A Quote by Damon Albarn
I spent two years figuring out how I could turn it into something that would satisfy me as a musician but also make some kind of cross-cultural link. I feel that I kind of at least touched on the possibilities of cross-cultural music, but it is a lifetime's work, and I don't profess to be anything other than a novice at it.
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I think there should be some way to find some kind of reasonable accommodation that allows the state to continue to say, you know, that women's rights supersede any kind of a cultural custom that's oppressive to women, but also potentially allows a woman to take the oath, I don't know, in a separate room. It would be up to the court to find some kind of cultural accommodation.
I wish I could do a lot of things different. I'm not going to tell you what they are, but if I had a list of all my films right now, I'd go, 'Okay, I'll cross that one out and cross that one out and cross that one out and cross that one out.' Really. But I've made over 40 films. How can I not have some losers in there?
When you say what is the difference between me and my stage name the idea is that as a musician you always think of yourself as inhabiting a certain cultural space in the kind of a cultural landscape, so when I say cultural space what I mean to imply there is that you exist within certain parameters of how people think of culture.
I love my cross-sectioned, cross-cultural audience. Some of them are doing better than the average guy, but my audience has always been people who are struggling to stay in the middle class.
I basically get stereotyped a lot in terms of being a girl and writing 'chick' music for teenage girls or something. I think, if anything, the press kind of, because of my gender and my age, tends to kind of relegate my work to this sort of special-interest group. It's part of the cultural dynamic, I guess.
My dream right now is - and I don't know how to do it, and I don't know if it will work exactly - but just this sort of vague aspiration to start some kind of website where people send in their stories or poems, and me or perhaps some other people turn that into music. And then by the end of the year we make a record and actually put it out. Like a band, but the band is actually a combination of the musician and the fan. I think that's a very 21st-century way of doing it.
Downtown New York, I'm within certain styles of music and I'm also within certain cultural, you know, and literary context. So DJ Spooky was meant to be a kind of ironic take on that. It was always meant to be kind of a criticism and critique of how downtown culture would separate genres and styles because it was ambiguous. You couldn't fit it into anything and that was the point.
I think poetry can be a kind of secular way in which people can be led to approach the difficult parts of their life, where there's been loss, where there's sadness of a deep kind. If poetry can help people to be more at ease in expressing even to themselves a lot of the darkness and pain of ordinary human existence, then it's serving some kind of cultural role, perhaps more than a cultural role, perhaps it is serving something of a spiritual role.
In the Cross is salvation; in the Cross is life; in the Cross is protection against our enemies; in the Cross is infusion of heavenly sweetness; in the Cross is strength of mind; in the Cross is joy of spirit; in the Cross is excellence of virtue; in the Cross is perfection of holiness. There is no salvation of soul, nor hope of eternal life, save in the Cross.
You can't write for the cultural environment - if you do that, by the time it comes out, that cultural environment has passed. You have to be aiming for something that's original - that's the only way you can have any kind of impact.
I'm just trying to make my favorite music. That's how I work; I just do things based on the way they feel to me. I want to be touched by the music I'm making. Luckily, other people have shared that response to my work over the years.
Shamanism is not some obscure concern of cultural anthropologists. Shamanism is how religion was practiced for its first million years. Up until about 12,000 years ago there was no other form of religion on this planet. That was how people attained some kind of access to the sacred.
My work is always a ready-made... cultural, political, or social, and also it could be art - to make people re-look at what we have done, its original position, to create new possibilities.
I hope people describe my music as lyrically driven, cross genre. Kind of alternative, kind of indie, kind of rap, kind of everything.
Maybe we, the cultural workers , could apply ourselves. We're not going to resolve it in this moment or even in this generation, but perhaps as some kind of agenda we could invite our writers and cultural workers to address the problem a little more responsibly, because people are suffering tremendously from a want of data.
I say we spend some money, clean up some junkies and make them all go work for the Red Cross. You ever give blood to the Red Cross? Little paper hatted trainee kid, just sticking you full of holes. Golly, jeez, this is way harder than the deep fryer, how does this work? You get an ex-junkie in there, bap-bap, he's gonna find a vein. You're in, you're out, you got sugar cookie and you're happy!
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