As a DJ I am never 100 percent in charge of the sound. The sound levels are controlled by someone at the sound board of the venue.
We used to wrestle every night, 385 times a year. For ten years. 365 days. Never had any holidays off, ever. Holidays were always two-day venues. Two event venues. Afternoon and night.
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 only people who have never had a problem with me speaking in their venues are independent bookstores and libraries. Universities and humanities councils have canceled me, but never an independent bookstore.
The way the music industry is now geared, it's fewer accolades towards new and upcoming acts. New bands offer bright creativity. It's a set format. A venue would rather hire a DJ than a band, and that's a problem.
One of the coolest moments for me is still when Kenny G came back to a venue to find me and personally tell me that he loved my song "Void of a Legend" and had watched the video several times. It's the ultimate feeling to get feedback like that from an artist you look up to
I'd rather just help people with my creative energy. I want to remind them that they're cosmic light inside physical forms and they're an incredibly special part of god's wild mind of love, but I'd love to do that in the form of playing at venues or showing a film at festivals.
I sent a lot of the e-mails out to venues and tried to get shows and tried to get people interested in it. It can be a tough thing, because you know these people at venues are getting e-mails like that every day, but I think just my experience in working in running a radio station.
For every show that we do, anyone that rides public transit, bikes, or walk, we offer them a $5 voucher at the merch table. It gets people using the infrastructure in the area. Hopefully, the venues where we play will lobby city council and say, we need bike paths, sidewalk repair. That stuff affects so many people's lives.
Venues are all the same, all feel the same, these generic blank spaces. I like artists like Lightning Bolt-bands that go in and kind of change things every time, play on the floor, set up in the middle of the room. They go in and they reinvent the space every time, which I feel is like the kind of thing that should just be happening.
To perform at the Cardiff Millennium Centre was amazing in itself - the theatre is an incredible venue and it was great to be performing so close to home. For me the best experience was in Glasgow, where I got to play Dee Dee for two weeks! The audience sang along to every song with such enthusiasm you actually couldn't hear yourself singing! That was incredible!
Sometimes it's difficult because you like some regularity in your life, but never knowing who's gonna pop up at what show, what person you might see that you don't expect to see in that city, what problem you're gonna have that night, even the problems at some of these venues, if you look at them the right way, it's an adventure. You're like a cowboy. That's the best part about being in the music industry. You get your gun and you ride your horse.
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.
Ginny's Little Longhorn is my favorite place to play and hang because it's close to old school beer joint music venue as you'll ever find. The Continental Club is also in the top as well.
I noticed that the crowds in the US seem to do a lot more moshing than European fans. But it's also different from venue to venue and really hard to say.
But whatever happens, when you leave London you feel like a winner because it's a great venue and it's so nice to be there with all the guys.
As performers grow older, I reckon there are two ways they can go. They can either be up there, playing more deeply from their guts than ever, or they can be phoning it in so crassly that it leaves a lump in your throat as you leave the venue at the end of the show.
One of the most prevalent and undermentioned genres of music is what is known as noise. You can find it all over the world happening in basements, small venues and even some festivals. Often blown off or belittled by critics, the form for the most part goes unheard and unnoticed.
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.
People shouldn't read into venue locations someone's heart.
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.
Most people don't know what it's like to stand up there and speak their mind. I have a venue to do that. I get paid to do that. It's not like I'm doing heavy lifting up there. It's not like I'm solving the world's problems. It's like I'm hanging out with a bunch of people and it's cool.
The honest man might observe... that no one gets something for nothing; that politicians go in poor and go out rich; that the Government screws up everything it touches; and that the Will to Believe is best confined to the Religious Venue, as to practice it elsewhere is just too damned expensive.
I get asked that a lot and I always go back to my mom's, 'No one has the right to beat you.' I take that to every venue that I'm in. She would say, 'Someone has to be the best in the world, why not you?' I always try to keep that in mind.
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.
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