At Bloomington, Indiana, I was invited to listen to music written in quarter tones for four harps and voices. I had to go out to be sick.
I have never stopped playing music.
It's really hard in this day and age, with radio and MTV being so consolidated, to get new music out there. I think we've become a really legitimate, viable avenue for getting new music out there.
I listened to the rock music of that time, but as you know and can easily hear: my music of that era had nothing to do with the common music of this era. I was experimenting, I was searching for something new.
My interest in his new toy, the Theremin, isn't very big. It simply does not fit into my way of playing music. I do not want to fiddle around with my hands in the air.
Every music - except dance music, which is for dancing, I suppose - is for the spirit of the human being, and not for the body.
How did this or that change my music? The only time I have to think about it is when an interviewer asks me that.
I never had many problems to do my music and to give it to a record company. Rarely do they try to argue with me about my music, probably because it's still too far-out.
I did not start IC and Inteam to have control over my music. I had control before and after.
Most of today's music is done electronically.
Sometimes I like to make music together with a singer or with singers.
The problem was the journalists who also did not understand much of my music, but they wrote about it. I think you fell into the usual trap laid out by parts of the press and other writers: that the poor musician has always to fight the evil companies and managers.
As rich as Cincinnati was in live music, New York was even more.
Well, because music is my life and music is not work for me.
Music is the melody whose text is the world.