Chords for Brian Eno - Interview/Lecture
Tempo:
108.55 bpm
Chords used:
A
G
F#
B
Dm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[A] My perception of the media here is that they are just so oppressive and unpleasant.
I notice this a lot in Los Angeles actually, more so than in New York,
but I notice it in particular in relation to the, for instance, the Iran crisis,
which has been so heavily manipulated by almost everyone who dealt with it.
And I've actually been quite disgusted with the way that's been treated here,
except on the non-profit stations, like the listener-sponsored stations.
I think the most important thing that could happen on television in America is for it to slow down.
It's just so frantic, you know, and the whole
There's a kind of level of hysteria that is maintained here,
giving rise to what I call the fire hose mentality.
[Dm] You keep this [A] simmering level of hysteria and hostility,
and then at [Dm] the right time, for [Am] instance, Iran, you just point the hose there,
and suddenly [G] everyone's [A] paranoia and attention and everything focuses [C] on this one spot.
The argument that is always given is, well, that's what the viewer wants.
But of course nobody really knows what the viewer wants.
This is only what they've ever been given, so they've [F#] never actually had an option to choose.
Well, not a real one.
I mean, obviously it would take a while to acclimatize to something
that [G] didn't offer a surprise every ten [F#] seconds, you know.
And the [G]
direction of [F#] news here, for instance, is for one item to cancel out the one before,
and for the news always to be wrapped up with some [G] funny little
American television really is pathetic, I think.
Absolutely terrible.
I started thinking about the potential of video discs,
and I had a good idea of what the first video discs were going to be like.
They would either be psychedelic hoo [N]-ha,
or else they would be films of bands miming to the music that was on the disc.
And I thought that both of those were a kind of waste of potential.
The video disc could make dance a real mass medium in the way that music now is.
Well, the important thing about tape is that it transforms something that existed in time
and therefore wasn't durable into something that exists in space and is durable,
and is not only durable but is malleable in lots of different ways.
Once music is recorded on tape, it's just pieces of ferrous oxide on plastic,
and it can therefore be chopped about, switched around, put together in different orders,
stretched, compressed, whatever.
So what tape did and what recording did for music was to turn a transient medium into a plastic medium.
And it did something quite unique.
If you think of
We're so used to recordings that we tend to forget what the world was like before they appeared.
The durable arts were the ones that people knew about.
Paintings and sculptures endured.
Music didn't endure.
So for anyone living 100 years ago, their total knowledge of music was really what they would actually hear performed.
Now, that means that in one week of listening, I could hear more Beethoven, for instance,
than even an avid Beethoven listener would hear in his whole [A] lifetime.
A [B]
[G] [A] lot of interesting works are produced in a peculiar mental condition,
[B] which I [G] am sometimes gripped by, which I call [A] idiot glee.
And it's this kind of
Well, I have an exact [F] impression of the face that goes with it.
[A] It's this [B] totally confident,
but [G] very playful.
Playful-passionate [A] is the mixture, really.
It's possible to be both at the same time.
For instance, Dove is a great example of that, and African music, and funk.
[F#] These are all things that have a very powerful, passionate quality.
But at [G] the same time, you know that they were made by people just having a really good time.
[F#] Hey, look at this, [A] all these knobs.
[B] [G]
My direction has always been equally concerned with ideas, as with records, I suppose,
or with the musical artifacts that arose from those ideas.
So I just decided [F] that I would do interviews occasionally.
[D] [Bm]
I notice this a lot in Los Angeles actually, more so than in New York,
but I notice it in particular in relation to the, for instance, the Iran crisis,
which has been so heavily manipulated by almost everyone who dealt with it.
And I've actually been quite disgusted with the way that's been treated here,
except on the non-profit stations, like the listener-sponsored stations.
I think the most important thing that could happen on television in America is for it to slow down.
It's just so frantic, you know, and the whole
There's a kind of level of hysteria that is maintained here,
giving rise to what I call the fire hose mentality.
[Dm] You keep this [A] simmering level of hysteria and hostility,
and then at [Dm] the right time, for [Am] instance, Iran, you just point the hose there,
and suddenly [G] everyone's [A] paranoia and attention and everything focuses [C] on this one spot.
The argument that is always given is, well, that's what the viewer wants.
But of course nobody really knows what the viewer wants.
This is only what they've ever been given, so they've [F#] never actually had an option to choose.
Well, not a real one.
I mean, obviously it would take a while to acclimatize to something
that [G] didn't offer a surprise every ten [F#] seconds, you know.
And the [G]
direction of [F#] news here, for instance, is for one item to cancel out the one before,
and for the news always to be wrapped up with some [G] funny little
American television really is pathetic, I think.
Absolutely terrible.
