One of the beauties of working in radio is the way a whole setting can be richly evoked simply by the addition to the track of a little birdsong and a church bell in the distance.

My ignorance would require a volume to itself. Between its covers would be preserved a record of the spurious model of all creation I had in my head, a prelapsarian construct, uncorrupted by the facts.

I'd done a drawing of the model using only peripheral vision, looking at a spot on the wall to the right of where she sat. It wasn't really a drawing of her I produced; it was a drawing of the cloud of lights and darks she dissolved into when I focused on the spot. You could look at my drawing of this cloud and read it as a nude female figure, though a little translation was required.

I remember Bob Dylan saying in an interview that at a certain point he'd had to learn to do consciously what he'd previously done unconsciously or automatically. That resonates.

The goal of all my work is essentially the same: demonstrating that magic is real or that reality is magic, by paying attention, and finding compensation or consolation for what is essentially a tragic existence.

Songs came first. I started out in 1965 trying to copy the Beatles, Bob Dylan, and the Stones, like most kids I knew. I'm still trying. Songs are hard to beat.

Anyone who grew up in the psychedelic '60s probably experienced their share of hypnagogic fireworks. Just as sex got me hooked on anatomy, so drugs were probably what first got me interested in entoptic phenomena, phosphenes, and hypnagogic imagery.