Crowds Quotes - Page 17

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I wasn't part of the Taboo crowd the same way I was part of the New Romantics. I suppose I was seen more as an elder statesman because I had been around the London club scene for so many years. To the Taboo crowd I was really seen as a pop star, someone famous.

The biggest thing I've learned from my dad is he's had adoring crowds of 8,000 at Berkeley, and 6,000 at Jerry Falwell's Liberty University. That's an amazing feat to have people coming out in one of the most liberal universities and one of the most conservative.

The worst moment was when I was performing and I was about to sing, but I choked. I had a tickle in my throat and I started coughing, and I couldn't get the words out. It lasted for like thirty seconds, but I got over it, and luckily the crowd didn't seem to care.

It was my first day at work - and beginning my training on the job, I was given the job of writing cheques and entering their details. The branch was surrounded by hordes of people... soon, they had to close the gates to manage the crowds, and they started pushing in.

I respect the people who work with me, and I respect the crowds in the stadiums - I just live the game and try to advise my players in the right moments. If that means I have to raise my arms and jump, I will raise my arms and jump if that is the best way to help them.

If we're going to be getting treated like that, why can't we treat the clubs like that? I just want to see the game and the players looked after the way they should be because the crowds don't turn up to watch David Gallop play... they turn up to watch the players play.

What I'm doing is a dream come true but at the same time its work. It's like anything else. The only time it doesn't really feel like work to me is when I'm on stage and doing what I've prepared myself for my whole life which is to stand out in front of a crowd and sing.

By the time I got to 'St Vincent,' I had shot so many scenarios I was ready for anything - I've shot kangaroos, I've shot dogs, cats, crowds, fight scenes, stunts, comedy, drama, handheld, dolly, helicopter, crane - I just felt that there was nothing I was unprepared for.

I have more respect for amateur wrestlers, especially collegiate ones, than anyone else. It's a gutsy sport with no real payoff except for knowing that you were better than someone else. It doesn't have big crowds, it doesn't have big money, but it is fun going one on one.

Evictions used to be rare in this country. They used to draw crowds. There are scenes in literature where you can come upon an eviction - like, in 'Invisible Man' there's the famous eviction scene in Harlem, and people are gathered around, and they move the family back in.

A good DJ is always looking at the crowd, seeing what they’re like, seeing whether it’s working; communicating with them. Smiling at them. And a bad DJ is always looking down at what they’re doing all the time and just doing their thing that they practiced in their bedroom

When I was fighting, I would look to excite the crowds with a bolo punch or something taunting. Looking back, they were legal - but not sportsmanlike. I don't recommend another boxer try them. But we looked more to make the robot fights dramatic first and realistic second.

Liesel shrugged away entirely from the crowd and entered the tide of Jews, weaving through them till she grabbed hold of his arm with her left hand. His face fell on her. It reached down as she tripped, and the Jew,the nasty Jew, helped her up. It took all of his strength.

When I look at my audience, I can tell better who's in the crowd and the kind of joke I shouldn't do. It's just complicated. I guess I sift through to make sure these jokes are a little different with not such a harsh edge to them. That's pretty much how I handle the crowd.

I kind of rode this weird line between athlete and artist. It was a little different because most of the athletes were total jocks, and most of the artists dressed in black and were kind of considered a little on the fringe. But I hung out with both crowds in my high school.

Human activity is having a major impact on the planet. We consume or have diverted a large proportion of the productivity of the land and oceans. Our hunger for land crowds out fellow species. Our waste products pollute the waters, warm the atmosphere and acidify the oceans.

I'm an anarchist. I'm implacably opposed to heirarchical systems of power and control. I also mistrust crowds, as they often operate according to their lowest common denominator. In terms of evolutionary psychology, the crowd is very close to a herd of stampeding wildebeest.

When I was in England, I did a lot of wrestling and moves. Over here, they were like, 'You don't need to do that much. Save your body. Become an entertainer rather than a wrestler.' And I wasn't used to wrestling on TV and in front of huge crowds, so it was a big adjustment.

Pope Francis has aimed a blow at what the whole hierarchical system is built on: a graded system with the higher clergy in the skyboxes, the devoted religious in festival seating, as they say of the crowds at rock concerts, and, on the bottom, the laity in standing room only.

If they [the crowd at The Apollo Theater] don't like you, they will let you know. When you didn't have any talent, they would let you know about it -- and not kindly. There'd be things like "Get off the stage!" and certain expletives we won't say here. It was a rough audience.

As you are now you are just a liquid phenomenon, changing every moment, nothing stable. Really you cannot claim any "I" -- you don't have one. You are many "I"s just in a flow, a riverlike flow. You are a crowd, not an individual yet. But meditation can make you an individual.

The fact that we were encouraged to follow our conscience and not to follow the crowds - that's something I really miss. On the other hand, there were things that drove me nuts in the '60s. There was an aspect of the hippie movement that everyone is an artist, which is lethal.

Even if you have a big tune, live crowds can get sick of it. It's not just about the song but also the staying power and if people have connected with it in a certain way. I know that the tracks I put more emotion and depth into are the ones that have the staying power in clubs.

They lived in a great city, a metropolis of many narratives that converged briefly and then separated for ever, discovering their different dooms in that crowd of stories through which all of us, following our own destinies, had to push and shove to find our way through, or out.

Funny thing about the volatile and biased French crowds. While they'd prefer to be cheering a countryman and giving his foreign opponent merry hell, if there was no Frenchman in the game, they'd always support a Continental player over an Englishman, an American, or an Australian.

You will notice that the Occupy Wall Street crowds - and the progressives who support them - focus on bringing the wealthy down to earth rather than lifting the 99 percent. They have a nearly religious belief that too much wealth is fundamentally immoral and unhealthy for society.

