Prince turned experimental music into pop music. ‚When Doves Cry,‘ the whole ‚Purple Rain‘ soundtrack – he was inspired by the Cocteau Twins and new wave pop and brought it into R&B when he first started, and then it became this cool, next-level, kind of hard-to-digest music. Which is what I felt ‚House of Balloons‘ was.

‚House of Balloons‘ was special because I had no deadlines, and nobody knew me, so there were no expectations. Spent a year making it perfect. Every song had at least, like, 7 different versions to them before picking the right one.

I want to produce the music to a movie that I’m working on, like what Prince did with ‚Purple Rain.‘

Don’t you love it that Prince doesn’t use Twitter? Don’t you think he’s somewhere on a unicorn?

I love artists like Prince, who hold on to that element of mystery.

Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music – not like a record that you’d put on, which would play for a while and finish.

World belongs to humanity, not this leader, that leader or that king or prince or religious leader. World belongs to humanity.

As hard as it is, as ghetto as it is, hip-hop is pop music. It’s the sound of music getting out of the ghetto, while rock is looking for a ghetto.

The great music for so many artists – the Beatles, the Rolling Stones – was always at the moment when they were closest to pop. It would be easy for U2 to go off and have a concept album, but I want us to stay in the pop fray.

I wanted to get rid of the element that had been considered essential in pop music: the voice.

When I heard ‚Jesus, Take the Wheel,‘ I was like, OK. Some people look at it as a song written for an American Idol, Carrie Underwood, who is wonderful. But when you’re a songwriter listening to a song, you hear something else. I heard that song, and wow.

‚House of Balloons‘ was actually supposed to have more songs than it does.

You know how you either grow up in a Michael Jackson house or a Prince house? For me it was Michael Jackson. I could never decide whether I wanted to be Michael Jackson or marry him.

I knew the second I finished the first record – ‚House Of Balloons‘ – and had all this material leftover that a trilogy would be best.

Agressive music can only shock you once. Afterwards its impact declines. It’s inevitable.

I am not some goddess that dropped down from the sky to sing pop music; I am not some extra-incredible human person that needs to be told how wonderful they are all day and kissed.

Even though I’m known as a pop musician, I have a seriousness about what I do.

My inspiration is R. Kelly, Michael Jackson, and Prince – for the vocals, anyway.

Pop music can absorb so many peculiar talents, ranging from the completely nonmusical poseur who just uses music as a kind of springboard for a sense of style, to people who just love putting all that complicated stuff together, brick by brick, on their computers, to people like me who like playing conceptual games and being surprised.

Music is always a commentary on society.

I want to make pop cool again, and the only way I can do that is by being ambitious and grand.

The most propagandistic element of ‚Frozen‘ was the transformation of the prince at the beginning of the story, who was a perfectly good guy, into a villain with no character development whatsoever about three-quarters of the way to the ending.

For among other evils caused by being disarmed, it renders you contemptible; which is one of those disgraceful things which a prince must guard against.

A prince never lacks legitimate reasons to break his promise.

In pop music, the public usually see the results – the hit records, the Grammy Awards performances, the concert tours – but not all the work that goes into getting into the spotlight. And not everyone realizes that, even if you have a lot of talent, chances are you won’t make it.

What I like about Elvis is the same thing I like about James Brown, Michael Jackson, Prince. These guys, back in the day, there was no smoke and mirrors. It was just raw talent. They would step out onstage and command an audience. Talk about awesome.

With pop music, the format dictates the form to a big degree. Just think of the pop single. It has endured as a form even in the download age because bands conform to a strict format, and work, often very productively, within the parameters.

I don’t see myself as a pop artist. Like, when you hear ‚pop,‘ you’re like, ‚Oh, bubblegum, jumpy little girly stuff,‘ and I feel like, ‚Uh-uh. That’s not me.‘

The whole history of pop music had rested on the first person singular, with occasional intrusions of the second person singular.

I was doing these performance art pop music pieces in the city. And they were a bit on the eccentric side I suppose. So people started to call me Gaga after the Queen song ‚Radio Gaga.‘

Pop music will never be low brow.

Music for me, it demands full concentration.

I’ve gotten used to being Frank Ocean.

When I finish something, I want it out that day. Pop music is like the daily paper. Its got to be there then, not six months later.

Where I come from it was really unheard of to be at a party and someone says, ‚What kind of music do you make?‘, and you say, ‚Pop music.‘ You may as well have ‚I’m not cool‘ stamped on your forehead.

The game is changing with songs like ‚Earned It‘ as opposed to it changing me.

War should be the only study of a prince. He should consider peace only as a breathing-time, which gives him leisure to contrive, and furnishes as ability to execute, military plans.

Avant-garde music is sort of research music. You’re glad someone’s done it but you don’t necessarily want to listen to it.

Image, lyrics, content, storytelling, cohesive body of work – that’s Prince to me.

You know, when Michael Jackson does the moonwalk, he’s showing off! When Prince or Hendrix do a guitar solo, it’s confidence! I would hate to be at a show and some nervous wreck is sweating up there and doesn’t feel like he deserves to be there.

There was a moment when Prince did rock & roll with a sponge-y seductive sound. I think that’s what was in our head for ‚Get On Your Boots.‘ But actually, the song is much more punk rock.

I like the idea of a kind of eternal music, but I didn’t want it to be eternally repetitive, either. I wanted it to be eternally changing. So I developed two ideas in that way. ‚Discreet Music‘ was like that, and ‚Music for Airports.‘ What you hear on the recordings is a little part of one of those processes working itself out.

I got interested in the idea of music that could make itself, in a sense, in the mid 1960s really, when I first heard composers like Terry Riley, and when I first started playing with tape recorders.

Certainly, in taking revenge, a man is but even with his enemy, but in passing it over, he is superior; for it is a prince’s part to pardon.

What I like about pop music, and why I’m still attracted to it, is that in the end it becomes our folk music.