A Quote by Jenny Lewis
The best shows I play, I almost don't even remember off the stage.
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When I look back, I don't remember the best of the best. I don't remember arena shows with 20,000 people. I remember funky little bar gigs where nobody shows up. The weirdest of the weird are what you retain.
The talking shows allow me to come out of my cave and that's why those shows go on for so long. I hate walking off stage. Sometimes I walk off and I miss them as I'm walking off the stage. I wonder if they'll let me go another hour. That's why I do it: to communicate, to get points across.
When my heart rate is so high, I seem to be able to play even better, without making bad decisions. It almost switches the mind off, so that I can play more instinctive tennis.
Sometimes I get off stage, and I almost have no recollection of what happened. It's almost like a trance; it's very bizarre.
Even though I only get a few days off, I do not stop, whether it's getting some stage time at an open mic or flying to L.A. to watch a ton of stand-up shows.
I've always wanted to do stuff to help encourage more women to play, whether it's booking women on my shows at home, even when I was just playing DIY shows, or booking benefit shows and having all women play.
Any footballer's dream would be to play for Manchester United and to play at Old Trafford. The pitch just has this iconic feeling about it. It's elevated like it's almost a stage for the players, and I always enjoyed that you can kind of just slip right off the edges. Seeing the little nuances of it, you know, it's just special to be there.
In the U.K. and Ireland, crowd-work is a big thing. It shows you how funny someone would be if you met them off-stage. Americans don't care if you're funny off-stage. They want to see the writing; they want to see the work you did.
'Hum Paanch' never lost its magic unlike some of the current shows, which go off air because they lose fizz. Even after running for almost 10 years, the show went off air only because the makers decided to end it.
With Faith No More, even though we're a bunch of old men, what I remember about our best shows is some sort of confrontation with the audience.
I went to London a lot as a young designer because London was a major inspiration, not only for the clothes but the sense of freedom. I remember going to see a stage production of "The Rocky Horror Picture Show" in the mid Eighties and loving the mix of Goth and humor, and in my shows I've always liked to play jokes and have fun.
I have been fully involved in designing my stage shows; it's important to me to do something really unique and almost off-the-wall to bring the music and the visuals together. I love design and actually went to school for a bit for graphic design, so it isn't so much 'pressure' for me; it's a way to be creative, and I really enjoy it.
When the Eagles started, I was the best-known one in the band. I remember when Poco would play the Troubador, Glenn and Don would be in front of the stage, drooling and wishing they were in the band. But they'd never admit that now.
When I come off stage, I just shut up. I try as best I can not to use my voice at all. You know I love to talk, but I try when I come off stage to have the minimum amount of vocal interaction because I need at least a good 10 hours to just recover from my form of extreme singing.
There is money to be made giving trick-shot shows at schools, clubs, tournaments, and even shopping centers. Pool shows on television almost always include a few fancy shots.
Well, just coming off the stage and there's like 180,000 people out there and your adrenaline is going so high, and you're doing so much and it's hard to just put your head on the pillow and sleep because it just goes on and on, even after you're off the stage.
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