Quotes About Audience

In Vegas, you have an audience you can't find anywhere else. It's from all over the country. You play Seattle, everyone's from Seattle. But in Vegas, you have six from Seattle, a bunch from L.A., some local Las Vegans and maybe a farmer from Iowa. In Vegas, you learn the ins and outs of holding a room because of that great spectrum of folks.

You have in Vegas the most heterogeneous audience you're gonna get anywhere in the country. In Boston, Chicago, Miami, you know who goes to the theater. In Vegas, you have people who only see one theater show a year, and it's in Vegas.

When I played with Johnny Cash and Waylon Jennings in Vegas, the guys used to go, 'Dick, cut it out, man! You're moving around too much on this stage. You're making us look bad!'

Las Vegas has the type of audience - and they haven't changed since my father's days - they're still boring and bored. And there's only that handful of artists that they really enjoy and know how to respond to.

I like Las Vegas because it kind of gives me a chance to gauge my material in front of a very diverse group of people. There are a lot of different people in the audience, and you can kind of get a barometer for how your material plays throughout the country.

I went with a friend to see Frank Sinatra in Las Vegas, in the last year that he was performing. He wasn't necessarily on top form, but the way he could connect with an audience and the way he communicated through the lyrics was something I hadn't ever really seen before.

I can get an audience screaming in Las Vegas and say, 'Barbara, that was a great show,' and she'll say, 'Would you please hurry up? We have dinner reservations at 9:30.'

I did a picture called 'Lovely, Still' with Ellen Burstyn, We screened it to the AARP people in Las Vegas, 2000 of them. We got a standing ovation from people who couldn't stand.

Vegas needs a really funny, dirty, late-night show, and I'll tell it like it is, I promise you that. And you gotta love the audience I bring in.

Television really has been my vehicle. I don't get played on the radio much, so I've relied on TV a lot.

'Toonami' was a tremendous vehicle, delivering the art of Japanese animation to a massive audience that may have otherwise never experienced it. I feel an immense debt of gratitude to everyone involved with the show and to every fan who supported it.

Basically I'm an entertainer and I use football as my vehicle.

The beauty of comedy is, when people come to a comedy club, there is a certain veil of reality suspended.

Not wearing hijab has seriously, seriously hurt my career. Mass media wants to see a woman in a veil. But I think it helps me because it makes it easier for my audience to relate to me. I'm not the scary 'other' they keep seeing on 'Fox News.'

We played Carnegie Hall, and that was one time where I felt... Carnegie Hall as a legendary, very venerable place to perform. I'd never heard of anyone going into the Hall and kind of standing on the seats and playing throughout the aisles and having the audience stand on the seats. So when we did that in 2013, even for me it was a shock.

The magic in performing as an entertaining ventriloquist happens when the characters come to life and the interaction between the separate personalities on stage becomes 'real.' Then don't forget that the act has to be funny, and to me, being funny and entertaining any given audience is more important than anything.

My shows aren't about trying to save some place, because I don't feel that's the right venue for it. That's my politics right there: Don't bring politics to my shows.

The large venue gives me the thrill that comes from the power in numbers.

A diva without a venue is a maniac.

Of course, I love the arenas; there's a great deal of energy and excitement playing those kind of shows. But there's something that's very intimate and very special about a small venue, where you really feel like you're almost getting to know everyone in the audience.

Being known doesn't get you anywhere; it just makes the bar and the expectations higher, especially if the venue wants to charge a certain ticket price because you're known. So people are like, 'I paid $60 to see you, and you're on TV'.

What turns me on is to walk into a sold-out venue. The audiences are so much the same as they were in the '60s. It's just an amazing thing. I can't explain it, but I hope it never stops.

A small venue is so much more intimate and loose. You can actually be more spontaneous, I feel.

I'm not the kind of person that can do the same thing over and over and over, so that's why touring, playing in a different venue every night, in front of a different audience, is so rewarding, you know, because it always feels fresh.