A Quote by Chris Stein
CS: I always say there's a tribal element in a rock concert. There's a real back-and-forth thing that goes on between the audience and the performers.
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This is just the way it goes: there's always a cycle with music - it goes up and it goes down, it goes risque and it goes back, it goes loud then it goes soft, then it goes rock and it goes pop.
The state of love is this constant flux back and forth between who's saving and who's rescuing, who's wanting and not wanting, who's needing and who isn't. It's always going back and forth between two people who are actually attached.
Performers should realize they not only have to prepare themselves for concert purposes as far as memorizing their programs goes, but for the business of just walking out before the people …. It is important to play before an imaginary audience too. Before I play in public I very often play a program three or four times as though I were seated before a actual audience.
At heart, I guess I'm a saloon singer because there's a greater intimacy between performer and audience in a nightclub. Then again, I love the excitement of appearing before a big concert audience. Let's just say that the place isn't important, as long as everybody has a good time.
My historical reading of the situation is that these great monolithic empires developed, Rome, Turkey, and so forth, and they always break down when enough people, and it's always the young, the creative, and minority groups drop out and go back to a tribal form.
They say - "they" being the great philosophers, or possibly the cast of Seinfeld - that breaking up is like pushing over a Coke machine. You can't just do it, you have to set the thing in motion, rock it back and forth a few times.
I think I was always informally thinking about choice from when I was a very young child because I was born to Sikh immigrant parents, so I was constantly going back and forth between a Sikh household and an American outside world, so I was going back and forth between a very traditional Sikh home in which you had to follow the Five K's.
There is something about the stage that makes it so much better than being in the studio. I always connect with my audience; a concert to me is a collaboration between me and the audience, and I love it so much.
If you go all the way back, I've always written science-fiction, I've always written fantasy, I've always written horror stories and monster stories, right from the beginning of my career. I've always moved back and forth between the genres. I don't really recognise that there's a significant difference between them in some senses.
In this world, there are two times. There is mechanical time and there is body time. The first is as rigid and metallic as a massive pendulum of iron that swings back and forth, back and forth, back and forth. The second squirms and wriggles like a bluefish in a bay. The first is unyielding, predetermined. The second makes up its mind as it goes along.
I was walking around with the babies so much that when I got to the Sidney Lumet picture, I would be on set in between takes and I'd be rocking back and forth. Just standing like this rocking back and forth, and Sidney would say, Why are you walking like that in between takes?
What I love about improv so much is that we are all discovering it at roughly the same time. The performers are maybe, what, a half second ahead of the audience? There's very little lag time. I think of a thing, I say it, then the audience is laughing and it all happened in a second.
The one thing that I love about the live audience is the energy level. Like, from the minute of cast introductions, it's just constant energy being traded back and forth. When you do something funny, the audience laughs; when you're being serious, you can, like, feel the tension going through the audience.
What I tried to show is that this idea of this fundamental conflict between savagery and civilization goes back to the very beginnings of Western history. I go back to the Greeks, I go back to the Romans. You can read Homer. And of course Homer has his great heroes involved in this myth, this wonderful mythic contest with savage tribal peoples, half-human monsters on distant parts of the world.
In Philadelphia, there's no delineation, they address me as Rocky, for real. They'll say things like: "Rocky, do you like this coat?" Or: "Rock, say hi to my sister." Or: "Yo Rock, I know a great restaurant." There's no Sylvester. Even the Mayor goes: "It's good to have Rocky here today."
My brain goes very easily into the darkness. It always has. There are people who like to see what's under the rock and people who don't, and for some reason I've always been one of those to say, 'Hey, let's flip over that rock.'
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