can handle myself well and people still come to my concerts, still buy my CDs, I'll keep playing until I feel like I can't.
The economic picture in the States today doesn't allow for jazz concerts in a tour fashion. People now are too used to the Festival, which gives them more names for the same price.
My mom wanted to be a country singer, too, so country was always being played. And my girlfriends and I used to go to concerts, like Brad Paisley, in middle school and high school.
We were raised right in the heart of the Bogside. Everything was so bad at the time that Mammy would bring us to the pantomime, circus, concerts because we were so confined at home.
A hundred years ago, concerts were far more come-what-may - people played cards, drank beer and appreciated the music. If we go some way towards restoring that spirit, I'll be happy.
We're feminists. We're doing something that only guys are expected to do and doin' it right! At our concerts we'll do one hard-core rap song and then do one where we'll be real sexy.
We do a lot of light classical programming with that, too... obviously... a lot of Tchaikovsky music, Grieg, things like that which have become less classical with classical concerts.
What the Who is all about is exactly that and it always has been. If it exists today for this concert, it's in response again to a function which is happening out there on the street.
When we did concerts, we wanted them to be theatrical events - collaborations with designers, choreographers, and directors - because we thought traditional rock concerts were boring.
I always thought it was sad that you couldn't get anything really good to eat at concerts, so we sit down with our fans before every show and eat a gourmet meal that we made for them.
In my neighborhood, everyone had an opinion on the local cantor. You didn't go to a synagogue to listen to the rabbi's sermon. You went to listen to the cantor. It was like a concert.
My mother always took my brothers and me to music lessons. There were six children. Our parents attended our concerts and encouraged us to study and enjoy many different types of music.
I respect the people who buy my records and come to my concerts. It's only fair that I always try to give them the very best that's in me. After all, I need them more than they need me.
I would never inflict my bassoon on anybody really other than the long suffering audiences that come to the concerts of The Really Terrible Orchestra; which actually is really terrible.
I basically learned hip-hop from *NSYNC. And then while I was touring in theater shows, and I couldn't take classes in hip-hop but I wanted to, I just watched Justin Timberlake concerts.
I realized early on that I was pretty good at organizing. A lot of it was about control. While my friends were out getting hammered at concerts, I was making money. I am a control freak.
My job in this life is to give people spiritual ecstasy through music. In my concerts people cry, laugh, dance. If they climaxed spiritually, I did my job. I did it decently and honestly.
I feel extremely honoured and humbled that people are showing me so much love. My fans have stood by me through thick and thin, and I think this love is what makes my concerts house-full.
A lot of performers don't want to leave the circuit, the European opera house circuit, partly because most singers don't sing many concerts, or at least not while they are in their prime.
In my head, I have the most sensational singing voice. I perform concerts to thousands in the shower. The reality is I can hold a tune. The dream is a West End musical one day - no, really!
I am touring in Europe. I am putting together a trio and a quartet. I am playing solo concerts with my symphonic sounds. I am very much engaged back to playing and recording and everything.
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 sing what I sing. And that's recitals and orchestra concerts. To appease - no, that's not the right word - let's say to satisfy - any opera urgings that my public has, I'll put in an aria.
Despite a large body of work in films, TV, theatre and concerts, I am viewed by many as a Jewish artist. I do not resent the label, except for the fact that I disapprove of labels in general.
His last 2 shows in the U.S. were in Chicago and St. Louis. I don't know what made me go on the trip with him, but I'm so very glad I did. They were two of the finest concerts I've ever seen.
Just as all pop music is not simplistic, not all contemporary concert music is complex. Often what a person connects with goes much deeper than generalized issues of simplicity and complexity.
Through our concerts and tours, we learned that our music is capable of bringing people together, breaking borders and genres. To symbolize all of that, we decided to sing 'The One' in English.
We didn't have music videos. You weren't an overnight sensation. You had to work at it and learn your craft: how to take care of your voice, how to pace your concerts, all that trial and error.
We didn't burn out. We were fresh. So when you go through the 13 shows, that was it until the next time. That way, you went out and did your concerts and things, and you were ready to go again.
If people would like to come to my concerts I'd love them to come. And if they like the music that I make, I love that too. But I do not make music for other people. I make it to please myself.
We lived above the church, and I remember there was no air conditioning in the church. I would shut all the windows and I would have concerts in there. Practice, you know, take the microphones.
If you're a singer, you do concerts, and you get that interaction with fans and see what cities in what part of the world come out to see you. When you're on television, you're removed from that.
In those projects with Sting and Josh Groban and people like that, I see a very interesting effect: their fans coming to my classical concerts, people who've never been to a classical show at all.
Regular church-goers are substantially more likely than non-attenders to read, to take newspapers and magazines, to listen to classical music, to attend symphony concerts, operas, and stage plays.
In Berlin I especially enjoyed the orchestral concerts, and I attended a large number of them. I formed the acquaintance of a good many musicians, several of whom spoke of my playing in high terms.
I wasn't the kind of person that liked waiting for autographs or following them, I just liked to go to the shows, study their records, driving many, many hours to different states to go to concerts.
People don't come to my concerts because they know the program. They come because they love the atmosphere and because they know that when I offer them a program it will be a night they never forget.