Crowd Dynamics Quotes

Never underestimate the power of stupid people in large groups.

Our audiences were always the most bizarre mix. You'd have a thousand screaming girls in the front of the stage and then ten very serious rock critics in the back of the room going, 'Uh-huh, I think we understand this.'

Every crowd has a silver lining.

Every heckler is unique because they say something, and you react to what they say or what they're wearing or who they're with, so every response to a heckle is unique.

Confronting a stadium audience, you can't see the whites of their eyes. It's just an amorphous mass of noise and, of course, you can't see the alleged billions watching at home either, so the degree to which you are intimidated is quite low.

If you take 10,000 chimpanzees and cram them together into Wembley Stadium or the Houses of Parliament, you will get chaos. But if you take 10,000 people who have never met before, they can co-operate and create amazing things.

The auctioneer is talking for both people, and that's the big revelation about, 'Oh, that's what they're doing.' They're just doing it very fast, so you could kind of miss on that. He's speaking for you, because people in the crowd don't have a voice, so that's what really makes it compelling.

The crowd really controls how I am onstage. One show, it might be a lot of young people, super-high-energy dancing. I mirror that. Other shows, it's much more calm.

When you have 20,000 people yelling and screaming at you, four other guys can concentrate on the floor. So every time I touch the basketball and everyone is yelling and chanting and doing things towards me, well, four other guys can concentrate.

The crowd is the crowd. You're gonna take them as an individual performer how you take them. The key is how do you learn from them. How do you use whatever is happening reaction-wise to get better.

I've always enjoyed disappearing into a crowd in New York. As an actor, I love to spy, and it's hard to be a good spy if everyone is looking at you. Also, I'm pretty shy. I don't really like a lot of attention.

But I always say, one's company, two's a crowd, and three's a party

It's really nice meeting people after a concert. Still, it's very weird to be at the center of a group of 30 people all listening to what you're saying. When that group turns into 300 people, it goes on from weird. Some people revel in it, and I don't.

When you're walking onto a bus and trying to get there before the person in front of you, that's a different level of competition than playing in front of 80,000 people.

There's something perverse isn't there, if you're playing in front of 100,000 people and there's 2000 people down the front who don't like, you think: what is it that they don't like?

One: demonstrations always crash. And two: the probability of them crashing goes up exponentially with the number of people watching.

That the sight of people attracts still other people, is something that city planners and city architectural designers seem to find incomprehensible. They operate on the premise that city people seek the sight of emptiness, obvious order and quiet. Nothing could be less true. The presences of great numbers of people gathered together in cities should not only be frankly accepted as a physical fact... they should also be enjoyed as an asset and their presence celebrated.

In a live performance, it's a collaboration with the audience; you ride the ebb and flow of the crowd's energy. On television, you don't have that.

Every baseball crowd, like every theatre audience, has its own distinctive attitude and atmosphere.

Unorganized masses … are highly unpredictable in character

I don't use a Beatmap; I don't use any click track. Any time I count off, it's just in my heart. Sometimes I'll go off the feel of a crowd, like if they way they're bouncing is a little quicker than the song, I might kick up the tempo a little bit. I see where the crowd is at. It's nothing drastic, but all the tempos are from my internal clock.

When people in stadiums do the Wave, it's the group-mind collective organism spontaneously organizing itself to express an emotion, pass time, and reflect the joy of seeing the rhythms of many as one, a visual rhyming or music in which everyone senses where the motion is going.

There is a noticeable difference from a crowd surging against you and a crowd surging with you.

There's a king in every crowd.