David Byrne > Quotes

“Sometimes it's a form of love just to talk to somebody that you have nothing in common with and still be fascinated by their presence.”
― David Byrne

“I like a good story and I also like staring at the sea-- do I have to choose between the two?”
― David Byrne, How Music Works

“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.”
― David Byrne, Bicycle Diaries

“I don't care how impossible it seems.”
― David Byrne

“The two biggest self-deceptions of all are that life has a 'meaning'and each of us is unique.”
― David Byrne

“Things fall apart, it's scientific.”
― David Byrne

“I'm just an advertisement for a version of myself.”
― David Byrne

“Facts are simple and facts are straight.
Facts are lazy and facts are late.
Facts all come with points of view.
Facts don't do what I want them to.
Facts just twist the truth around.
Facts are living turned inside out.”
― David Byrne

“The better a singer's voice, the harder it is to believe what they're saying.”
― David Byrne, Social Exclusion

“You may say to yourself: "Well, how did I get here?”
― David Byrne

“It can often seem that those in power don't want us to enjoy making things for ourselves - they'd prefer to establish a cultural hierarchy that devalues our amateur efforts and encourages consumption rather than creation.”
― David Byrne, How Music Works

“Creative work is more accurately a machine that digs down and finds stuff, emotional stuff that will someday be raw material that can be used to produce more stuff, stuff like itself - clay to be available for future use. ”
― David Byrne, Bicycle Diaries

“The more you know, the more you know you don't know and the more you know that you don't know.”
― David Byrne, The New Sins

“For years we have been taught not to like things. Finally somebody said it was OK to like things. This was a great relief. It was getting hard to go around not liking everything.”
― David Byrne

“The act of making music, clothes, art, or even food has a very different, and possibly more beneficial effect on us than simply consuming those things. And yet for a very long time, the attitude of the state toward teaching and funding the arts has been in direct opposition to fostering creativity among the general population. It can often seem that those in power don’t want us to enjoy making things for ourselves—they’d prefer to establish a cultural hierarchy that devalues our amateur efforts and encourages consumption rather than creation. This might sound like I believe there is some vast conspiracy at work, which I don’t, but the situation we find ourselves in is effectively the same as if there were one. The way we are taught about music, and the way it’s socially and economically positioned, affect whether it’s integrated (or not) into our lives, and even what kind of music might come into existence in the future. Capitalism tends toward the creation of passive consumers, and in many ways this tendency is counterproductive.”
― David Byrne, How Music Works

“Living "in" a story, being part of a narrative, is much more satisfying than living without one. I don't always know what narrative it is, because I'm living my life and not always reflecting on it, but as I edit these pages I am aware that I have an urge to see my sometimes random wandering as having a plot, a purpose guided by some underlying story. ”
― David Byrne, Bicycle Diaries

“To some extent I happily don't know what I'm doing. I feel that it's an artist's responsibility to trust that.”
― David Byrne

“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.”
― David Byrne, How Music Works

“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.”
― David Byrne, Bicycle Diaries

“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’t listen to because they’ve been “ruined” 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.”
― David Byrne, How Music Works

“Language as a Prison

The Philippines did have a written language before the Spanish colonists arrived, contrary to what many of those colonists subsequently claimed. However, it was a language that some theorists believe was mainly used as a mnemonic device for epic poems. There was simply no need for a European-style written language in a decentralized land of small seaside fishing villages that were largely self-sufficient.

One theory regarding language is that it is primarily a useful tool born out of a need for control. In this theory written language was needed once top-down administration of small towns and villages came into being. Once there were bosses there arose a need for written language. The rise of the great metropolises of Ur and Babylon made a common written language an absolute necessity—but it was only a tool for the administrators. Administrators and rulers needed to keep records and know names— who had rented which plot of land, how many crops did they sell, how many fish did they catch, how many children do they have, how many water buffalo? More important, how much then do they owe me? In this account of the rise of written language, naming and accounting seem to be language's primary "civilizing" function. Language and number are also handy for keeping track of the movement of heavenly bodies, crop yields, and flood cycles. Naturally, a version of local oral languages was eventually translated into symbols as well, and nonadministrative words, the words of epic oral poets, sort of went along for the ride, according to this version.

What's amazing to me is that if we accept this idea, then what may have begun as an instrument of social and economic control has now been internalized by us as a mark of being civilized. As if being controlled were, by inference, seen as a good thing, and to proudly wear the badge of this agent of control—to be able to read and write—makes us better, superior, more advanced. We have turned an object of our own oppression into something we now think of as virtuous. Perfect! We accept written language as something so essential to how we live and get along in the world that we feel and recognize its presence as an exclusively positive thing, a sign of enlightenment. We've come to love the chains that bind us, that control us, for we believe that they are us (161-2).”
― David Byrne, Bicycle Diaries

“A history of nightlife!--what an interesting concept. A history of a people, told not through their daily travails and successive political upheavals, but via the changes in their nightly celebrations and unwindings. History is, in this telling, accompanied by a bottle of Malbec, some fine Argentine steak, tango music, dancing, and gossip. It unfolds through and alongside illicit activities that take place in the multitude of discos, dance parlors, and clubs. Its direction, the way people live, is determined on half-lit streets, in bars, and in smoky late-night restaurants. This history is inscribed in songs, on menus, via half-remembered conversations, love affairs, drunken fights, and years of drug abuse.”
― David Byrne, Bicycle Diaries

“Music resonates in so many parts of the brain that we can’t conceive of it being an isolated thing. It’s whom you were with, how old you were, and what was happening that day.”
― David Byrne, How Music Works

“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.”
― David Byrne, Bicycle Diaries

“Stop making sense”
― David Byrne

“In musical performances one can sense that the person on stage is having a good time even if they're singing a song about breaking up or being in a bad way. For an actor this would be anathema, it would destroy the illusion, but with singing one can have it both ways. As a singer, you can be transparent and reveal yourself on stage, in that moment, and at the same time be the person whose story is being told in the song. Not too many kinds of performance allow that.”
― David Byrne, How Music Works

“When everything is visible and appears to be dumb, that's when the details take on larger meanings.”
― David Byrne, Social Exclusion

“Music isn't fragile.”
― David Byrne, How Music Works

“It's a bit like sympathetic magic in a way: the usual Western presumption that 'primitive' rituals mimic what they desire to achieve--that phallic objects might be believed to increase male potency and playacting rainfall might somehow bring it about. I am suspicious of such obvious connections and I suspect that the connections among things, people, and processes can be equally irrational. 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.”
― David Byrne, Bicycle Diaries

“Maybe this is all a bit of a myth, a willful desire to give each place its own unique aura. But doesn't any collective belief eventually become a kind of truth? If enough people act as if something is true, isn't it indeed "true," not objectively, but in the sense that it will determine how they will behave? The myth of unique urban character and unique sensibilities in different cities exists because we want it to exist.”
― David Byrne, Bicycle Diaries