Of course, uh, the universe is gradually slowing down and, uh, will eventually collapse inwardly on itself, according to the laws of entropy when all it's thermal and mechanical functions fail, thus rendering all human endeavors ultimately pointless. Just to put the gig in some sort of context.
People get good gigs because they stand up....You don't get picked. Reject the tyranny of picked. Pick yourself.
If your gig is not in an office for eight hours a day, its going to be somewhere. If you're a truck driver, you get on a road. If you're a musician, you go to where the people are going to show up and you take the gig. I enjoy it, so I don't and I'm not complaining. Its just the traveling can get to be a bit much.
My mum's an opera singer: I grew up watching her get swept up in music and transform herself into characters. She taught me that music is a lifelong journey, and that with every day and every song and every gig you learn something new.
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 have known people throughout my years of playing where maybe they had a gig, but then lost the gig because they didn't really move forward with them.
The summer gig turned into my day job. I was an arts administrator who helped make indie flicks. At the filmmakers' encouragement, I tried shooting a couple of shorts of my own. Directing was stressful, it was not my strength. But writing the scripts and helping others with their scripts - that was a gas. Making stuff up the way I wanted to see it was the biggest kick I ever experienced.
The only way to get better at stand-up is to do loads of gigs, and I don't know. I spread myself pretty thin to get the stage time. I'd love to do more, really.
Now when I say Sophie Ellis-Bextor I feel that's not really me because that's become this entity from doing the gigs and the shows and the make-up contracts and whatever else.
I can't imagine playing a boring gig. Like, a boring audience without reaction, I will play against them.
When my dad toured in '91, I think my first gig properly was the Tokyo Dome, 50,000 people indoors. That was pretty scary. I was 12, or 13.
I was rooming with Jimmy Bowen at the time, doing some gigs, then I went back to New Orleans and played there in '62.
Santa knows Physics: Of all colors, Red Light penetrates fog best. That's why Benny the Blue-nosed reindeer never got the gig.
So many of these comics are just frustrated singers or actors - they want to get a gig doing a sitcom. It's paint-by-the-numbers comedy, lame joke-telling. They're drawn to it as a career move.
The director's job is full of all sorts of annoyances and details - like how many cars are on the street. Ugh. I don't want it. I like my gig. And I feel that for the next 30 years or so I can keep learning more about it.
Guitar gigs were everywhere in the '50s, and I started diddling around so I could keep working. Playing honky-tonk, simple stuff. I took a few gigs with an organ band that put me out front.
People recognize me all the time now, and there's lots of autograph hunting and smiling. But then I get to play gigs, which are amazing. It's a good job.
When I do stand-up for a long time, I'll get burned out, then I'll get an acting gig. For me, the grass is always greener. I'd like to do a mixture of all of it. My goal is just to do small movies that I've written. That's what I'm trying to do now, just write smaller movies.
I was recording stuff with my dad when I was like five, six years old. I played with him on tour. I'd gone with him to Japan in '91, played some gigs, did a couple shows at the Albert Hall.
To come out in the music business, you only really get one shot. A lot of people get to play small gigs first, and build up that way, without anyone really seeing them.
Hopefully, there's a place in music for Tinted Windows. If we're really trying to be iconic, we should just stop right now. If one of us could die, that would also help. But I don't think anybody wants that gig.
Look, if I ever stop being grateful for gigs, I just need to stop. Because this business is... you know, it's just so kind of job-to-job, and the fact that I've continued working... I'm just incredibly thankful for it. And I never, ever take it for granted.
I had been playing with my local band, Skinny Cat. I had been to quite a few auditions before UFO, managed to get the gig and then not want to do it!
I was interning at a children's theater group in Kentucky - that was my first job out of college. I had jumped around a couple of regional theaters, and I was about to go back to Maine to work at a summer Shakespeare theater there. I didn't want to just jump around the country from gig to gig. I really wanted to go to a city and get involved in a theater scene and a theater community.
I don't really think of these as projects. I think of them as bands. I have tried to not just convene a group of musicians and make one record or make one gig and just drop it. Each of them develop over time. I have been really fortunate to keep a band like the Sextet together over three very different albums. Each time, the goal got more deep for me in terms of how I wanted to write for those people. So it is really about trying to develop ideas and trying to have a consistent focus on a way to come up with new ideas in music that I want to do.
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