Venues Quotes

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.

In this world we live in, racism is alive and well in all venues. We immediately categorize people, and that's just not right.

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.

People shouldn't read into venue locations someone's heart.

It would be really nice to have a venue stop in Japan someday. Japan would be perfect for it.

A small venue is so much more intimate and loose. You can actually be more spontaneous, I feel.

There are a lot of us little gypsies out there that need to go and find another place you know. A safer, healthier or just a different venue in order to develop and find ourselves. I am so lucky to live the life that I do.

A fantastic golf course and venue. It's one of those places that you always look forward to going back to...no matter how many times you have been there before.

The Beatles realized that what they were making in the studio could never be performed. And they had already given up on performing because there were too many screaming fans and they were playing in larger and larger venues so they couldn't even hear what they were playing, it just wasn't any fun any more.

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.

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.

Every one of us is an artist, and as an artist, you really can stroll into any venue that you want, as long as you take your time to learn the etiquette of that venue.

Then we did what we called basically I suppose a club tour in England, which was the time I think that our second album came out, we club toured around the whole country where the venues were hold to five hundreds upwards to that sort of thing you know.

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 majors, they have to control the distribution, the record outlets, the radio and, in some cases, even the venues. And downloading and pirating have also put pressure on the majors.

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.

To the extent that our political dialogue is such where everything is under suspicion, everybody is corrupt and everybody is doing things for partisan reasons, and all of our institutions are full of malevolent actors - if that's the storyline that's being put out there by whatever party is out of power, then when a foreign government introduces that same argument with facts that are made up, voters who have been listening to that stuff for years, who have been getting that stuff every day from talk radio or other venues, they're going to believe it.

I'm in hotel rooms night after night, playing a lot of the same venues as my dad and carrying the guitar that used to be his. We're the same person. I don't know if he realises how much of a legacy he has left to his children.

I definitely prefer intimate crowds. I mean, those are always the best shows, like, a small venue. Packed to the gills. Hot, sweaty. Those are always the fun shows.

Sometimes you'll play, like, a large venue - maybe an outdoor venue or something - where it's so big that you can see all of the disinterested people. You see the audience, but then behind the audience you see people eating ice cream, going for a walk.

I tend to gravitate to the darkest or most obscure part of any venue in an effort to have my own space to experience the music on my own, free from unwanted conversations and other distractions.

You have a lot of educating to do hip-hop wise in Europe. When you tour, when you go out there, most of the people that come see you at the venue listen to a lot of different kinds of music, not only hip-hop; they're not heads. From time to time you're going to do a little concert in front of three or four hundred people that are only hip-hop heads and they're going to understand and know all about the gimmicks and the swagger but the rest of the people are just regular European people that listen to pop [or] rock & roll.

The great thing about Ticketmaster is that it's seen as the comprehensive site for ticketing, artist information, venue information. We're a marketing platform, not just a technology platform, and we're going to build on it.

We will apply the experience accumulated in the past four years to the operation of every competition and training venue as well as facilities in the Olympic Village in an intensive and comprehensive way.

I'm more encouraged by the saplings: new music groups, tiny new venues, entrepreneurial musician-composers who aren't waiting to be discovered but are instead building their own Establishment.

I think there's a future where the Web and print coexist and they each do things uniquely and complement each other, and we have what could be the ultimate and best-yet array of journalistic venues.

For artists like me, I think the times that just say the 80's alone, you didn't have to worry about getting twenty-five thousand Facebook followers. You didn't have to worry about every club, every venue you play, where the venues say well you know can you put up this video, put up that Facebook, put up... Nowadays it's really like you just can't be a musician alone.

People put clips of me up. There are quotes from me. I've written books, of course. I'm on Twitter. There are dozens of ways to consume my offerings, and a lecture in a large venue is really only just one of them. So I have no concerns about how much access people would have to me no matter what is the capacity of your pocketbook.

I thought a circus environment would be an interesting venue to explore, where you didn't just have one tent with three rings and a show going on but where you could explore different things in different tents.

