A Quote by Chick Corea
The title 'Now He Sings, Now He Sobs' comes from 'I Ching,' an ancient Chinese book that I was into in the '60s when I was studying different philosophies and religions.
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I came along in the '60s having absorbed as much as I could up until then and added my own tastes and search into the equation. I guess that's how I see 'Now He Sings, Now He Sobs' in relation to the development of jazz in general.
To me, the circle and the square where the sky and the earth, as symbolized by the ancient Oriental religions; they formed a kind of rudimentary alphabet by means of which everything could be expressed with the most limited means. They evoked prehistoric runes and the early I-Ching, or Book of Changes.
The way of presentation is different according to each religion. In theistic religions like Buddhism, Buddhist values are incorporated. In nontheistic religions, like some types of ancient Indian thought, the law of karma applies. If you do something good, you get a good result. Now, what we need is a way to educate nonbelievers. These nonbelievers may be critical of all religions, but they should be decent at heart.
I've been using the same 'I Ching' since I was teenager when it was given to me by a fellow teenager; it seems too late to change now. I don't use it often, but when I do, it really does help. You can fool yourself, but not the 'I Ching.'
I had thought up the title, 'The Good Luck of Right Now,' several years ago. I had no idea what it meant or what the book would be about but I thought, 'Someday I'm going to write a book with that title.'
School gives you the freedom to explore different philosophies, religions, aspects of yourself, and subjects.
I would not say Denmark is a multicultural country, but more people live here now who have different roots, backgrounds and religions, more than 30 years ago. This also applies to religions.
You can imagine in China it's like: 'Ching chong hugong, ching chong kong, Danny Devito. Ching chong chong chong chong. The View. Ching chong!
When I choose the title [for my book], which was my favorite title, I felt sure there was going to be a dozen books maybe with that name already because it's so obvious to me that that's the message. I was surprised it hasn't been the title of a single book. Well, there is a Shel Silverstein children's book called Falling Upwards. But no one has chosen Falling Upward as a title and I'm very happy it's right on the cover.
I think we woefully failed to connect Britain to the growing Chinese economy in the previous decade, and I have sought to remedy that. China is now the sixth biggest trading partner with the UK. We have attracted now the lion's share of Chinese investment that is going into Europe.
I'm glad I wrote them when I did because I think if I were to write my first novel now, it would be a different book, and it may not be the book that everybody wants to read. But if I were given a red pen now, and I went back... I'd take that thing apart.
We won the European Championship last September and now the world title. That is some year for French beach soccer! Now comes the hard part. We have to keep improving and that's difficult because it's tough to do better than winning a world title.
Titles are very hard. Sometimes a title comes before I start to write the book, but often I finish the book and I still don't have a title. I have to go through the book again and then sometimes I hope a title jumps out at me from what I've written.
The biblical writers didn't need to say everything; they could assume some things. They didn't anticipate a day when even Jews and Christians would fall under influences of non-biblical religions, philosophies, and worldviews, to the extent that is now the case in our pluralistic culture and society.
From the great trees the locusts cry
In quavering ecstatic duo-a boy
Shouts a wild call-a mourning dove
In the blue distance sobs-the wind
Wanders by, heavy with odors
Of corn and wheat and melon vines;
The trees tremble with delirious joy as the breeze
Greets them, one by one-now the oak
Now the great sycamore, now the elm.
I think there's an interest right now in the performance aspect of artworks, instead of just hanging things on walls. We're in a moment when a lot of younger artists are looking at work from the '60s and '70s - they are looking at the pieces by Marina Abramovic or Vito Acconci. These pieces have a time element. They were performed live. To perform them again now isn't simply an homage, because it's a different audience, a different moment.
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