David Byrne

Powerpoint presentations are a kind of theater, a kind of augmented stand-up. Too often it's a boring and tedious genre, and audiences are subjected to the bad as well as the good.

But at times words can be a dangerous addition to music _ they can pin it down. Words imply that the music is about what the words say, literally, and nothing more. If done poorly, they can destroy the pleasant ambiguity that constitutes much of the reason we love music. That ambiguity allows listeners to psychologically tailor a song to suit their needs, sensibilities, and situations, but words can limit that, too. There are plenty of beautiful tracks that I can__ listen to because they__e been __uined_ by bad words _ my own and others. In Beyonce's song "Irreplaceable," she rhymes "minute" with "minute," and I cringe every time I hear it (partly because by that point I'm singing along). On my own song "Astronaut," I wrap up with the line "feel like I'm an astronaut," which seems like the dumbest metaphor for alienation ever. Ugh.

I wouldn't be surprised if poetry - poetry in the broadest sense, in the sense of a world filled with metaphor, rhyme, and recurring patterns, shapes, and designs - is how the world works. The world isn't logical; it's a song.

Simplicity is a kind of transparency in which subtle nuances can have outsize effects.

The radio was shouting at you, pleading with you, and seducing you.

I sense the world might be more dreamlike, metaphorical, and poetic than we currently believe--but just as irrational as sympathetic magic when looked at in a typically scientific way. I wouldn't be surprised if poetry--poetry in the broadest sense, in the sense of a world filled with metaphor, rhyme, and recurring patterns, shapes, and designs--is how the world works. The world isn't logical, it's a song.

I pick up a copy of Newsweek on the plane and immediately notice how biased, slanted, and opinionated all the U.S. newsmagazine articles are. Not that the Euro and British press aren't biased as well--they certainly are--but living in the United States we are led to believe, and are constantly reminded, that our press is fair and free of bias. After such a short time away, I am shocked at how obviously and blatantly this lie is revealed--there is the 'reporting' that is essentially parroting what the White House press secretary announces; the myriad built-in assumptions that one ceases to register after being somewhere else for a while. The myth of neutrality is an effective blanket for a host of biases.

One forgets that part of one's performance is one's history__r sometimes the lack of it. You're playing against what an audience knows, what they expect. This seems to be true of all performers; there's baggage that gets carried into the venue that we can't see.

There's a good chance that you might be inspired by ideas that originate outside of yourself.

Everyone was doing that in their own way, rejecting things and moving on. It's just a part of discovering who you are; it's nothing special.

A soap opera character on the bar TV says, "You killed him, you smothered him with doughnuts!" Another character, another scene--she is sitting in a room with a man and an elderly woman--the leas character wonders if she's dead. The man says, No, you're alive," and the other woman hands her a plate of doughnuts.A commercial comes on. A couple are on a date and the woman's voice-over articulates interior thoughts of what a wonderful guy her friend has set her up with: "He's so cute, and his IQ is higher than my bank balance . . . but she didn't tell me he has . . . Tourette's syndrome.

There are two conversations going on at the same time: the story and a conversation about how the story is being told.