A Quote by Win Butler
The idea of dancing to bad house music is something I could never get behind.
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I'm so bad at dancing that I've actually been in two movies where the director of the film saw me dancing and thought it was so funny that in one movie they had me do it as the mental dancing of a real simple person. The other one was, like, to-be-laughed-at dancing. That's how bad my dancing is.
Dancing and music get into our bodies and it gets into our minds and it gets into our souls and we can be connected to something else. Music connects us all to each other, and I think that's just magical and beautiful, and I need that in my life. Heartbreak is the pain of separation. To me, the cure that music offers and that dancing offers is complete integration.
I think I just liked the idea that I could make something, that I could communicate some sort of idea through music.
I was looking for some way to put my music to some service on a nightly basis. You go into a town, you play a little music, you leave something behind. That idea connected us to the local community. It was a very simple idea, but it really resonated with me.
I loved dancing with a delirious 'I wish I could die' passion, especially when the music appealed to me ... but alas! only one in ten partners had any notion of time, and what made it worse, the nine were always behind, never before the beat. ... Sometimes I would firmly seize smaller, lighter partners by the scruff of the neck, so to speak, and whirl them along in the way they should go, but I saw they were not enjoying themselves, and oddly enough I wanted these wretches to like dancing with me.
I don't feel bound by the ebbs and flows of musical trends, or what's happening with new music in general. I always had a fascination with that sound. It's a mixture of the idea that something could be going wrong along with the idea of bending constrained, Westernized music out of tune. But because I wasn't copying an idea, and it just came from somewhere inside me, it felt like a birth of something that most people didn't understand at the time.
In my house every Sunday, everybody was cleaning the house. There was always music, and everybody was dancing, sometimes naked around the house. Not hippie, but very free.
In my house every Sunday, everybody was cleaning the house. There was always music, and everybody was dancing, sometimes naked, around the house. Not hippie, but very free.
I'm usually busy - if you call me at the house, I get about four phone calls there a year - I'm usually running around the house with a pen in my mouth holding onto something, folding it, or doing something to it, and it's always a bad time.
I never could get into The Chambers Brothers. They make good records, but I never could get behind it.
Life is like a ship. There's people dancing on a ship.There's a lot of money on the ship, but I cannot integrate on the ship or get equality on the ship.And I never could. I'm just in the galley working and I never could get up to see the captain of the ship.
I never understood the idea that you're supposed to mellow as you get older. Slowing down isn't something I relate to at all. The goal is to continue in good and bad, all of it.
I liked the idea of architectural games - you're always building and rebuilding. And I still thought of myself in opposition. I thought, If architects build a dream house, then I want to build a bad-dream house. My piece was called Bad Dream House.
If parents could just get their children moving around in the most simple and fun ways - jumping in leaves, dancing to pop music, throwing socks in a laundry basket - they could be sowing the seeds of great habits that could last a lifetime. It is all about turning it into a game.
Along with a lot of other things, becoming a Bob Dylan fan made me a writer. I was never interested in figuring out what the songs meant. I was interested in figuring out my response to them, and other people's responses. I wanted to get closer to the music than I could by listening to it - I wanted to get inside of it, behind it, and writing about it through it, inside of it, behind it, was my way of doing that.
When I was a kid, pre-1994 was still apartheid, so we didn't get a lot the subversive music from the States or from the U.K. A lot of the music we would get was the poppiest pop music, so I've never really had a bad association it.
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