A Quote by Paul Kantner

One of the main things we learned as a band in those days was not to be the headliner. — © Paul Kantner
One of the main things we learned as a band in those days was not to be the headliner.
I want to become a main player, a main-eventer, a headliner - whatever. I have all that's needed to do that.
We dreamt of that as kids growing up. Like, main eventing, being world champion, walking down that aisle at WrestleMania as the last match, as the main event, as the headliner.
I learned things by being in Lester Flatts' band, and I learned things by playing with Johnny Cash, and I learned from Pop Staples. I'm a sponge.
If you're a wrestler in the WWE, then your goal is to be the headliner, main event of WrestleMania.
When you start doing comedy, you think to yourself, "I want to be a headliner." And you become a headliner, and you're like, "Oh wait, this isn't what I meant. I meant I want to be a headliner that's famous enough that people come see me specifically." And that's a huge leap, because most of the time most of the audience is there to see comedy in general. They're not there to see you.
You know, I'm playing the Mirage in Vegas, the main room... About 5 percent of all comics end up as the main headliner on the Vegas Strip, so that's a big deal for me. Getting to do my stand-up the way I have this summer is really what I've dreamed of since I was about 10 years old.
It's a little less stressful as a support act, because the headliner carries the majority of the weight. But as a headliner, we get to play a little bit longer.
When you're the opener, you're the guy getting the crowd warmed up. But when you're the headliner, you're the main dude. People come to see you, and you have to deliver. It's a cool position to be in.
I learned everything I know from leaving the E Street Band. And of course, one of the things I learned is, I never should have left.
It was a big deal for us to be on Ozzfest, especially as one of the main headliners and being the band that wasn't announced: the mystery band. We'd never played the second stage at Ozzfest, and all of a sudden we're on the main stage.
The days of waiting for your morning paper to show up in your driveway and tell you what the main stories are? Those days are over.
It's great when a huge amount of money goes from a dumb corporation into the hands of an awesome band with brilliant ideas who can use it to keep being a band for a year, as opposed to a band that's already huge taking one of those things - that's more pathetic.
My first boss at the BBC was Aubrey Singer. The main thing I learned from him was discipline. I also learned things about myself: namely, that I hated commuting and didn't really want a 9-5 job.
I think the Internet really sussed things into perspective. Because twelve years ago, I could spend my days on writing and running my band and touring and making posters and practicing with my band and working on my vocals, but I didn't spend a large pie chart of my time sifting through criticism as well, and nowadays I do, and all female artists do, because to be able to promote your work, you need to live in those spaces.
We are a band that stylistically crosses a lot of barriers and generational gaps. The heavier portion of the band, the modern music elements, the visual part of the band appeal to a younger audience. For an older audience, we have chops and great songs that are reminiscent of the things that were great about rock and roll when they enjoyed it. We're the kind of band that can cross those lines.
You know, if a band on a label sold a few hundred thousand copies of their record these days, they wouldn't make any money. But if a band can pump out 10 million copies of a record for free, and 50,000 of those fans come to the band's website to watch pay-per-view videos or buy a t-shirt, that's roughly $10 million in revenue per year.
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