Promoters believed in me and gave me a platform, and then the fans started believing in me. It went from me trying to show the fans what I was all about to growing companies around the world. I got to be the face of so many companies, like EVOLVE and Insane Championship Wrestling in Scotland.
When you don't talk down to your audience, then they can grow with you.
I really focus on giving the viewers compelling television, and hope that more and more people watch.
I think the Norweigan model of municipalities owning cinemas and being programmed by people who know about films is a good one.
I think any time you can go after an audience that isn't built in, that's the job.
Any show that's bringing in a young audience is doing a good thing, because that's the only way that theater will continue to grow. All the other audience members are going to be dead soon!
I would advise my young colleagues, the composers of symphonies, to drop in sometimes at the kindergarten, too. It is there that it is decided whether there will be anybody to understand their works in twenty years' time.
How does one measure the success of a museum?
A show needs time to find an audience, and they're very quick to pull them off the air now.
I've always loved and enjoyed the theatre, but I have to say that none of our sponsorships have been done because I'm one of those chairmen and chief executives who goes gooey-eyed about something. They are done for a very specific marketing and commercial agenda.
The idea that things can be serious minded but must be somehow balkanized in the art-house ghetto is very upsetting because I think it limits not just the audience who was already going to see it, but those who might have had their tastes developed at a younger age.
In order to grow your audience, you must betray their expectations.
I would hope to have some of the same audience that Oprah has earned. And I would love to earn that, as well.
We're trying to make sure it goes up. Expand NASCAR, expand our fan base.
I'm trying to bring a new generation into the musical theater and to create a new audience.
I think in order to find your audience and let them get to know you, you have to introduce yourself a little at a time.
I personally run my social media, so I read all the messages. I get amazing messages. I try to respond as much as possible. Slow, but steady.
Writing works when publications are writing and serving the best interest of their users; numbers are good yardstick but not a way to compensate a person.
We have a wonderful head of social media and community, Danika Harrod, who has a knowledge of community that's really authentic, and she just loves connecting with people and she's very empathetic to what fans might want.
An audience is not brought to you or given to you; it's something that you fight for.
I've lost audiences, I've recovered them.
For us, our musical journey has just been a progression. We're not trying to grow up too fast or anything, and I'm saying that even coming from being married. For us, we're growing up with our audience.
The average age of the Jazz audience is increasing rapidly. Rapidly enough to suggest that there is no replacement among young people. Young people aren't starting to listen to Jazz and carrying it along in their lives with them. Jazz is becoming more like Classical music in terms of its relationship to the audience. And just a Classical music is grappling with the problem of audience development, so is Jazz grappling with this problem. I believe, deeply that Jazz is still a very vital music that has much to say to ordinary people. But it has to be systematic about getting out the message.
By creating fantastic content and spending zero time on audience development, you are certain that you will not succeed on YouTube. You have to focus on audience development as much as you focus on creating content.
The role of an orchestra in the 21st century isn't just playing, it's about developing future audiences and performers.
