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

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.

I want to feel good, I want to feel proud, I want to feel that I give someone enough and that I get enough.

You should never feel comfortable. There is something wrong if you are. You should always feel under threat, on the edge of your seat and pushing yourself. Win one and you want to win more. It's never-ending.

I want to have babies one day but not right now. When I do it I want to do it really well. I want it to be my best project in life.

When producers want to know what the public wants, they graph it as curves. When they want to tell the public what to get, they say it in curves.

I want the municipality to be a helping hand to the man with a desire of sympathy, to help the fallen when it is not in their power to help themselves.

Get me inside any boardroom and I'll get any decision I want.

The avantgarde are people who don't exactly know where they want to go, but are the first to get there.

If I had to come up with something that just came to me, I think growing up in a small town, I want knowledge. I still think today, knowledge is one of the keys.

I want to thank all the fans for their support over the years. Keep supporting the Knicks, we're moving in the right direction here and we will be exciting to watch and competing against the best in the NBA. Come back to the Garden for those exciting games.

If you want something that's going to provide you with a lot of challenges and a variety of different things to do, then you really can't beat a place like the Air Force. I don't mean this to sound like a recruiting pitch. But it's been a lot of fun.

I want to spend more time with those kids. I want to dedicate my time to train those kids and teach them what it takes, what they need to do to get to this level.

Young actors often don't think of the consequences of doing nudity or sex scenes. They want the role so badly that they agree to be exploited, and then end up embarrassing family, friends, and even strangers.

At one point in your life, you'll have the thing you want or the reasons why you don't.

It is the privilege of the gods to want nothing, and of godlike men to want little.

Teachers started recognizing me and praising me for being smart in science and that made me want to be even smarter in science!

I try to teach my heart not to want things it can't have.

Once you drink one glass, you want another.

If you want to grow old as a pilot, you've got to know when to push it, and when to back off.