My music education was oral. I was resistant to scores and things like that. In Jewish religious music, there are no scores. You learn everything by rote, by ear, by repeating.

I hung around hippie-ish kind of people and, first of all, they never made any money. If you never make any money, you never have to declare any profession!

I had already been a young singer. And once, as a profession, I was a young singer, what you would call a soprano in England, but I was an alto in singing Jewish music in bar mitzvahs and weddings and synagogues throughout New York City because, after Israel, New York is probably the biggest Jewish community in the world.

Not that I have anything against music now, but I just hated being an anything. I don't know why.

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.

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.