A big ego isn’t necessarily a bad thing. A big ego means that you have some confidence in your abilities, really, and that you’re prepared to take the risk of trying them out.
BRIAN ENOI wanted to get rid of the element that had been considered essential in pop music: the voice.
More Brian Eno Quotes
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I occasionally meet people and they say, ‘Oh, I was born to Discreet Music’… They always have very weird eyes, those people.
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Of course, like anybody I repeat myself endlessly, but I don’t know that I’m doing it, usually.
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My guitar only has five strings ’cause the top one broke and I decided not to put it back on: when I play chords I only play bar chords, and the top one always used to cut me there.
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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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When people censor themselves they’re just as likely to get rid of the good bits as the bad bits.
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Think inside the work – outside the work
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Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music – not like a record that you’d put on, which would play for a while and finish.
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People in the arts often want to aim for the biggest, most obvious target, and hit it smack in the bull’s eye.
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I think very often producers are really trying to repeat things. When they hear something in the new songs that they recognize as being a bit like something that was a success on a previous record, they’re inclined to encourage that.
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Let’s do something else.”And you always think “Oh my God I’ve never done anything at all like that before.” But, of course, in retrospect, and to an outsider, they’ll say, “Oh, yeah that’s typical Eno.
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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.
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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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People who are very confident in themselves aren’t hurt by criticism. They make use of it.
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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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In fact, quite a lot of what I do has to do with sound texture, and, you can’t notate that. You can’t notate the sound of “St. Elmo’s Fire.” There’s no way of writing that down. That’s because musical notation arose at a time when sound textures were limited.
BRIAN ENO