When I was working with Talking Heads what would happen typically is that they would go out and start playing a track, and I would always run the tape.
BRIAN ENOI wanted quite the opposite of that. I wanted them to accent their styles, so that they pulled away.
More Brian Eno Quotes
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Feelings are more dangerous than ideas, because they aren’t susceptible to rational evaluation. They grow quietly, spreading underground, and erupt suddenly, all over the place.
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Once you’ve grown to accept something and it becomes part of the system you’ve inherited, you don’t even notice it any longer.
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I believe it builds character and, more than anything else, encourages a taste for co-operation with others. This seems to be about the most important thing a school could do for you.
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Try to make things that can become better in other people’s minds than they were in yours.
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Editing is now the easiest thing on earth to do, and all the things that evolved out of word processing – ‘Oh, let’s put that sentence there, let’s get rid of this’ – have become commonplace in films and music too.
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I got interested in the idea of music that could make itself, in a sense, in the mid 1960s really, when I first heard composers like Terry Riley, and when I first started playing with tape recorders.
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When I was young, an eccentric uncle decided to teach me how to lie. Not, he explained, because he wanted me to lie, but because he thought I should know how it’s done so I would recognise when I was being lied to.
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If I tried to make a commercial album, it would be a complete flop. I have no idea what the world at large likes.
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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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I don’t like celebrity programmes – but I do like programmes about how ideas are formed and evolve.
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In my normal life I’m a very unadventurous person.
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When you look back on a historical period of music, it seems so obvious to you what the characteristics of it are, but they’re not obvious at the time. So, when I look back at my own work.
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For instance, I’m always fascinated to see whether, given the kind of fairly known and established form called popular music, whether there is some magic combination that nobody has hit upon before.
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Saying that cultural objects have value is like saying that telephones have conversations.
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People do dismiss ambient music, don’t they? They call it ‘easy listening,’ as if to suggest that it should be hard to listen to.
BRIAN ENO