Ted Dwane Quotes

Going to a concert can sometimes be very difficult. It can be a long journey. There's the ticket prices. But when the music goes to the community - not the community coming to the concert - they say, 'Wow! I didn't know that this music was so amazing!'

My fondest memories were watching the Beastie Boys get prepped to come on stage. They had a lot of antics and they play a lot of basketball... then they were giving out cameras to the crowd, and performing from the bleachers. The most important thing I learned was that you control your crowd, not the other way around.

In an arena, with Girls Aloud, it's a big production and you don't have time to talk to the crowd about the songs.

You can't control the audience. When you're on the air and they're not coming to the party, it's time to shut down the party.

I have never experienced anything like walking out onto the stage of an oversold venue and, before the first note is struck, realizing that there is not going to be enough oxygen for all of us.

As a promoter, of course, you'd really want the people who pay for the tickets to come into your venue to really be even more connected with the band.

One of my favorite venues is the Bowery Ballroom in New York. I love the room; there's a tiny stage, but I really like the feel of it.

Touring has been a major part of my career. I've done a lot of huge shows, including a 13-night sell-out stint at the Indoor Arena in Birmingham, playing to a total audience of 65,000.

When we go and play live... we go and we work with like different organizations: the food banks, homeless shelters, children's hospitals or different homes that are reaching out to people. And just to actually go and say, 'Hey, don't just hear me play, come to my concert, that's it, hope you have a good night.' It's like, 'Hey, come be a part.'

Artistically, or just performance-wise, I love playing arenas. I think that is my favorite form, because it's big enough to feel like a big, grand show.

Television is very instant. Theatre is much more free, but you are very much on your own up there on stage and in control of your own performance.

It is exhilarating and dangerous to perform live. You are walking a tight rope in front of hundreds of people: anything could happen on stage, and whatever does, you must find a way to make it work.

We do everything from community management to specific marketing promotions.

The concert industry lags dramatically behind the great hospitality businesses out there, whether they're theme parks or hotels or sporting events.

Performing live is difficult. But nobody's forcing us to do it.

Now is the time to get out there and give people a taste of 'Mondo Cozmo.'

In the early days, it was enough for Imgur to have a team that was focused on building product and engineering. But I realized early on if we were going to be successful, we needed someone who would be a bridge between the company and community.

An hour show panics me a lot less than five minutes at the O2. How do you put yourself across and make sure people have a good time in five minutes?

The best thing I can do is stay on the road and build a grass-roots following. I'm constantly about building my brand.

With WWE, you're live every single week. You're in an arena, and there can be anywhere from 12,000 to 20,000 people watching you perform.

Most artists, their 60th show was in front of no one. My first show was in front of 1,200 people.

Those first big concerts we played as 'Throwing Copper' started to really reach people worldwide - I think we played our first big arena show at the George Estate basketball arena down in Atlanta. I remember showing up and standing on stage and just being like, 'I can't believe this is going to be full of people. This is huge.'

I've played the Royal Albert Hall to 8,500 people, and there wasn't a nerve in my body.

What makes you a rock star is what are you able to do when you get behind that microphone, when you put that guitar in your hands, when you wield those drumsticks, and when you raise your hand in front of twenty thousand people: do they respond? That's being a rock star.

I've always wanted to play a role as a producer and a curator and to help make drag really have an epic scale and a large audience and a lot of interest.