It's O.k. To Accept Good Fortune.

When You're Listening To A Recording, You're Supposedly Listening To Some Aspect Of The Past In The Present As You Travel Slowly Into The Future, But You Also Know There's A Very Strong Likelihood That The Future Of That Recording, Whether You Made It Or Whether You're Listening To A Led Zeppelin Record, Is Going To Continue Probably Far Beyond Where You Are.

I Do Not Want A Personal Relationship With My Fans. Or To Do Anything That Encourages Them To Think They Have One With Me. They Can Have A Personal Relationship With My Songs. That's Fine, But They Don't Know Me.

I Felt So Liberated When I First Saw Charles Mee’s 'the Glory Of The World' At Bam Play, Because For Me This Is The Gateway To Contemplation, Or This Is The Gateway To Love, Or This Is The Gateway To Faith, Not Sitting And Reading A Book By An Isolated Monk, God Bless Him. This Is.

There Are A Limited Number Of Promoters Out There Who Care About Creating Music. You Rarely Meet A Promoter Who's Like, "i Want To Be Responsible For The Best Shows, I Want To Make Sure That These Are The Best Shows These Audiences Have Ever Seen."

When I Listen To Little Fourth-dimension Artifacts, They're Like They Were Made As Time Capsules In The First Place. You Know That When You're Writing The Song And Recording The Song, You're Already Sending A Message To The Future Listener, Whoever And Wherever And Whenever That Will Be.