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It's actually very easy for democracy to disappear.
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My lyrics are generated by various peculiar processes. Very random and similar to automatic writing.
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Get down with your old Allman Bros. records!
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Robert Fripp and I will be recording another LP very soon. It should be even more monotonous than the first one!
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I despise computers in many ways. I think they’re hopelessly underevolved and overrated.
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All music has political dimensions because it suggests a way of being.
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A way to make new music is to imagine looking back at the past from a future and imagine music that could have existed but didn't. Like East African free jazz, which as far as I know does not exist.
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The trouble with New Age music is that there's no evil in it.
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Sometimes you're quite fortunate, being on the stage, getting to meet people like Salvador Dali.
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I do like Burial; he's so curiously clumsy, you can't help but be moved. It's so un-Hollywood, and the rhythms are so un-danceable.
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I'm often accused of being ahead of my time, but it's simply not true. The truth is that everybody else is behind.
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The biggest crime in England is to rise above your station. It's fine to be a pop star. 'Oh, it's great, lots of fun, aren't they sweet, these pop stars! But to think you have anything to say about how the world should work? What arrogance!'
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Except in a few cases like Music for Airports, which was a very clear case of noticing a niche [and] saying, "Okay, there's this situation in which people always play music, and nobody has written music for that situation so I'm going to." So, that was a very clear example of spotting a niche and working for it. I have done that occasionally.
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We have two different ways of working. One is completely unstructured where somebody just starts playing and somebody joins in and then the other person joins in, and something starts to happen. That's occasionally what happens. What more often happens is that we settle on some sort of - a few sort of structural ideas, like, "Okay, when I put my finger up, we're all going to move to the extremes of our instruments. So, that means you can only play either very high or very low or both. And we're going to stay there until I take my finger down.
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I don't live in the past at all; I'm always wanting to do something new. I make a point of constantly trying to forget and get things out of my mind.
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Something I've realized lately, to my shock, is that I am an optimist, in that I think humans are almost infinitely capable of self-change and self-modification, and that we really can build the future that we want if we're smart about it.
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I've done shows with orchestras, and I like writing with orchestras.
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When you build a building, you finish a building. You don't finish a garden; you start it, and then it carries on with its life. So my analogy was really to say that we composers or some of us should think of ourselves as people who start processes rather than finish them. And there might be surprises.
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John Cage made you realise that there wasn't a thing called noise, it was just music you hadn't appreciated.
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The computer brings out the worst in some people.
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I do love being in my studio. Especially at night.
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I did some songs for Baz Luhrmann's The Great Gatsby. I had done a jazz album of Roxy songs, and they used bits of it in the film. It would be nice to score a movie one day.
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Much as I love the northeast, I didn't want to spend my life there. I wanted to experiment. Savour everything you can while you're here! Touring, seeing the world... That in itself gives you a different perspective.
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You can't have a relationship with a device whose limits are unknown to you, because without limits, it keeps becoming something else.