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 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.

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.

People never heard bells in Western music sounding really cataclysmic. You hear that more in Russian music or in Asian, Indonesian traditions.

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 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.

I never became primarily a musician! I've always been a wanderer and I'm always bored.