Trying to describe something musical is like dancing to architecture, it's really difficult.

Eventually, if you had a printer that is IPP compliant, that printer will have a Web address and anyone around the world who can get on the Internet can print to that URL.

What happens often - although I'm not particularly a victim of this sort of thing - is that somebody will make a quote, or invent a remark and it gets printed, ends up on the 'net and it becomes currency. And some of them are so bizarre!

My access to music when I was growing up was through pirate radio, you know, transistor radio under the pillow, listening to one more and then 'just one more' until your favourite track comes on.

Trying to describe something musical is like dancing to architecture, it's really difficult.

Anything by Gonzalez Rubalcaba is unbelievable. I've been listening to the best of Django Reinhardt.

I believe that my music is just about feelings, and the style is just a side effect.

I had an invitation to contribute a track to a Robert Johnson tribute album, and it was the first time I'd done anything like that in my life. I was not brought up with the blues or anything like that, and I really, really enjoyed it.

I hardly ever get asked about music. I do, however, get asked about the 'Addicted to Love' video and my suits on a daily basis.

I joined a band because I didn't like school, and there's nothing else I'd rather have done. If I really wanted to make money, I'd be in real estate. But I'm rich enough. I have a son and daughter, a lovely home, and if I see something I like, I can buy it. That's rich enough.

I love Slipknot. But then I like Jao Gilberto... It's the spirit that comes through in music.

I loved the music, but the excesses of rock n' roll never really appealed to me at all. I couldn't see the point of getting up in front of a lot of people when you weren't in control of your wits.

I make up cassettes all the time - to take on the road with me - a song from this album, a song from that album. That's the way I listen to music; it's like one of those K Tel things: it's from all over. I listen to Fred Astaire, I listen to African folk music, I listen to Talking Heads.

I'm introverted, and I pay attention to my muse... Record companies used to go mad and say 'We don't know the deal with you. You have no continuity at all. You give us 'Addicted to Love,' and you're a rock n' roll star, then you give us 'She Makes My Day,' and what's that?' But that was a hit, too. It either gets across or it doesn't.

I'm not concerned that my stuff isn't extreme. I don't want to be heavy. I can't think of another attitude to have toward an audience than a hopeful and a positive one. And if that includes such unfashionable things as sentimentality, well, I can afford it.

I've got to the point where I just get on with it and the content of what I put on the records is determined from what I learn from the audience, from what works live, from what I want to hear when I go to a club or what I'd like to play when I get home.

It's marvelous when you visit Tokyo: they have these clubs, and they'll have 'Motown Night' or 'The Beatles - Totally Authentic and Live!' You know it's shrunk, but at least there's some sort of youthful figure to it. Whereas, the blues scene in Europe is more like, 'Here we go again.'

My listening changed when I heard music from Stax, Atlantic, Motown because by that age I thought anything that my parents listened to must be square. So I had to find my own rock n' roll, as it were, and I found it in black soul music.

My parents were part of a crowd that was attached to all the different navies stationed in Malta. When they would have parties in each other's houses, I would get taken along, and that's where I heard all this great music. I didn't distinguish particular styles; it was all music to me.

The music I heard growing up, since there was no TV or cinema or record covers, I didn't know if it was black, white, hip, square, male, female... whatever. I'd hear melodies and things and got intrigued on that level.

The third note in a chord is what depicts whether it's major or minor. Rhythm and Blues hardly ever uses it because it means that the melody is free to move between major and minor because you're not clashing with the third being depicted one way or the other.

There's hardly anything I've ever done that's made me cringe; I've got pretty good pitch, for a start, so I'm not known for hitting bum notes.

Rock and roll is a single monolithic beast manufactured solely for profit and the shattering of refined eardrums.

In addressing a task, one almost always has several possible options, sometimes only a few, and they may all be practical and functional. But they lack the aesthetic aspect that raises it to architecture.

People can inhabit anything. And they can be miserable in anything and ecstatic in anything. More and more I think that architecture has nothing to do with it. Of course, that's both liberating and alarming.

The organizational architecture is really that a centipede walks on hundred legs and one or two don't count. So if I lose one or two legs, the process will go on, the organization will go on, the growth will go on.

The intellectual architecture means focusing on doing great work instead of focusing on agency politics.

Architecture is not an inspirational business, it's a rational procedure to do sensible and hopefully beautiful things; that's all.

The new architecture of transparency and lightness comes from Japan and Europe.

Every man's work, whether it be literature, or music or pictures or architecture or anything else, is always a portrait of himself.

All architecture is great architecture after sunset; perhaps architecture is really a nocturnal art, like the art of fireworks.

My interest in architecture has always been sculptural. Most of my photography is of architecture.

I see architecture not as Gropius did, as a moral venture, as truth, but as invention, in the same way that poetry or music or painting is invention.

Japanese traditional architecture is created based on these conditions. This is the reason you have a very high degree of connection between the outside and inside in architecture.

I studied architecture in New York. So, really I was very moved, like everyone else, to try to contribute something that has that resonance and profundity of it means to all of us.

Architecture in general is frozen music.

But those musics do not address the larger kind of architecture in time that classical music does, whatever each one of us knows that classical music must mean.

To create architecture is to put in order. Put what in order? Function and objects.

The team architecture means setting up an organization that helps people produce that great work in teams.

French architecture always manages to combine the most magnificent underlying themes of architecture; like Roman design, it looks to the community.

What is being called the UN 'gender architecture' is more like a shack. Women need a bigger global house if equality is ever to become a reality.

Any architectural project we do takes at least four or five years, so increasingly there is a discrepancy between the acceleration of culture and the continuing slowness of architecture.

The dialogue of architecture has been centered too long around the idea of truth.

The greatest advances of civilization, whether in architecture or painting, in science and literature, in industry or agriculture, have never come from centralized government.

Victorian architecture in the United States was copied straight from England.

Space has always been the spiritual dimension of architecture. It is not the physical statement of the structure so much as what it contains that moves us.

Switzerland is a small, steep country, much more up and down than sideways, and is all stuck over with large brown hotels built on the cuckoo clock style of architecture.

Architecture, of all the arts, is the one which acts the most slowly, but the most surely, on the soul.

We are stymied by regulations, limited choice and the threat of litigation. Neither consultants nor industry itself provide research which takes architecture forward.