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.

I played to 20,000 people every day because people were walking on 5th Ave going to and from their jobs, and my sounds were bathing them in all kinds of dissonance, consonance, resonance, and things like that.

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.

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 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.