In the 1960s, people were trying to get away from the pop song format. Tracks were getting longer, or much, much shorter.
BRIAN ENOI believe that singing is the key to long life, a good figure, a stable temperament, increased intelligence, new friends, super self-confidence , heightened sexual attractiveness, and a better sense of humor.
More Brian Eno Quotes
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The basis of computer work is predicated on the idea that only the brain makes decisions and only the index finger does the work.
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The idea that something is uncool because it’s old or foreign has left the collective consciousness.
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I think the other thing that’s important is getting to a place, which very, very rarely happens with improvising groups, where somebody can decide not to play for a while. You watch any group of musicians improvising together and they nearly all play nearly all the time.
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People who are very confident in themselves aren’t hurt by criticism. They make use of it.
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If you grow up in a very strong religion like Catholicism you certainly cultivate in yourself a certain taste for the intensity of ideas.
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A responsible designer might try to overcome this limitation – probably the engineers at Marshall tried, too. But that sound became the sound of, among others, Jimi Hendrix. That sound is called electric guitar.
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Every collaboration helps you grow.
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I despise computers in many ways. I think they’re hopelessly underevolved and overrated.
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I’m not interested in possible complexities. I regard song structure as a graph paper.
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A part of me has become immortal, out of my control.
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I often work by avoidance.
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One of the things you’re doing when you make art, apart from entertaining yourself and other people, is trying to see what ways of working feel good, what feels right.
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You either believe that people respond to authority, or that they respond to kindness and inclusion. I’m obviously in the latter camp. I think that people respond better to reward than punishment.
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I prefer to shoot the arrow, then paint the target around it. You make the niches in which you finally reside.
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In England and Europe, we have this huge music called ambient – ambient techno, ambient house, ambient hip-hop, ambient this, ambient that.
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The whole history of pop music had rested on the first person singular, with occasional intrusions of the second person singular.
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I hate the thought that someone had picked up one of my song records and was really excited about it, and walks [out of] a record shop with On Land and is disappointed because it isn’t what they wanted.
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What I would really like to do, if I could have a sort of kingship for a short time and organize the group of my dreams.
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When I went back to England after a year away, the country seemed stuck, dozing in a fairy tale, stifled by the weight of tradition.
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The tools are evolving, and people’s interests are evolving as well. So, suddenly people like to hear bands, people like Devendra Banhart or the xx, bands that make a kind of virtue of sloppiness.
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I love the sort of ambivalence of this, the ambiguity of something – being, for instance, in a quite busy Mexican restaurant with one of these very gentle tracks playing I remember as being particularly nice.
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With all fashion, what we do is play at being somebody else. We play at inhabiting another kind of world.
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Not many people bought Velvet Underground LPs, but those who did, started a band.
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Cultural objects have no notable identity outside of that which we confer upon them. Their value is entirely a product of the interaction that we have with them.
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Every increase in your knowledge is a simultaneous decrease. You learn and you unlearn at the same time. A new certainty is a new doubt as well.
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Ambient music is intended to induce calm and a space to think.
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