I never made any money from my music. I don't make that much; I make it flip-flopping between five and ten different disciplines.

I'm not afraid to be a Russian Jewish romantic in my approach to anything, even in my animal divinities, or anything about the feeling.

There are some people who love being a something, but I also got the gist in the 60's when I grew up that you could be, in the art scene, very diverse.

There are pieces that in the history of music that also make me cry. I'm not ashamed to cry.

For Jewish people, salmon has a special meaning, not just because it's a flavor we've had all along our diaspora. Salmon also have this special return-to-their-roots desire. At the end of their lives, salmon try to swim back to when they were born. Even if they can't, they have this obsession. We as diaspora people love that a lot about salmon.

I found so much fun in the light shows and the multimedia shows of the hippies. That was when I was a student in the 1960s, and I was in New York, so I learned how to deal with writing, recording sound of other people, performance art - because that was a new territory, and I liked everything that was new and provocative. That interested me more than becoming anything specific.

I don't like the piano player music of the movies, the Michael Nyman, and sometimes that piano music makes me puke. It's not really romantic. It's just trying to get your Pavlovian juices flowing because it's a technique now.