A Quote by Chuck Mangione
Most recently we've been working in concert situations rather than clubs. because there aren't too many rooms there like Ronnie Scott's, that are pure music rooms, where people come specifically to listen to music.
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I don't listen to a ton of music other than putting my show together, just because my lifestyle isn't too conducive to listening to music all the time. I like to watch basketball, and I would rather not listen to music while I'm doing that.
We're told that independent film lovers... folks that are used to watching art house films, won't come out and see a film with black people in it - I've been told that in rooms, big rooms, studio rooms, and I know that's not true.
America does not need gorgeous halls and concert rooms for its musical development, but music schools with competent teachers, and many, very many, free scholarships for talented young disciples who are unable to pay the expense of study.
The earth's biosphere could be thought of as a sort of palace. The continents are rooms in the palace; islands are smaller rooms. Each room has its own decor and unique inhabitants; many of the rooms have been sealed off for millions of years. The doors in the palace have been flung open, and the walls are coming down.
I have no prejudice about which music is better. I listen to Vivaldi. I like Nick Cave. I love Travis Scott, James Blake, Lola Flores. Music can serve many functions. And so I listen to everything!
I LOVE THE COMEDY CLUBS AND THE CLOSENESS OF THE CROWD. HOWEVER THE MORE YA DO THE BIG ROOMS THEY START TO BECOME YOUR HOME AS WELL AND YOU ADJUST TO THE SURROUNDINGS. I LOVE THEM BOTH. I MISS THE CLUBS BUT THATS WHAT YA WORK FOR TO DO THE BIG ROOMS!
When I was a young student, I only listened to foreign music, mainly rock music and hard rock. Then I surprised myself by discovering ethnic music. Now I like to listen to music from different places, and in many situations. Even when you work, some ethnic music calms the nerves.
Music is generally important to blind people, and most of the blind people that I have come into contact, through my parents, music is very special to them. Obviously, because it is more salient, you know? We might like going to the movies, and of course we like music too, but when the eyes don't work then the ears pick up slack. Music is all the sweeter at that point.
So what's happening with the audio/visuality, for the first time we are doing the music - the people who would come to the concert love the music - they loved him and loved his music - for the first time in concert it's not only the music. Now it's time to know the man. We know the music, but what was the man like?
I think the most important thing for a listener is to realize that he, too, should not listen to music in a passive way; that if you sit in a concert hall and expect to be moved or taken off your seat by the music, it will not happen.
My goal was to play 350-capacity rooms in the U.K. and, if I was lucky, 100-capacity rooms in Europe. I just wanted to play music and make money off it.
I'm a major feminist. There's a real politic in life, where I've been in rooms where real decisions are made, and it's a lot of powerful white men. There are women in those rooms, but not as many as there should be.
I've always identified people's taste in music as being kind of hetero and/or homo - there's music people like because they feel like they have aesthetic similarity to it and the music they wish to create, and then there's music that represents the other, that they listen to because it represents an escape from the music that they have to make.
I don't know where genre really comes from. I grew up with parents who were artists, and I was always interested in what music they were listening to and open to all kinds of genres. So it's nice to see that whole families come to my concerts. I like having an element in my music that is inclusive rather than exclusive, without being pop for the sake of it. It's not important to me how many people listen to it - it's more wonderful that it brings people who wouldn't usually meet into the same room.
I would love to be able to play anywhere, but to me the sweet spot is clubs and theaters, just because I feel like you lean in to tell a joke. You don't back up. Comedy lives in that area. I've played amphitheaters, big clubs, and pool halls, and the most fun rooms hold anywhere from 500 to 2,000 people. That intimacy is where comedy really lives.
In my books, there are a lot of people stuck in rooms. Or, conversely, out in the wide open. It seems that, in a funny way, when people are cooped up in rooms they are freer than when they are wandering about in the world.
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