THEY broke so manyrules. For instance, look what they did for drumming. Instead of having a hairy guy behind a big drumkit, there’s agirl with one drum and she plays the simplest things you can do on it. I thought, ‘Wow, you don’t have to have a band.’ Then, who are the other people in the band? You have Lou, who was an enthusiastic but not great guitar player.I thought, ‘Wow,I can probably play like that.’ You hadSterling, who was a very lyrical player. Early on you had John, playing viola. John, of course, had worked with La Monte Young, and so had Lou. So that band represented a convergence of alot of thoughts. At that time, I was playing with the Scratch Orchestra. A subtext of that is that art students were the best musicians – because they didn’t know howto play things, they were morelikely to makeoriginal choices. Nearly all of the Scratch Orchestra was art students, and nearly all of the Portsmouth Sinfonia wasart students as well. So these foundational institutions from that time were people who’d come through an education that said, in a way, craft is not the issue. Ideas are the issue. Approaches, processes.