I started thinking about the potential of video discs,
and I had a good idea of what the first video discs were going to be like.
They would either be psychedelic hoo [N]-ha,
or else they would be films of bands miming to the music that was on the disc.
And I thought that both of those were a kind of waste of potential.
The video disc could make dance a real mass medium in the way that music now is.
Well, the important thing about tape is that it transforms something that existed in time
and therefore wasn't durable into something that exists in space and is durable,
and is not only durable but is malleable in lots of different ways.
Once music is recorded on tape, it's just pieces of ferrous oxide on plastic,
and it can therefore be chopped about, switched around, put together in different orders,
stretched, compressed, whatever.
So what tape did and what recording did for music was to turn a transient medium into a plastic medium.
And it did something quite unique.
If you think of
We're so used to recordings that we tend to forget what the world was like before they appeared.
The durable arts were the ones that people knew about.
Paintings and sculptures endured.
Music didn't endure.
So for anyone living 100 years ago, their total knowledge of music was really what they would actually hear performed.
Now, that means that in one week of listening, I could hear more Beethoven, for instance,
than even an avid Beethoven listener would hear in his whole [A] lifetime.
A [B]
[G] [A] lot of interesting works are produced in a peculiar mental condition,
[B] which I [G] am sometimes gripped by, which I call [A] idiot glee.
And it's this kind of
Well, I have an exact [F] impression of the face that goes with it.
[A] It's this [B] totally confident,
but [G] very playful.
Playful-passionate [A] is the mixture, really.
It's possible to be both at the same time.
For instance, Dove is a great example of that, and African music, and funk.
[F#] These are all things that have a very powerful, passionate quality.
But at [G] the same time, you know that they were made by people just having a really good time.
[F#] Hey, look at this, [A] all these knobs.
[B] [G]
My direction has always been equally concerned with ideas, as with records, I suppose,
or with the musical artifacts that arose from those ideas.
So I just decided [F] that I would do interviews occasionally.
[D] [Bm]
Key:
A
G
F#
B
Dm
A
G
F#
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
[A] My perception of the media here is that they are just so oppressive and unpleasant.
_ _ _ I notice this a lot in Los Angeles actually, more so than in New York,
but I notice it in particular in relation to the, for instance, the Iran crisis,
which has been so _ _ heavily manipulated by almost everyone who dealt with it.
And I've actually been quite disgusted with the way that's been treated here,
except on the _ non-profit stations, like the listener-sponsored stations.
I think the most important thing that could happen on television in America is for it to slow down.
It's just so frantic, you know, and the _ whole_
There's a kind of level of hysteria that is maintained here,
giving rise to what I call the fire hose mentality.
[Dm] You keep this [A] simmering level of hysteria and hostility,
and then at [Dm] the right time, for [Am] instance, Iran, you just point the hose there,
and suddenly [G] everyone's _ [A] paranoia and attention and everything focuses [C] on this one spot. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
The argument that is always given is, well, that's what the viewer wants.
But of course nobody really knows what the viewer wants.
This is only what they've ever been given, so they've [F#] never actually had an option to choose. _ _
_ Well, not a real one.
I mean, obviously it would take a while to acclimatize to something
that [G] didn't offer a surprise every ten [F#] seconds, you know.
And the _ _ _ [G]
direction of [F#] news here, for instance, is for one item to cancel out the one before,
_ and for the news always to be wrapped up with some [G] funny little_
American television really is pathetic, I think.
Absolutely terrible.
I started thinking about the potential of video discs,
_ and I had a good idea of what the first video discs were going to be like.
They would either be psychedelic hoo [N]-ha,
or else they would be films of bands miming to the music that was on the disc.
And I thought that both of those were a kind of waste of potential.
The video disc could make dance a real mass medium in the way that music now is.
Well, the important thing about tape is that it _ _ transforms something that existed in time
and therefore wasn't durable into something that exists in space and is durable,
and is not only durable but is malleable in lots of different ways.
Once music is recorded on tape, it's just pieces of ferrous oxide on plastic,
and it can therefore be chopped about, switched around, put together in different orders,
stretched, compressed, whatever.
So _ what tape did and what recording did for music was to turn a transient medium into a plastic medium.
_ _ And it did something quite unique.
If you think of_
We're so used to recordings that we tend to forget what the world was like before they appeared.
_ _ The durable arts were the ones that people knew about.
Paintings and sculptures endured.
Music didn't endure.
So for anyone living 100 years ago, their total knowledge of music was really _ what they would actually hear performed.
Now, that means that in one week of listening, I could hear more Beethoven, for instance,
than even an avid Beethoven listener would hear in his whole [A] lifetime.
