A Quote by Jon Batiste

In a live performance, it's a collaboration with the audience; you ride the ebb and flow of the crowd's energy. On television, you don't have that. — © Jon Batiste
In a live performance, it's a collaboration with the audience; you ride the ebb and flow of the crowd's energy. On television, you don't have that.
Consider the ebb and flow of the tide. When waves come to strike the shore, they crest and fall, creating a sound. Your breath should follow the same pattern, absorbing the entire universe in your belly with each inhalation. Know that we all have access to four treasures: the energy of the sun and moon, the breath of heaven, the breath of earth, and the ebb and flow of the tide.
Performing is always my biggest rush. The energy is boundless from a great crowd. I truly believe in energy as a force that is exchanged, especially in a performance situation. You give your utmost and the audience gives it back tenfold.
My live performance, it just comes from feeling an energy and emotion from the crowd.
It's always been an ebb and flow of interest and energy.
Through performance, I found the possibility of establishing a dialogue with the audience through an exchange of energy, which tended to transform the energy itself. I could not produce a single work without the presence of the audience, because the audience gave me the energy to be able, through a specific action, to assimilate it and return it, to create a genuine field of energy.
When you are in the studio, you don't have anybody to feed off of; meanwhile, when you are playing live, you interact with people and you feel the energy in the room. When the crowd is going crazy, that definitely impacts your vocal performance. I prefer to sing live.
To move from a discussion of the early relationship between theatre and television to an examination of the current situation of live performance is to confront the irony that whereas television initially sought to replicate and, implicitly, to replace live theatre, live performance itself has developed since that time toward the replication of the discourse of mediatization.
We have so little faith in the ebb and flow of life, of love, of relationships. We leap at the flow of time and resist in terror its ebb. We are afraid it will never return. We insist on permanency, on duration, on continuity; when the only continuity possible in life, as in love, is in growth, in fluidity - in freedom.
No matter what, I will always prefer a live performance. Whether it be a play or a musical, or playing music live. As long as it's live, it's the best because there's sort of an immediacy to connection between an audience and a performer, whereas where you do film or television, you're at the whim of so many different forces.
Europe and Africa share proximity and history, ideas and ideals, trade and technology. You are tied together by the ebb and flow of people. Migration presents policy challenges - but also represents an opportunity to enhance human development, promote decent work, and strengthen collaboration.
Part of the pleasure of giving a reading comes from the rapport between the audience and the poet. I don't want to get mystical here, but there's an energy flow that begins with the poet, and the energy goes out to the audience, and they're energized, and then they return that energy to the poet. As someone standing up there alone, facing these people, I can feel that rapport (or its absence).
Every time you think television has hit its lowest ebb, a new program comes along to make you wonder where you thought the ebb was.
I'm just a singer/songwriter and entertainer and I miss people and the energy of the crowd. When I play live it's a lovefest with me and my audience. It's how I get my rocks off.
I like the adrenaline of live performance, whatever that is, appearing in front of an audience of any kind, whether it's one or a hundred or a thousand. It gives you a buzz of adrenaline, its exciting. The thing about that is that you want to make those nerves work for you in terms of an energy that's appropriate for the part and the performance, and not to distract the people who are watching so that they become nervous for you.
'Full House' was the first time I had ever been in front of a live audience. I said a line I had rehearsed with my mom, and they laughed. It was wild. To have that energy of the live audience was like, Whaaat? Feeding off that live audience was, to a 4 or 5 year old, a high.
Professional wresting is like performance art. It truly is. You're taking the crowd on a ride, on an emotional roller coaster.
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