A Year from Monday Quotes

“I was twelve years old. I got out my bicycle and road over to KFWB. They said, ‘What do you want?’ I said, ‘I’d like to give a weekly radio program for the Boy Scouts.’ They said, ‘Are you an Eagle?’ I said, ‘No, I’m a Tenderfoot.’ They said, ‘Did the Boy Scouts send you?’ I said, ‘No, I just got the idea and came over.’ They said, ‘Well, run along.’ So I went over to KNX. They liked the idea and arranged a time for the first program. I then went to the Boy Scouts, told them what had happened, and asked for their approval and cooperation. They said it was all right to give the program but that they would not cooperate. In fact, they never did. Every time I asked for the Boy Scout band, they said No. Individual Scouts all gave their services willingly. There were boy sopranos; trumpet, trombone, and piano soloists; and Scouts who spoke on their experiences building fires and tying knots. The volume of fan mail increased each month. After two years, the organization called up KNX, said they’d never authorized the program, and demanded that I be put out and they be put in. They were. The band finally played. A few weeks later, KNX took the program off the air.”
― John Cage, A Year from Monday: New Lectures and Writings

“Things we were going to do are now being done by others. They were, it seems, not in our minds to do (were we or they out of our minds?) but simply ready to enter any open mind, any mind disturbed enough not to have an idea in it.”
― John Cage, A Year from Monday: New Lectures and Writings

“Before leaving the earth altogether, let us as: How does Music stand with respect to its instruments, their pitches, the scales, modes and rows, repeating themselves from octave to octave, the chords, harmonies, and tonalities, the beats, meters, and rhythms, the degrees of amplitude (pianissimo, piano, mezzo-piano, mezzo-forte, forte, fortissimo)? Though the majority go each day to the schools where these matters are taught, they read when time permits of Cape Canaveral, Ghana, and Seoul. And they’ve heard tell of the music synthesizer, magnetic tape. They take for granted the dials on radios and television sets. A tardy art, the art of Music. And why so slow? Is it because, once having learned a notation of pitches and durations, musicians will not give up their Greek? Children have been modern artists for years now. What is it about Music that sends not only the young but adults too as far into the past as they can conveniently go? The module? But our choices never reached around the globe, and in our laziness, when we changed over to the twelve-tone system, we just took the pitches of the previous music as though we were moving into a furnished apartment and had no time to even take the pictures off the walls. What excuse? That nowadays things are happening so quickly that we become thoughtless? Or were we clairvoyant and knew ahead of time that the need for furniture of any kind would disappear? (Whatever you place there in front of you sits established in the air.) The thing that was irrelevant to the structures we formerly made, and this was what kept us breathing, was what took place within them. Their emptiness we took for what it was – a place where anything could happen. That was one of the reasons we were able when circumstances became inviting (chances in consciousness, etc.) to go outside, where breathing is child’s play: no walls, not even the glass ones which, though we could see through them, killed the birds while they were flying.”
― John Cage, A Year from Monday: New Lectures and Writings

“Not the perception of the proportion of things outside of us but the experience of identification with whatever's outside of us (this is obviously a physical impossibility ; that's why it's a mental responsibility).”
― John Cage, A Year from Monday: New Lectures and Writings

“I have attempted briefly here to set forth a view of the arts which does not separate them from the rest of life, but rather confuses the difference between Art and Life.”
― John Cage, A Year from Monday: New Lectures and Writings

“One evening I was walking along Hollywood Boulevard, nothing much to do. I stopped and looked in the window of a stationary shop. A mechanized pen was suspended in space in such a way that, as a mechanized roll of paper passed by it, the pen went through the motions of the same penmanship exercises I had learned as a child in the third grade. Centrally placed in the window was an advertisement explaining the mechanical reasons for the perfection of the operation of the suspended mechanical pen. I was fascinated, for everything was going wrong. Then pen was tearing the paper to shreds and splattering in all over the window and on the advertisement, which, nevertheless, remained legible.”
― John Cage, A Year from Monday: New Lectures and Writings

“Her playing which had been superb became merely correct. It was necessary to suggest a certain sloppiness, the playing of something that hadn't been written. Computer-made music-synthesized Blue Moon- presented same problem. Random elements introduced.”
― John Cage, A Year from Monday: New Lectures and Writings

“When a composer feels a responsibility to make, rather than accept, he eliminates from the area of possibility all events that do not suggest that at that point in time vogue of profundity, for he takes himself seriously, wishes to be considered great, and he thereby diminishes his love and increases his fear and concern about what people will think.”
― John Cage, A Year from Monday: New Lectures and Writings