There are no mistakes, save one: the failure to learn from a mistake.

What is necessary is possible, what we want is expensive. What is unnecessary is unlikely.

So, you can set up an orchestra down this end of the railway station playing one particular area, and simultaneously at the other end something completely different going on. And in the middle they meet, or not, depending.

I'd say that what we hear is the quality of our listening.

There are no mistakes, save one: the failure to learn from a mistake.

Even within the band, if I cannot manage to persuade the members of what I see to be the next course of action, how do you expect the group to deal with the expectations of thousands of people. It is not possible.

And if you are playing in several meters at once, there has to be a - not a rigid - but there definitely has to be a reference to a common pulse in the band.

According to USA today, the average length of an attention span of a man in America is 23 minutes.

The perception of the audience is the interesting part. If the audience doesn't hear what is going on, is it going on or not?

A mistake is always forgivable, rarely excusable and always unacceptable.

To me, Bill's musical heart is in Earthworks, in the jazz they are playing, in the acoustic kit.

Then certainly for a musician timing becomes something that is immediately accessible as a concept, because it's a necessity in ones everyday performance.

Music can be transformative, utterly transformative. The act of music is utterly transformative.

Now, if King Crimson accepts responsibility for innovating its own tradition, you can't accept responsibility for the audience. And there is an enormous tangible weight of expectation, which comes from an audience attending a King Crimson concert.

In terms of an identity, an identity reflects an individuality, by definition. And, if there is a quality present, it is recognizable and it can be named. If you can't name it, it means you don't recognize it.

However, in modern conceptual frameworks there is a more sophisticated view. I would say that the act of music exists in several worlds simultaneously.

Linguistic philosophers continue to argue that probably music is not a language, that is in the philosophical debate. Another point of view is to say that music is a very profound language.

Michael Giles the first drummer of King Crimson, never agreed to the name King Crimson. But then, if you'd knew Michael, you would know he didn't agree to the album cover either. So maybe Michael didn't agree to the point of definition with many things.

But above that, most mature adults can hold their attention on something for 45 minutes, whether they like it or not. But above that requires training.

If you are playing repertoire material, you're stuck. There's not huge amounts you can do.

If a professional musician in a symphony orchestra is playing Beethoven. But this particular orchestra have played this particular chestnut so many times, they can play it in their sleep. Does the genius remain present in the music or not?

If an apprentice does not hear what a master hears, is then that quality not present in the music? Yes and no. In the world in which the apprentice lives no.

The spoken form is in fact a very restrained representation of what is possible in the musical language.

Being a professional musician doesn't mean you spend 12 hours a day playing music. It means you spend up to 12 hours a day taking care of business, dealing with litigation, with the various characters who've stolen your interests, or fending off hostile lawsuits from former members of the band.

I couldn't concentrate on music. So I made the choice to give up my career as a musician in the frontline to deal with the business.

I recommend my students not to be professional unless they really have to be. I tell them, 'If you love music, sell Hoovers or be a plumber. Do something useful with your life.'

I'm not really interested in music. Music is just a means of creating a magical state.

My life as a professional musician is a joyless exercise in futility.

The quality of artistry is the capacity to assume innocence at will, the quality of experiencing innocence as if for the first time.

Usually people think that it is the musicians who create the music, but in fact it is music who creates the musicians.

Performance is a vehicle for entering different worlds of experiencing.

Achievement is not always success, while reputed failure often is. It is honest endeavor, persistent effort to do the best possible under any and all circumstances.

A failure establishes only this, that our determination to succeed was not strong enough.

I hate failure and that divorce was a Number One failure in my eyes. It was the worst period of my life. Neither Desi nor I have been the same since, physically or mentally.

Failure happens all the time. It happens every day in practice. What makes you better is how you react to it.

It's fine to celebrate success but it is more important to heed the lessons of failure.

The key to accepting responsibility for your life is to accept the fact that your choices, every one of them, are leading you inexorably to either success or failure, however you define those terms.

If those committed to the quest fail, they will be forgiven. When lost, they will find another way. The moral imperative of humanism is the endeavor alone, whether successful or not, provided the effort is honorable and failure memorable.

I believe my publisher has shown a great deal of faith in me over a lot of years but I'm not prepared to be so arrogant to say that the long-term literary value of my work would compensate them for a financial failure.

With failure, you just try again.

In God's world, for those who are in earnest, there is no failure. No work truly done, no word earnestly spoken, no sacrifice freely made, was ever made in vain.

The moral turpitude of the boys of today appears to center in their failure to concentrate on any particular objective long enough to obtain their maximum results.

Success and failure are greatly overrated. But failure gives you a whole lot more to talk about.

The failure of Socialism since 1945 is that whilst encouraging us all, the creators of wealth, to produce less through strikes, it has caused us all to demand a higher level of our own product.

The assertion of failure coming from such persons does not mean that Mr. Mill failed to promote the practical success of those objects the advocacy of which forms the chief feature of his political writings.

There are no secrets to success. It is the result of preparation, hard work, and learning from failure.

Failure is not our only punishment for laziness; there is also the success of others.

Don't come home a failure.

However things may seem, no evil thing is success and no good thing is failure.