If you put this in the context of Detroit in '64 or '65, the economy was booming. Everybody had jobs and there was a whole nightclub culture where bands could work.

I hate that expression, 'fusion.' What it means to me is this movement where nothing ever really fused.

You get on the radio by writing your own songs. But we had the dilemma of not being able to play anywhere because we weren't able to play anything that anyone wanted to hear. So we learned songs that we thought that we could do without puking.

Drugs, sex, booze, all the stuff that we wanted to do. The problem was that we didn't want to learn the top 40 'cause most of the music was awful and we had this other idea about what we wanted to do.

When we first met, I was trying to put a band together. I asked around at school for other guys who wanted to play in a band. Someone told me about a juvenile delinquent they knew who played bongos.

We played together for so long and we got to the point where our styles blended together. Even today, sometimes I'll hear our records and I'm not really sure who played what. And we took a bunch of acid together too.

When we first started playing in the early days, none of us really had any idea about writing our own songs yet. We were struggling how to learn our instruments and play songs to be able to perform for people.

It wasn't a class system where I was the better guy and he was the second-rate guy. That was his role and my role was to play the solos. But he took great pride in his technique as a rhythm guitarist.

But when I was a teenager, the idea of spending the rest of my life in a factory was real depressing. So the idea that I could become a musician opened up some possibilities I didn't see otherwise.

Drugs, were a symptom - they weren't the cause of anything.

If you put this in the context of Detroit in '64 or '65, the economy was booming. Everybody had jobs and there was a whole nightclub culture where bands could work.

As time went on, we formed a number of different bands. We played in rival, neighborhood bands. We learned more songs and we learned how to play Chuck Berry music and we learned Ventures songs.

Aesthetically, we were enormously successful. Economically... there was no success. It was all about music of the future and unfortunately it was a band that didn't have any future.

I was a little ahead of him but that didn't matter after awhile.

When I first started playing in a band, before the Beatles, working bands played standards and they saved their rock material til the end of the night when they were really stretched out. It could be pretty lame.

I believe that in a great city, or even in a small city or a village, a great theater is the outward and visible sign of an inward and probable culture.

We should have a State in which we could live and breathe as free men and which we could develop according to our own lights and culture and where principles of Islamic social justice could find free play.

I don't have space to enter into the examples or the history of this, so I'm left with having to make the bold statement that culture is extinct.

We need to have a culture that says 'the less energy you can use to be comfortable, the better off you are and the better you should feel about yourself'.

Concerning culture as a process, one would say that it means learning a great many things and then forgetting them; and the forgetting is as necessary as the learning.

No doubt Western civilization has in the past been full of wars and revolutions, and the national elements in our culture, even when they were ignored, always provided an unconscious driving force of passion and aggressive self-assertion.

The things that I draw on, and the world that I feel part of, aren't particularly youth culture.

I recommend the same therapies for all humans with HIV. There is no reason to believe that physiologic responses to therapy will vary across lines of class, culture, race or nationality.

Towns are suffering from all these things, we should unite until we are all satisfied, man cannot be killing each other as if we were animals, as if we had no culture; that is a lack of culture.

You're a Catholic in Italy when you're born, it's unthinkable to stop being Catholic. You just take the rules a lot more seriously, because it pervades your culture.

Sex and drugs were simply not discussed in our culture at that time.

You have to open your mind. I like the ability to express myself in a deep way. It's the closest music to our humanity - it's like a folk music that rises up out of a culture.

Lives have been altered in fundamental ways, and later, after they acquire a more complete understanding of what goals are actually attainable, many are left facing a lot of pain and frustration. And yet, there's no culture of complaint.

I've always been interested in the relationship between total external surround, culture, the political matrix, technology, etc., and the internal human consciousness.

Writing is about culture and should be about everything. That's what makes it what it is.

And there are so many people in the third world suffering so horribly right now, and we are so focused on ourselves and our culture that a lot of things are showing up in our culture that are making it impossible for us to focus on others. We're so self-focused.

One very important aspect of our contemporary musical culture - some might say the supremely important aspect - is its extension in the historical and geographical senses to a degree unknown in the past.

Mr. Speaker, genocide is the most potent of all crimes against humanity because it is an effort to systematically wipe out a people and a culture as well as individual lives.

When I go to Japan and do shows I play for 1,000 to 1,500 people. I like a lot about Japan. Their popular culture and mass commercialization appeals to me.

The question was heatedly debated of how much Western culture should be brought into China.

The whole drive of western culture, the part of it which is serious, is towards an extreme objectification. It's carried to the point where the human subject is treated almost as if it's dirt in the works of a watch.

I've never understood why artists, who so often condescend to the cliches of their own culture, are so eager to embrace the cliches of cultures they know nothing about.

There's one more thing I want to say. It's a touchy subject. Black beauty. Black sensuality. We live in a culture where the beauty of black people isn't always as celebrated as other types. I'd like to help change that if I can!

Art at its most significant is a Distant Early Warning System that can always be relied on to tell the old culture what is beginning to happen to it.

Soft addictions are an alluring, seductive aspect of our culture - they are easy to attain and socially acceptable, they are even encouraged in many cases. Yet they are lethal to the spirit.

This is the culture you're raising your kids in. Don't be surprised if it blows up in your face.

There is something terribly wrong with a culture inebriated by noise and gregariousness.

We're so afraid of death in our culture, but I think if we understand it better, then we'll appreciate the life we have more.

Culture is not made up but something that evolves which is human.

All the culture war issues will be settled by the court.

The whole celebrity culture thing - I'm fascinated by, and repelled by, and yet I end up knowing about it.

Not so much in Canada, but certainly in the US, as I'm sure you know, money is all, and if they can get another 26 programs of the same thing even though it advances the culture or those actor's careers not at all it doesn't matter.

What we try to say is that it doesn't matter if you are a Republican or a Democrat or conservative or independent. You are equally responsible for your place in the culture, and you must make a contribution, and you must accept responsibility for what goes down on your watch.

Like every other good thing in this world, leisure and culture have to be paid for. Fortunately, however, it is not the leisured and the cultured who have to pay.