A Quote by Natalie Prass

There are a lot more variables with festivals than just playing in a venue. — © Natalie Prass
There are a lot more variables with festivals than just playing in a venue.
I noticed that the crowds in the US seem to do a lot more moshing than European fans. But it's also different from venue to venue and really hard to say.
One of the most consistent findings about low performing schools and students is that "home variables" (parental income and education, etc.) are more predictive than "school variables." But, having said that, we as a society can have much more effect on the school variables than on the home variables, so it's important and valuable to focus on the question of which interventions in schools are most effective and which are least effective.
European festivals area lot bigger than American ones, but I like the travelling festivals, it's the same production every day and the bands get used to the stage set up and by the third or fourth show of the tour they're putting on a better show than if they just played one day.
I just want the truth about it, because if the reality is that electronic music festivals are significantly more dangerous than other festivals, then something should be done about it, and that warrants conversation.
Festivals are always fun. I went to a lot when I was younger and had money to go to them. I like playing at festivals. They're always kind of like a big, crazy circus.
We're constantly dealing with old problems under the circumstance of new variables, so just things like greed and fear and anger and inequality are issues that humanity has constantly dealt with. The parameters and the variables change but these are old things. And discussing those things is slightly more timeless rather than focusing on one tiny thing.
I've lived a lot in the last 12 years or however long its been since Boy Meets World. I have a lot more to draw upon in playing Randy than I did playing Frankie. Although, I did have a lot of fun playing that role.
Playing new songs at festivals is weird, obviously. People at festivals are always a bit drunk, and probably just want to hear stuff they know by bands they love, or are checking you out and don't know your stuff very well.
I write a lot of more instrumental music than I do vocal music. It's because I come out of a background of playing piano and then playing sax for a number of years. I kind of got into rock backwards. A lot of guys go into rock and then get sick of it and then go into something else. I came the other way, so I've always just had a lot more stuff lying around.
It could be a great script but the director is not the right person for me to work for at this time. So there are a lot of elements that come into play and a lot of variables, but more than anything it's got to be a great script and a great character.
The festivals are cool because you make a lot of connections at the festivals.
As performers grow older, I reckon there are two ways they can go. They can either be up there, playing more deeply from their guts than ever, or they can be phoning it in so crassly that it leaves a lump in your throat as you leave the venue at the end of the show.
It was tough, and sometimes you had to find some sponsors for a percentage of your winnings. There are a lot of variables to playing mini-tour golf because of the finances. If you don't play well, you're often losing a lot of your own money.
Just playing more, I'm more comfortable. A big part is the boys are giving me a lead a lot of nights. Playing more has just let me be more comfortable in different situations in the game.
Teller and I worked Renaissance Festivals and street performing - actually more real, no kidding around, Philadelphia street performing than we did Renaissance Festivals.
People discover you at festivals. They come to see Coldplay or whoever, and then wander over and catch your act. Festivals make a lot of sense to me.
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