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Is giving in to the photographer's presumably natural impulse to compose and light well sometimes okay and not okay other times?

David Byrne

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David Byrne
Age: 119
Born: 1905
Born: May 6
Actor
Artist
Blogger
Composer
Film Actor
Film Director
Film Producer
Film Score Composer
Guitarist
Music Journalist
Musician
Photographer
Natural
Light
Wells
Presumably
Well
Compose
Sometimes
Impulse
Giving
Photographer
Okay
Times

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Often I don't know what the song means until it's finished. Sometimes months later. I don't think that's bad. It implies that I don't know what I'm doing but-I think if you're able to follow your instincts, then that's knowing what you're doing.
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I don't believe that crime, danger and poverty make for good art. That's bullshit.
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I'm afraid that everything will get homogenized and be the same
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I can't tell one from the other:I find you or you find me?There was a time before we were born If someone asks, this is where I'll be.
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When everything is worth money, then money is worth nothing.
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People use irony as a defense mechanism.
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To shake your rump is to be environmentally aware.
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Yeah, anybody can go in with two turntables and a microphone or a home studio sampler and a little cassette deck or whatever and make records in their bedrooms.
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People are renovating places and opening ambitious new venues. That's one thing that music does. It gets people out of their houses, and gets them hanging out together.
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On a bike, being just slightly above pedestrian and car eye level, one gets a perfect view of the goings-on in one's own town.
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I think sometimes I get carried away, like I'm speaking to an imaginary audience rather than just trying to figure something out for myself. Ideally, I try to balance that - that I'm asking these questions of myself, how does this work, why does this happen, what's going on here.
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Well, Marx is having a comeback. I hear him mentioned a lot in terms of the global financial situation and the general sense of injustice out there. A lot of economic experts in America refer to him without actually using the M word, but he's around.
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Why not invest in the future of music, instead of building fortresses to preserve its past?
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I have trouble imagining what I could do that's beyond the practicality of what I can do.
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As everything becomes digitized, there's the idea that things that can't be digitized become more valuable.
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We live in ugly times.
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I'm just an advertisement for a version of myself.
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There's something about music that encourages people to want to know more about the person that made it, and where it was recorded, what year it was done, what they were listening to, and all this kind of stuff. There's something that invites all this obsessive behavior.
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As music becomes less of a thing--a cylinder, a cassette, a disc--and more ephemeral, perhaps we will begin to assign an increasing value to live performances again.
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