A Quote by Miles Davis
We don't play to be seen. I'm addicted to music, not audiences.
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I'm addicted to laughing. I go to see a lot of comedy shows. I'm addicted to playing really loud and obnoxious rock music in my car. I'm addicted to beautiful clothes and shoes. I just love gorgeous stuff and work hard to acquire pretty things, shiny things. I'm addicted to shiny things!
I like to play blackjack. I'm not addicted to gambling. I'm addicted to sitting in a semi-circle.
Whenever I play recitals, the part where I talk about music and my experiences of music, audiences always like it. They feel more involved with an artist who talks to them. It's a nice experience for me as well.
Watching first nights, though I've seen quite a few by now, is never any better. It's a nerve-racking experience. It's not a question of whether the play goes well or badly. It's not the audience reaction, it's my reaction. I'm rather hostile toward audiences?I don't much care for large bodies of people collected together. Everyone knows that audiences vary enormously; it's a mistake to care too much about them. The thing one should be concerned with is whether the performance has expressed what one set out to express in writing the play. It sometimes does.
I would like to play for audiences who are not using my music to stimulate their sex organs.
No one wants to admit we're addicted to music. That's just not possible. No one's addicted to music and television and radio. We just need more of it, more channels, a larger screen, more volume. We can't bear to be without it, but no, nobody's addicted. We could turn it off anytime we wanted. I fit a window frame into a brick wall. With a little brush, the size for fingernail polish, I glue it. The window is the size of a fingernail. The glue smells like hair spray. The smell tastes like oranges and gasoline.
I live in New York, so I'm used to the audiences that cheer and clap through a play. It is unusual for London audiences.
Often audiences vary... but I've always found Milwaukee to be a fabulous place to play with great audiences and very hip.
If you're in a successful play and the play is working well - I mean successful because the audiences like it, the audiences respond well - it's a pleasure.
When I play for the people, every time I play for my audience they are hypnotized, seen. These guys know the potential of the music.
You've seen one of the our gigs you've seen 'em all. But if you're into the music, you'll know that we played better the night before or we can play better.
This supposed idyllic society we have is the most confused, warped, addicted society in the history of the world. We are addicted to power, we're addicted to our own image of ourselves, to violence, divorce, abortion, and sex.
In the 1990s I got to play in a group that played in prisons in California. We would play in maximum security wards. It was infuriating. Those kinds of situations stick with me. We got to come in and play music for them because that's a way of caring, just offering something, a gift, basically. They're basically the most grateful audiences I've ever experienced, because nobody's giving them anything.
My parents were opera singers. I didn't want to play opera because I wasn't good enough. I didn't want to play their music; I wanted to play the music that I wanted to play, and I'm so lucky that today I get to play that music, even though I don't like every song I write.
Music makes me high on stage, and that's the truth. It's like being almost addicted to music.
I feel very fortunate for audiences to have been so gracious as to allow me to do pretty much any role that I felt I could do. They let me play a president. They let me play a lawyer. They let me play a hit man. They let me play a father. They let me play Howard Saint.
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