Being on TV in front of people is a lot different than sitting in a dark room with a microphone. When I had my radio show, I was on four hours a day for 20-something years. If you put a live microphone in front of Mother Teresa for that amount of time, she'd piss somebody off.
To be a great band it's like you have that telepathy. You know when the bass player's in back of you without even looking. You know when your guitar player's coming up to you to lean up to you and sing into your microphone. You just know these things. You feel it. You feel the energy of it.
It's much easier to spend a lot of time making your microphone louder than it is working on making your message more compelling.
There are a lot of comics at the top end making staggering amounts of money and selling out stadiums. I think stand-up is a more intimate thing than that. Maybe because of the kind of comedy I do. It's like a discussion, but I'm the one with the microphone.
I usually never walk by a microphone.
have you ever noticed how a man orders food at a fast-food drive-through window? ... men have an innate desire to be cute while placing their order through the drive-through microphone. It's as if they believe the invisible mike on the plastic menu screen is actually connected to a standup comedy stage somewhere in the recesses of the restaurant.
It takes a little more time to get into the role, but not very much more. In making a record you don't have the sense of projection over a distance as in an opera house. We have this microphone and this magnifies all details of a performance, all exaggerations. In the theater, you can get away with a very large, very grand phrase. For the microphone, you have to tone it down. It's the same as making a film, your gestures will be seen in close-up, so they cannot be exaggerated as they would be in a theater.
The truth is I've always been a Christian. What's amazing, is that the flaws that come with Christianity are really weird, because mine have a microphone and a camera attached to them. Most people don't have to live under that microscope.
I fell in love with the classical crossover genre when I was on AGT. I found out that I could use the microphone to establish a deeper intimacy with the audience. I did not portray an opera character; I was my true self. I would sing a four-to-five minute piece for the audience and then I could talk to them and say "Hi" to them! I would not need to act out scenes where my character was dying from tuberculosis or killing somebody else on stage, I could have a nice conversation with them.
I'm just very sort of compulsive and lack the ability to keep things in perspective. If I'm not writing or playing guitar or on the microphone or out on the road, I'm cleaning pots and pans or freaking out about some plumbing issue or tweeting.
The older you get, the more power you have with language as a writer, which means that you have to be extra responsible for what you say, whether it's in print or in front of a microphone, because those words can go out and kill or go out and plant seeds for peace.
There's that old cliché which has a lot of basis in truth, that all music journalists are failed rock stars. They all harbour the inner feeling they should be up under the spotlight and the microphone is there for them.
I'm a hard act to follow, because when I'm done, I take the microphone with me.
Being outraged about two men or two women, it requires absolutely no work on the ground. So you can be outraged and you can be an armchair activist, engage in nothing and just simply get on the microphone and say, "I don't believe in X, Y, and Z, and it's terrible," and you can call them names.
The reason we'd stopped was that the buffet car was on fire, that was the reason we stopped. One of the giant biscuits spontaneously combusted out of boredom. Whoever was charged with making the announcement momentarily lost all sense of procedure and we got this tantalizing glimpse into the chaos on the trains, and all we could hear was (bangs on microphone) "Gary, it's burning, what we gonna do?!" And everyone on the carriage just cheered, "Hooray! We're rubbish!"
I think it's important to know how to free in case you fall of what you've written, you can be able to keep going with your rhymes. I think it's also good for the culture of emceeing. It's about microphones and about controlling the crowd; it's about rocking the party.
It's a funny thing about rap, that when you say 'I' into the microphone, it's like a public confession. It's very strange.
I've run all the bands I've been in. A great front man needs that other person. It's not enough to have a guy with a cute face standing behind a microphone. I see it like the classic romantic relationships with men and women, where the woman lets the man think he's running it. It's a classic matriarchal trait, and that's always been part of my personality.
Gowdy had a love affair with the microphone and the fans had a love affair with him. American sports fans truly lost an icon, a legend who never felt he was bigger than anyone else. He had that humility that made him special, and he made everyone feel like they were so important.
If I ever get Manziel disease, I want all of you to smack me in the head with your microphones.
Singing into a microphone and learning to play an instrument and learning to do your craft, that's the most important thing for people to do.
Well actually I'm not a man but a carrot. The band was eating salads one day and a carrot fell off of the salad bar onto a microphone and the band realized that they had just discovered something brilliant. Me.
It's not enough to be able to spell "magnificence" in your bedroom. You have to be able to spell it at the microphone during the spelling bee.
Lyrical lecture, word architecture, Rap director, the best in my sector. Microphone cool chief, releasin the smooth speech... I get nasty with a pen and some loose leaf.
Real, rough and rugged, shine like a gold nugget, Every time I pick up the microphone, I drug it.
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