If I could make the same amount of money doing standup it would be no contest. The problem is that if you do make that kind of money doing standup, it's not in clubs, it's in big auditoriums and large venues, and I really think something is lost when you do standup for a big crowd.

If you do live shows long enough as a comedian, you can still hear that rhythm of laughing. It's ingrained in you, and it's not something you can really teach somebody. It comes from doing hours and hours and hours and years and decades on stage, performing in front of live crowds.

The 1960s was a period when writers in the West began to be aware of the extraordinary eloquence and popular attraction of the Russian poets such as Yevtushenko and Voznesensky - oppositional figures who could draw crowds. The Russian poets recited from memory as a matter of course.

I didn't know what to expect when we first started touring behind 'Southeastern' because you don't want to lull anybody to sleep or lose their attention. But it's really been incredible how the crowds seem to be just as excited for the slow, sad songs as they are for the old rockers.

Every one knows, that the mind will not be kept from contemplating what it loves in the midst of crowds and business. Hence come those frequent absences, so observable in conversation; for whilst the body is confined to present company, the mind is flown to that which it delights in.

Everybody wants a big crowd. You get amazed sometimes with certain things that millions of people are watching and you go, "Serious?! Really?!" And then, there are things that you really, really enjoy and not a lot of people are watching. It's very, very hard to predict how it works.

Since I was five or six years old, I just wanted to be a professional football player. I wanted to play against the best players. I wanted to play in big stadiums in front of big crowds, and I was desperate to play for my country one day, and thankfully, I was lucky enough that happened.

I don't really like long flights any more - I find them too tiring. Flying always involves the same things these days - huge crowds at airports, waiting around, late take-offs, weather problems, and so on. I don't really enjoy travelling. I don't imagine anyone does except young children.

The wisdom of crowds works when the crowd is choosing the price of an ox, when there's a single numeric average. But if it's a design or something that matters, the decision is made by committee, and that's crap. You want people and groups who are able to think thoughts before they share.

When I was racing, I had learned that you can't set stock in public adoration or your press clippings. By the time I was 26, I'd heard crowds of 100,000 scream my name, but a week later they couldn't remember who I was. You're a hero today and a bum tomorrow - hero to zero, I sometimes say.

Formerly, leaders of states practiced realism, but did not honor it. With them morality was violated, but moral notions remained intact. The modern governor, owing to the fact that he addresses crowds, is compelled to be a moralist, and to present his acts as bound up with a system of morality.

Those who are near me do not know that you are nearer to me than they are Those who speak to me do not know that my heart is full with your unspoken words Those who crowd in my path do not know that I am walking alone with you Those who love me do not know that their love brings you to my heart

We know what the birth of a revolution looks like: A student stands before a tank. A fruit seller sets himself on fire. A line of monks link arms in a human chain. Crowds surge, soldiers fire, gusts of rage pull down the monuments of tyrants, and maybe, sometimes, justice rises from the flames.

Once you've been on tour six, seven years, you get an idea of what works and what doesn't work universally. There will be some crowds that we just can't play a song, but we've got 90% of a show that we know is going to be a hit with the Lupe Fiasco fan. I think the catering has already been done.

Linux is a complex example of the wisdom of crowds. It's a good example in the sense that it shows you can set people to work in a decentralized way - that is, without anyone really directing their efforts in a particular direction - and still trust that they're going to come up with good answers.

You always get nervous on stage because when you get up there, you want to do great. The crowd has you pumped up so there are always a little bit of butterflies. That's all part of it. But as far as getting stage fright, clamming up there, not generally, I just enjoy it on stage and have a great time.

I do whatever [comedies] I'm attracted to. It's like the woman who stands out in the crowd, who for some reason you notice, that's the one you're supposed to dance with at that time in your life. That's just what it is with scripts... they find you when you're emotionally in the right place to do them.

Film festivals are usually unpleasant experiences on some level. The lines are ridiculous, the crowds are ridiculous, or the schedules are impossibly arranged: 'You say that there's a film you really want to see? Try the 8 A.M. show! Oh, it's too bad you didn't get to bed until 2 A.M. the night before.'

In stand-up you can go either way. It's live. Somebody might say something in the crowd, you might respond to it. But in a movie you could be spontaneous too. But you pretty much have to stick to that story or that scene or that script, but in stand-up you can go wherever you want to. It's more freedom.

Quite a crowd tonight, Gin. Usually, it's just you and Finn." I shrugged. "What can I say? I seem to attract minions wherever I go these days. Kind of like the Pied Piper." Behind me, Finn huffed out his displeasure. "Minion? I am most certainly not a mere minion. Head minion, perhaps. At the very least.

Working with passion is an engine that is unbelievable. A person with drive and passion does three times the job of another person. But it is not so much the quantity of the job; that is not the point. The point is that they draw crowds; they have followers; they push, and lead, and so achieve much more.

My mother and my father have always supported me. Now in their eighties, they actually clamor onto the tour bus with me once or twice a year so they can watch the performances and hear the crowds. Traveling with eighty-something-year-olds on a tour bus... there has to be some sort of reality show in that.

It is this simplicity that makes the uneducated more effective than the educated when addressing popular audiences-makes them, as the poets tell us, 'charm the crowd's ears more finely.' Educated men lay down broad general principles; uneducated men argue from common knowledge and draw obvious conclusions.

Failures are much more dramatic than successes, and people like drama. I think this is why automobile races draw such crowds. People expect spectacular crashes, which we tend to find more interesting than cars just racing around the track. The same is true of bridges, buildings, or any structure or machine.

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