If you think of music as a language, the space part is where you throw out all the syntax.
You can't make rules regarding the moral behavior of something unless you know what the hell it is, and what it's capacities are. What it can do, what it can't do.
Stuff that's hidden and murky and ambiguous is scary because you don't know what it does.
The point is there is more information now then you can pass along comfortably in an oral tradition, say a strictly speaking culture. That is a problem.
Now there is no place you can go where you don't hear certain types of music.
It's odd that there is a high level of appreciation of nature. There is the aesthetic side that really loves nature and beauty.
At some point or another, our boundaries run into the boundaries of the exterior reality. Like we run into laws and other things that we don't own or don't have control over.
One of the things that's attractive about cyberspace is that it can be construed as no threat. If you see it through the video game keyhole, the amusement keyhole, the entertainment keyhole, it is no threat. If you see it through the LSD keyhole, the consciousness-expanding keyhole, it's like electronic drugs: it is a threat.
Our strong suit is what we do, and our audience.
So it's one of those things where we have to - our problem is pacing ourselves and still reaching a large enough number of our audience. Because we don't want to burn the audience. And we don't want to be excluding anybody.
I'm not trying to clock scores in this lifetime, it's just that things are better now than they were like five, ten years ago. Music has gotten a lot better. There's a lot of people who are committed to - soulfully.
The real problems are cultural. The problems of the people who take drugs as a cultural trap - I think there's a real problem there, the crack stuff, the hopelessness of the junkie. The urban angst.
Don't tell me this town 'aint got no heart
Most musicians, regardless of what culture they come from, can get together and agree on some stuff about music. As there is going to be a common ground.
What we do is as American as lynch mobs. America has always been a complex place.
And Warner Bros. seems to be pretty much into re-releasing all of their catalog. So there's the Warner Bros. stuff and the stuff that we have control over, we're gradually re-releasing it. Some stuff we don't have control over.
Kerouac was a breeze, some kind of incredible super-American, mythos personality blasting through the highways of 1947 America.
I am not a keyboard person. The mouse is better.
The world has to tell us. In other words, we don't have an agenda or a battle plan or a map or a direction or anything. We're just going along, and our world is telling us.
In the last 100 years since the invention of sound reproduction, music has really taken off and it is much more a common language because of records and transportation.
With the recognition comes additional responsibility, because then we're no longer a one-shot. We're now part of the environment.
Sometimes you have to be clever.
As a musician you fall into certain patterns that you're not conscious of, unless you start listening to yourself on tape a lot. If you do that you start recognizing habits; then you have to try and break them.
Western ears have a hard time hearing anything that isn't in four-four time. A lot of cultures experience music in five-eight, for example, five-four.
The reality which is pretending be reality right now, impersonating reality, is just a pretty flimsy structure. There is not a lot of substance to it. You can't find people who are actively involved of affected by it. What you see is a completely different world, what you see is the world of the homeless, and so forth.