A _ _ [B] _
_ _ _ [G] _ _ _ [A] lot of interesting works are produced in a peculiar mental condition, _
[B] which I [G] am sometimes gripped by, which I call [A] idiot glee.
And it's this kind of_
Well, I have an exact [F] impression of the face that goes with it.
[A] _ _ _ It's this _ [B] _ _ _ totally confident,
but _ [G] _ very playful. _
Playful-passionate [A] is the mixture, really.
It's possible to be both at the same time.
For instance, Dove is a great example of that, and African music, and funk.
[F#] These are all things that have a very powerful, passionate quality.
But at [G] the same time, you know that they were made by people just having a really good time.
[F#] Hey, look at this, [A] all these knobs. _
_ _ _ _ _ _ _ _
_ _ [B] _ _ _ _ [G] _
My direction has always been _ _ _ equally concerned with ideas, as with records, I suppose,
or with the musical artifacts that arose from those ideas.
So I just decided [F] that I would do interviews occasionally. _ _
_ _ _ [D] _ _ _ _ [Bm] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
[A] My perception of the media here is that they are just so oppressive and unpleasant.
_ _ _ I notice this a lot in Los Angeles actually, more so than in New York,
but I notice it in particular in relation to the, for instance, the Iran crisis,
which has been so _ _ heavily manipulated by almost everyone who dealt with it.
And I've actually been quite disgusted with the way that's been treated here,
except on the _ non-profit stations, like the listener-sponsored stations.
I think the most important thing that could happen on television in America is for it to slow down.
It's just so frantic, you know, and the _ whole_
There's a kind of level of hysteria that is maintained here,
giving rise to what I call the fire hose mentality.
[Dm] You keep this [A] simmering level of hysteria and hostility,
and then at [Dm] the right time, for [Am] instance, Iran, you just point the hose there,
and suddenly [G] everyone's _ [A] paranoia and attention and everything focuses [C] on this one spot. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
The argument that is always given is, well, that's what the viewer wants.
But of course nobody really knows what the viewer wants.
This is only what they've ever been given, so they've [F#] never actually had an option to choose. _ _
_ Well, not a real one.
I mean, obviously it would take a while to acclimatize to something
that [G] didn't offer a surprise every ten [F#] seconds, you know.
And the _ _ _ [G]
direction of [F#] news here, for instance, is for one item to cancel out the one before,
_ and for the news always to be wrapped up with some [G] funny little_
American television really is pathetic, I think.
Absolutely terrible.
I started thinking about the potential of video discs,
_ and I had a good idea of what the first video discs were going to be like.
They would either be psychedelic hoo [N]-ha,
or else they would be films of bands miming to the music that was on the disc.
And I thought that both of those were a kind of waste of potential.
The video disc could make dance a real mass medium in the way that music now is.
Well, the important thing about tape is that it _ _ transforms something that existed in time
and therefore wasn't durable into something that exists in space and is durable,
and is not only durable but is malleable in lots of different ways.
Once music is recorded on tape, it's just pieces of ferrous oxide on plastic,
and it can therefore be chopped about, switched around, put together in different orders,
stretched, compressed, whatever.
So _ what tape did and what recording did for music was to turn a transient medium into a plastic medium.
_ _ And it did something quite unique.
If you think of_
We're so used to recordings that we tend to forget what the world was like before they appeared.
_ _ The durable arts were the ones that people knew about.
Paintings and sculptures endured.
Music didn't endure.
So for anyone living 100 years ago, their total knowledge of music was really _ what they would actually hear performed.
Now, that means that in one week of listening, I could hear more Beethoven, for instance,
than even an avid Beethoven listener would hear in his whole [A] lifetime.
A _ _ [B] _
_ _ _ [G] _ _ _ [A] lot of interesting works are produced in a peculiar mental condition, _
[B] which I [G] am sometimes gripped by, which I call [A] idiot glee.
And it's this kind of_
Well, I have an exact [F] impression of the face that goes with it.
[A] _ _ _ It's this _ [B] _ _ _ totally confident,
but _ [G] _ very playful. _
Playful-passionate [A] is the mixture, really.
It's possible to be both at the same time.
For instance, Dove is a great example of that, and African music, and funk.
[F#] These are all things that have a very powerful, passionate quality.
But at [G] the same time, you know that they were made by people just having a really good time.
[F#] Hey, look at this, [A] all these knobs. _
_ _ _ _ _ _ _ _
_ _ [B] _ _ _ _ [G] _
My direction has always been _ _ _ equally concerned with ideas, as with records, I suppose,
or with the musical artifacts that arose from those ideas.
So I just decided [F] that I would do interviews occasionally. _ _
_ _ _ [D] _ _ _ _ [Bm] _
_ _ _ _ _ _ _ _