A Quote by Archie Shepp

Yes, the audience is so important to Negro music, especially the element of call and response. — © Archie Shepp
Yes, the audience is so important to Negro music, especially the element of call and response.
The way that music is approached in the temple is very call and response; it breaks down that barrier between performer and audience.
I prefer that for my own satisfaction over radio, there's no audience. TV, there's no audience. I need the response of the audience, even if it's a silent response.
I think, for a love story, the most important element is the music, since you don't have action sequences or item numbers. It really draws in the audience and adds to at least 70 percent of the opening of the movie.
Your mind, in order to defend itself starts to give life to inanimate objects. When that happens it solves the problem of stimulus and response because literally if you're by yourself you lose the element of stimulus and response. Somebody asks a question, you give a response. So, when you lose the stimulus and response, what I connected to is that you actually create all the stimulus and response.
It's interesting to have a conglomeration of people that covers the strata from A to Z... There's a certain element of the audience that's intellectually oriented, into the lyrics... then there's another element of the audience that's into a sex trip. I'm into both of them.
I take music very seriously, but it's important to me that my music is - I don't know if 'intuitive' is the word, but there's a really important element of something kind of mysterious. It's not academic or esoteric.
I have a theory. An audience doesn't need to get wrapped up in blackness every time they see a Negro actor. And a movie doesn't have to be about race just because there's a Negro in it.
Which implies that the real issue in art is the audience's response. Now I claim that when I make things, I don't care about the audience's response, I'm making them for myself. But I'm making them for myself as audience, because I want to wake myself up.
When you call me European, I say yes. When you call me Arab, I say yes. When you call me black, I say yes. When you call me white, I say yes. Because I am in you and you are in me. We have to inter-be with everything in the cosmos.
I think theater and church are so relatable because it's traditional call-and-response in the way that an audience interacts with the actors.
I maintain that I have been a Negro three times--a Negro baby, a Negro girl and a Negro woman. Still, if you have received no clear cut impression of what the Negro in America is like, then you are in the same place with me. There is no The Negro here. Our lives are so diversified, internal attitudes so varied, appearances and capabilities so different, that there is no possible classification so catholic that it will cover us all, except My people! My people!
I think I'm really part of a whole generational movement in a way. I think a lot of other people since and during this time have gotten interested in writing what we can still call experimental music. It's not commercial music. And it's really a concert music, but a concert music for our time. And wanting to find the audience, because we've discovered the audience is really there. Those became really clear with Einstein on the Beach.
Bounce music is uptempo, heavy bass, call and response.
A Zen student asked his roshi the most important element of Zen.The roshi replied, "Attention." "Yes, thank you," the student replied. "But can you tell me the second most important element?"And the roshi replied, "Attention."
Being yourself is the most important element for me, because, if you're trying to be something you're not, the audience will pick up on that.
A good ending is vital to a picture, the single most important element, because it is what the audience takes with them out of the theater.
This site uses cookies to ensure you get the best experience. More info...
Got it!