I think Baltimore is a wonderful artistic community with a lot of great musicians. It's kind of like a little secret for musicians.
We've played everywhere since I started The Licks. We've played arenas, clubs, school cafeterias and bowling alleys. It doesn't matter where the venue is; we're gonna bring you the rock!
I made it easier for many artists to play in certain areas.
I go a lot to see young people downtown in little theaters. It's great. If you start somebody's career, it's so exciting.
I'm not someone who gets to play The O2 and places like that, but that's the kind of rock and roll venue. The popularity of stand-up means that some people are getting to play rock star venues.
People are always asking me to do Shakespeare - at home, at colleges, on film locations, in restaurants. It's like playing a piece of music, getting all the notes. It's great therapy.
My family was amazing; they exposed me to the world of show business, and, boy, it was the '70s and I got to spend a lot of time backstage at theaters and see the inner workings of how this entertainment industry is really put together.
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.
I had a very strange career. I mean I went from playing to 150,000 people in 1983/84. Three or four years later I was playing to four people, you know, in Melbourne. I thought - bit strange, you know bit odd, bit erratic.
The touring was crazy, it was a lot of work. But I enjoyed it.
You never get tired of the buzz of touring.
I've been blessed to have acting opportunities in movies, television, as well as Broadway, and definitely want to continue to do so.
The function of arts centers goes far beyond being places for performance. They might not be explicitly religious, but they are civic and social spaces.
I never played coffee shops; I just played a lot of coffee shop-sized venues. I took every venue I could get my hands on.
Bejart is almost never performed in New York City; critically, he just gets attacked here.
I did have a big following in the upper New York area. I was at the New York State Fair a few times over the years. I have areas that I say are my areas.
All of us '60s pop stars came from old cities which had a jazz club, a folk club, a coffee house, and an art school.
I did as much theater as I could. I worked at a theme park and a Bible theater and a community theater.
You can't cancel my stand-up tours. It's impossible. There's too many separate bosses. There is no 'bosses.'
I tour a lot, sometimes like a hundred shows a year.
Growing up, I thought it would be great if I could do big theaters. Now we're doing arenas.
You gotta do both. You've got to be on those big tours, and you've got to be in the clubs.
Broadway is a very different kind of place. It's kind of like Nashville in that there's a certain amount of people that are involved, and those people are what run it.
I have always been of the mind that good work is good work, whether performed on stage, on television or in film and, like any reasonable actor, I keep my options open.
Over the years, I managed to develop this comedy career, went from opening act to headliner at comedy clubs, to playing concert halls, and had an off-Broadway show with 'Sleepwalk With Me.'
