Lene Lovich
Interview for New York Entertainment Magazine 'Good Times' - April 1983




"It's sometimes difficult to follow your own ideas. When I went to art school, I thought the most creative thing you could do was to be a fine artist, so I studied sculpture. I was in art school for five years, and I realized at the end of that, whatever art form you are involved in, they are all just as corrupt and disappointing, and they are full of creeps, and difficult people to deal with. It's all the same. I was less happy with fine art because it seemed to be such a small world. I found that being involved with music encompasses almost all the art forms. You are writing, and concentrating on visual interpretations, and you literally design the whole song from the ground up."

"... a series of events set to music.. "

"It seems to be proven that good music can always find an alternative route, like in the clubs. I really have nothing against disco music, as long as it is creative. What really annoys me is when one person gets a good idea and a hundred people copy it."




"The British are very much into novelty or eccentric music, but they don't seem to have the ability to support the acts that they make famous. England is a very small country, and even if you perform only one show in London, you've got enormous press coverage. I think there are more music papers in England than anywhere else in the world. If you are a bit different and you are good, you can get through to an enormous amount of people. But even still, the market is very small over there, that's why everyone comes over here eventually. I don't really see rock as dying now, even if a lot of good bands don't get played on the radio."
Lene Lovich as Mata Hari, 1983

"The British theatre critics are very precious about their art, and I don't think they liked the idea of this rock singer coming into their precious world. You see, it wasn't music from beginning to end, and it wasn't very wordy, either. The British critics like to get into the words, the wordy aspect of the theatre. There were no long speeches, and I think that is what they resented most. I might like to do Mata Hari over here, I think it's something that people would be interested in, but still, I'd like to take a little break from it, because it did take up a lot of my life. I co-wrote it, it and I performed in it, and it was very involved. Personally, I don't really think she did the damage that they say she did. It's so difficult to find the motive for what she did. In those days, being a spy was as glamorous as a James Bond extravaganza. You either had to be bribed into it, blackmailed into it, or be fiercely patriotic, and she was none of those. I really don't think she was the villain that they made her out to be."


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1979 - Thomas Dolby with Bruce Woolley and Camera Club
1981 - Thomas Dolby pre-'Wireless', early collaborative work
1982 - Thomas Dolby "Golden Age of Wireless" released in Britain
1983- Thomas Dolby "Golden Age of Wireless" in US; final touches on "The Flat Earth"
1983 - Interview with Lene Lovich, TMDR collaborator
1984 - Thomas Dolby in NYC, "The Flat Earth" US tour
1984 - Thomas Dolby in Los Angeles, "The Flat Earth" US tour continues
1985 - Thomas Dolby & George Clinton, Dolby's Cube
1985 - Thomas Dolby with Ryuichi Sakamoto
1986 - Thomas Dolby, collaborations with Joni Mitchell, work on film scores
1988 - Thomas Dolby, Mike Kapitan, "Aliens Ate My Buick" and the Lost Toy People
1992 - Thomas Dolby, the making of "Astronauts and Heretics"
1994 - Thomas Dolby's Guggenheim Virtual String Quartet exhibit; mass-multimedia concepts
1997 - Thomas Dolby's Headspace, Beatnik software
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