Every week for me was the same audience, and every week they heckled me. The better I got at comedy, the better the audience was at heckling me. But it helped me with my joke writing.
With basketball, if a guy is having an off night you still can say he's a good athlete. But with a comedian, you see them in front of the wrong audience - and they can look like complete amateurs. It's remarkable.
I really shine in front of prominently Jewish crowds. Normally I really beat myself up, but as far as Jewish audiences go, I'm at the top of my game.
I think the audience should take away that it's okay to be smart, it's okay to be funny and well-learned. You can be from academia and be funny; you don't have to be an idiot.
I still don't really know what my style is. I like a lot of different kinds of comedy, I like watching it and I like being inventive and original. That's the problem with doing a longer set - you can't do every joke that you have because some stuff contradicts other stuff. Even when you know that the audience knows that you're joking and it's not true, you still can't do a joke about your family dying and then later talk about your Mom. I mean you want to keep some kind of cohesive order going.
I think what I do in my acting world and what I do in my standup world is bring up a brand that I want to bring across. Once you figure out your brand and what you do, it's kind of easy at that. You end up getting your audience.
I came from the Groundlings Theatre in L.A., and there, you're guaranteed to at least try something out in front of an audience. At 'SNL,' only the best stuff gets picked, and it's taught me a very defined language of comedy. You learn the structure of a joke, which is not something I was very good at beforehand.
When I was in high school I made the discovery that if I was playing in a jazz club, and there were black people in the club, if I could get the black people to like what I was doing, I was on the right track. So I began to play to those people because they knew what the authentic music was. I've always had that in the back of my head.
If they [the crowd at The Apollo Theater] don't like you, they will let you know. When you didn't have any talent, they would let you know about it -- and not kindly. There'd be things like "Get off the stage!" and certain expletives we won't say here. It was a rough audience.
The question if this is a work of art or not is not very interesting for us. Probably it is situated in between the established categories. Anyway the audience which is interested in art would be the most open-minded and willing to think about it.
...in the theatre the stage keeps the audience aware of the fictional nature of the action. The reader poring over a magazine, on the other hand, identifies what he sees in the photographs as real.
I'm designing a seductive frame to attract an audience to a subject they would otherwise ignore. And that's what I do in all of my photography - give a stage to things that wouldn't normally receive that stage.
You have to assume that you're talking to the most intelligent, tuned-in audience you could ever get. That's the way you're going to get the best out of people. Whether they know you or not shouldn't matter for comedy. They should get to know you pretty quickly. and they should be having a good time pretty quickly.
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.
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.
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.
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.
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.
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.
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.
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