The Supreme Court is having a hard time integrating schools. What chance do I have to integrate audiences?

For years the Trio did nothing but play for musicians and other hip people. We practically starved to death.

Only time, education and plenty of good schooling will make anti-segregation work.

I make no claim to being a business genius. You can make so much money in this business that it loses its value.

I'm a musician at heart, I know I'm not really a singer. I couldn't compete with real singers. But I sing because the public buys it.

Get me well so I can get on television and tell people to stop smoking.

There's just one thing I can't figure out. My income tax!

I'm in the music business for one purpose - to make money.

People don't slip. Time catches up with them.

Critics don't buy records. They get 'em free.

The whites come to applaud a Negro performer just like the colored do. When you've got the respect of white and colored, you can ease a lot of things.

If I could read it, I could play it.

It's not the people in the South who create racial problems - it's the people who are governing.

Music is emotional, and you may catch a musician in a very unemotional mood or you may not be in the same frame of mind as the musician. So a critic will often say a musician is slipping.

I was a guinea pig for some hoodlums who thought they could hurt me and frighten me and keep other Negro entertainers from the South.

The only prejudice I've found anywhere in TV is in some advertising agencies, and there isn't so much prejudice as just fear.

The Supreme Court is having a hard time integrating schools. What chance do I have to integrate audiences?

The only sport I'm not interested in is horse racing. That's because I don't know the horses personally.

I'm an interpreter of stories. When I perform it's like sitting down at my piano and telling fairy stories.

The sheriff is at the cash register, and if I don't get a hit soon, I don't know what I'll do.

You've got to change with the public's taste.

I can't bear to see myself even in movies. The feeling is complex. I can't stand the sight of myself.

The people who know nothing about music are the ones always talking about it.

I am famous because I am an African American jazz artist.

I'm not playing for other musicians. We're trying to reach the guy who works all day and wants to spend a buck at night. We'll keep him happy.

Primarily I'm a meat man, although once in a while I toy with a few vegetables.

I often wonder whether Negroes like myself who are pretty well known help out at all in breaking down barriers.

I'm proud of our court. It knocks back a lot of the propaganda the Communists put out about the way America treats her Negroes.

I am an American citizen and feel I am entitled to the same rights as any other citizen.

I may be helping to bring harmony between people through my music.

We're making a commercial Hindi film catering to all types of audiences.

I wonder if that's hurt me at the box office. Maybe audiences these days want to know exactly what to expect when they go into a movie, and my movies are hard to explain in just one way.

Audiences always sound like they're glad to see me, and I'm damned glad to see them.

What I wanted to do was to get that sense of being in touch with this lost world while holding onto what draws readers and audiences there in the first place.

We make films that we ourselves would want to see and then hope that other people would want to see it. If you try to analyze audiences or think there's some sophisticated recipe for success, then I think you are doomed. You're making it too complicated.

Sylvester has a great popular sense, as good as any writer I've ever worked with. He knows what audiences want to see, and what they don't want to see.

Phish and Dave Matthews really know their audiences and really treat them well.

We were tremendously encouraged by the testing of Analyze That. Audiences loved it. They were telling us that they liked it as much as the original. We recorded the laughs in the theater.

Anyway, I collapsed in France in the middle of a tour. I hadn't been eating properly, I was getting very phobic about audiences, and I collapsed in pure fright.

Though I am still very vulnerable to audiences - and it happens all the time - where for some reason the energy doesn't connect and, since the film is very personal, obviously I am made to feel very vulnerable by that.

I don't pay attention to target audiences and therefore I often hear that I am a ratings killer, somebody who fundamentally doesn't care whether one person is watching or an entire soccer stadium.

I want to do what I want when I want to do it not be dictated to by audiences.

I also want to return to doing stand-up. I've become frightened of live audiences. This is a really telling sign that I need to go back on the comedy circuit again.

For me to go back and to play for audiences some of whom have been following me for thirty years and some who have found me in the last five or six years, that's really an interesting thing. I have an audience that goes from kids to seventy year olds.

When audiences come to see us authors lecture, it is largely in the hope that we'll be funnier to look at than to read.

I like cinema audiences. I respect them, and I talk to them just like I would anybody I know.

The difference between critics and audiences is that one is a group of humans and one is not.

Audiences like their blues singers to be miserable.

The sound is the key; audiences will accept visual discontinuity much more easily than they'll accept jumps in the sound. If the track makes sense, you can do almost anything visually.