A Quote by Andrew Ridgeley
It's an amazing privilege to perform for an audience paying to hear the music that you've recorded.
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It's a privilege to play music fora living. Even more, it's a privilege to have an audience. Respect that.
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!
He felt as if he were paying for the privilege of music with portions of his life and body. But it was well worth it.
Music gets recorded usually in one format, and when you have to take it out and perform it there are other applications and things like that that are better for the live performance.
If I can hear the music then no, I don't hit a wrong note. But if I can't hear the music because the audience is screaming or the sound system is bad, then I'm subject to stray.
It's an amazing experience to perform in Nagpur! Music aficionados here appreciate good music and shower their love magnanimously on artistes.
I've written arrangements for choirs and strings in the past, but I usually write music with my voice or a keyboard and then I'll get someone who is good at writing scores to write it out. Or, if I have the luxury of time, I will go in a room and hear the people perform and then change it through what I hear, not on paper. I can read music OK, but I probably rebelled a little - music changes into something else when you read it.
The only reward the musician receives is music: the privilege of standing in the presence of music when it leans over and takes us into its confidence. As it is for the audience. In this moment everything else is irrelevant and without power. For those in music, this is the moment when life becomes real.
Before I did comedy, I'd freestyle with all of my friends. In high school and into college, I recorded songs with my friends, not to perform but just to play for them. So I've had interest in music for a while. Early on, I'd host a lot of music open nights or hip-hop nights, so a lot of my early experience performing was around music.
You can spend your time on stage pleasing the heckler in the back, or you can devote it to the audience that came to hear you perform.
To be able to be onstage and to hear people in the audience go, 'That's my song!' It's amazing.
I like playing at public schools. I like when there's more of a diverse audience. I'll play wherever people want to hear my music, and I'll be glad and grateful for the opportunity, but I'd rather not play for a bunch of white privileged kids. I'm not meaning that in a disrespectful way; you go where people want to hear your music. So if that's where people want to hear me play, I'm glad to play for them. But I'd rather play for an audience where half of them were not into it than one where all of them were pretending to be into it, for fear of being uncultured.
Because I refuse to perform my music in a traditional sense of instrumentation, I don't have an amazing live stage spectacle to provide, and I don't want to go there. I don't see how the music would stay true to the spirit of the work.
Everybody has they're own audience you know what I'm saying. I write rhymes and make music for the people that I fell wanna hear my music. They write rhymes and make music for the people they feel wanna hear they're music.
When you perform with a live audience, the audience comes back to you, so that you and the audience are giving to each other, in a sense. It's an extraordinary thing. It's wild turf up there.
When I write a book... it's the same essential approach to music as with books. It has to be something I want to hear or read. Hopefully the audience comes along, since that's the only way you can write righteously. I have to ask, 'What do I want to hear?' not 'What do people want to hear?'
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