A Quote by Gilda Radner
In our show we know, if we're not getting a response, you see it in our face... we either do something to get a laugh, or the audience is in on it with us.
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If we view a great mountain soaring into the sky, it may excite us, evoke an uplifted feeling within us. There is an interplay of something we see outside of us with our inner response. The artist takes that response and its feelings and shapes it on canvas with paint so that when finished it contains the experience.
The audience works as such a mob. They either all laugh or all don't laugh, and, you know, changes from audience to audience.
Great fiction shows us not how to conduct our behavior but how to feel. Eventually, it may show us how to face our feelings and face our actions and to have new inklings about what they mean. A good novel of any year can initiate us into our own new experience.
So you will see us continue to advance the state of the art or take information that we have in our response data bases and have that drive automation or an automated response by some of our products.
I have a suspicion that a lot of artists are trying to get a laugh but, unlike stand-ups, they don't get an immediate response from their audience; a laugh is a rare thing in a gallery.
The laugh track was invented to cue the audience to the jokes and encourage laughter in response. But it has another effect: if you hear people laughing and you're not, you start to question if maybe there's something wrong with you for not getting it.
In France, I'm not going to say the audience will laugh for nothing, but you could compare the response I get to the response Louis CK or Chris Rock would get if they go up in a club in Denver tonight.
I suddenly realized. The zebra. It is not something outside of us. The zebra is something inside of us. Our fears. Our own self-destructive nature. The zebra is the worst part of us when we are face-to-face with our worst times. The demon is us!
People expect us to be a straight up dance band but there are many more elements to our sound that you really get to see during our live show and hear on our record 'See The Light.'
Our show was - it remained - you know, kids could watch it and laugh at it. And they wouldn't know - they wouldn't get the jokes. But they would laugh at it. So they tell me now they have grown up and they're watching it. Now they get the jokes. But we didn't say anything blatant.
Contemplation is a very dangerous activity. It not only brings us face to face with God. It brings us, as well, face to face with the world, face to face with the self. And then, of course, something must be done. Nothing stays the same once we have found the God within…. We carry the world in our hearts: the oppression of all peoples, the suffering of our friends, the burdens of our enemies, the raping of the Earth, the hunger of the starving, the joy of every laughing child.
Money is a response. We use it to express our social values, our gratitude, our appreciation, our pleasure, our support. Money gives us the ability to respond (response-ability), and its empowering use often defines the truly responsible among us.
I believe human beings mark a threshold in the development of the planet, of course, but it is only part of the picture. What Big History can do is show us the nature of our complexity and fragility and the dangers that face us, but it can also show us our power, with collective learning.
You get an audience to laugh and then show them something horrific, it's going to be even more horrific because they've had the release of the laugh before it.
I think that ties into our name and the meaning behind our name, going Against the Current. We don't really want to fit in to one section. If we're able to be grouped into one category then we've become something that already exists, probably. We want all of those kids that would come out to that pizza shop to come to our show and all of those kids who know us from the radio to come to that show. We have kids that come to our show that have been coming to concerts for years, and ones that it's their first concert and they just wanted to see it. I think that's the best way to do it.
It [The Esemblist] is also about the generation of audience members that are watching shows and listening to us at the same time; hopefully, in time, when they listen to our show and then go see a show, they'll realize even more what it takes to make a show, and they'll know even more about everybody on stage, rather than just people above the title of the show.
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