A Quote by Greg Lake
What I learned then was there is a certain power in a three piece band. The more people you put on that stage, the more diluted it becomes.
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I think the more people you add on stage, the more locked it things become. Whereas fewer members on stage gets the audience to notice any small idiosyncrasy or unique moment that one of the three people onstage is having. It also means that mistakes are accentuated, but to good affect generally if you are that type of band.
When I go beyond a certain range it's outside of my direct horizon therefore I've got to rely on the writings and personal communications given to me by other people that I know.... I've got to try to piece together some tentative information picture of what the whole thing is like, but I'm aware that it becomes more and more speculative as it becomes more and more second, third, fourth hand. And this applies to absolutely everyone.
It takes six years to make a golfer: three to learn the game, then another three to unlearn all you have learned in the first three years. You might be a golfer when you arrive at that stage, but more likely you are just starting.
I would say I am more concerned with the plays I'm going to do than the movies. I'm more comfortable in a play. In film, there's always a certain sense of control, of holding back. The stage is different ; there's more to act. There are more demands put on you, more experiences to go through.
Power to the people' can only
be put into practice when the power exercised by social elites is
dissolved into the people. Each individual can then take control of
his daily life. If 'Power to the people' means nothing more than
power to the 'leaders' of the people, then the people remain an
undifferentiated, manipulatable mass, as powerless after the revolution as they were before. In the last analysis, the people can never
have power until they disappear as a 'people.
The concept of who your audience is becomes more important than your site. Sometimes you can be commissioned to do a piece in Strasburg, and it works. Sometimes you're commissioned to do a piece somewhere else and it doesn't work, but then it moves to another city, the people embrace it, and becomes part of them. You just misjudged the needs of the people. Art is about giving people material and things to work with to fulfill whatever needs they have.
Early on I was a lot more unsure of myself on stage. When our band The Decemberists was getting bigger audiences I was more concerned about alienating them, so I wasn't as willing to take risks and do weird stuff on stage. But once you get more accustomed to it you tend to have more fun with it and not worry about being pilloried for acting out. Whenever you play in front of 400 or 500 more people than you're used to it's always a weird, transitional period.
That's what Judith Herman is saying, and she's absolutely right. Power then breeds an intensification of all because the power can never be absolute power - to some extent it's stymied - but the isolation while in power becomes even more dangerous. Think of it as a vicious circle. The power intensifies these tendencies and the tendencies become more dangerous because of the power.
I think that the most significant, guiding principle was that we wanted to return to a three-piece live form, whereas we became a four-piece for the last record because the songs had more extensive arrangements and we needed a keyboard player to pull off a lot of those songs. We missed the energy, and more push-and-pull of the three-piece.
For anyone with the traits - of feeling himself victimized, of seeking to be the strongman who resolves everything, yet sees truth only through his own self and negates all other truth outside of it - is bound to become more malignant when he has power. Power then breeds an intensification of all this because the power can never be absolute power - to some extent it's stymied - but the isolation while in power becomes even more dangerous. Think of it as a vicious circle. The power intensifies these tendencies and the tendencies become more dangerous because of the power.
I think that as our country becomes more tolerant as a whole of certain things, hopefully becomes more tolerant, there's a way that certain kinds of bullying will be passe and unacceptable.
I move on stage differently. The more you act, anyway, the more you live, your perception of life becomes more and more accurate.
The less people that are on the stage, there's more drama. You start living the music with each individual. When you see a band with ten people on stage, just a huge ensemble, you don't know who's doing what.
I always love trying to put my arms around more people. As a designer, it's a great compliment when people wear your clothes or buy your products, so to do things that are more affordable and have more of a distribution is always very exciting - especially when I can still bring my personality in complete, heavy doses. It's not a diluted version of me; it's a very clear extension of my personality.
A certain number of people have to live their lives outdoors between 8 a.m. and 8 p.m., and a certain number of people can only leave their homes between 8 p.m. and 8 a.m. So basically, public life has to be lived in these shifts, in order for everyone to fit on the streets because there's just no more room for any more infrastructure, any more highways. So it polarizes the community into day people and night people, and it becomes sort of a metaphor for racism and classism.
The power of sound to put an audience in a certain psychological state is vastly undervalued. And the more you know about music and harmony, the more you can do with that.
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