The circus itself is my personal ideal entertainment venue.

There are so many good venues in Chicago.

When you have these van tours, you drive six hours with the doors closed and windows rolled up. You pull into the venue, check into the cheap hotel you can afford, eat whatever is there, sleep, wake up, and repeat. You're not really participating in the community.

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.

It's depressing a little when you don't see outside the tour bus and underground in a stadium. If you go outside near the venue there are lots of fans everywhere so you can't just have a minute to enjoy the sunshine alone and think.

Man, I live in Nashville. I know how good other songwriters and singers are around here. There's a wealth of talent in this town, not to mention the people who shoot in for a week or two to try their hand on lower Broad or the other venues around town.

I've said many times before that Pebble Beach is a wonderful thinking-man's golf course. That is why it is such a great U.S. Open venue.

And one thing I can be proud of is we have a 'Come and Try Fishing' day every year. And there's 20 venues throughout the state, and see, these thousands of kids who've never been fishing come along.

The Internet has been a great outlet for storytelling. After all, there are web-based shows that have started online and have then gotten picked up. I think it's a great opportunity for artists to get through the network roadblock. It just allows us another venue to be creative in.

To go see a band in a big venue is a difficult experience. I don't really like that too much. I'm not a guy who puts on iTunes and goes, "Oh, what's hot!" I don't need to.

Blues artists now try and stay in a box. Back in the day at all the clubs you would see James Brown, Jimi Hendrix, The Isley Brothers, Little Richard and Etta James all play the same venues. It was a mix of funk, soul, blues and rock 'n' roll.

I'm popular in the United States and I'm popular in England. England is just more concentrated. The people are closer together. Venues are closer together. Many albums of mine have been popular in England, but, no hit singles. All the hit singles I had were before I went to England. So, I'm not necessarily more popular in England, I'm just popular in England, and more so for my performances than hit records. But, I enjoy doing concert halls all over America, England, Scotland and Australia.

When you play a smaller, more intimate venue, you can have real conversations with your audience, take risks, and stay current. You can also change the set list, on how the day feels or how the audience reacts. When you do arena shows, every arena looks and feels the same. You can't see who is in the room.

You know, I play in small, intimate venues; I'm not an arena performer.

The sports arena Julie calls home is unaccountably large, perhaps one of those dual-event 'super venues' built for an era when the greatest quandary facing the world was where to put all the parties.

Hangovers are a vivid form of vengeance. Last night my apartment became the venue for a small, introverted chardonnay festival. A melancholy choir of Bulgarians provided the entertainment, via a set of headphones that ended up irredeemably tangled beneath the bed. Part of me just watched. The other part was in charge.

People are renovating places and opening ambitious new venues. That's one thing that music does. It gets people out of their houses, and gets them hanging out together.

The Gong Show was the greatest scam of all time. It was simple: We wanted to do a talent show. There weren't any venues for acts back then. We were gonna have a show of new, fresh, good acts. But we couldn't find any; they were all lousy. So rather than throw away the idea, I said, "Let's reverse it. Let's do lousy acts." Now, is that a scam? I'm telling you.

Today, although as a whole, the industry is still male-dominated, more women are drawing comics than ever before, and there are more venues for them to see their work in print. In the 1950s, when the comic industry hit an all-time low, there was no place for women to go. Today, because of graphic novels, there's no place for aspiring women cartoonists to go but forward.

I do think that theater is a great venue for science fiction, and not just adaptations but also original work. I also think some of the greatest classics of theater have elements of SF, but in theater, as in publishing, sometimes people make arbitrary distinctions.

The whole acting and Hollywood [thing], it's just work to me. Stand-up comedy ruins you so badly for doing television. I don't really need to be known anymore than I am. The slight sliver of fame I do have is hard to deal with. If I was actually well-known - I don't even know what to say to people who are at my show when I walk into the venue, much less having waitresses in diners asking for my autograph.