From Wergo WER 60047:

I was born in 1937 in Stockholm. The first thing I can remember is the
attempt to enter an elevator. But I wasn't able to reach the button to
get it going. I only noticed it was war-time by the fact that my parents
now and then looked pensive at the map of Europe on the wall. Then one
way or another the climate changed as the war ended, and someone gave me
a peculiar fruit which they called banana. I was seven or eight at that
time. My father had a small bookshop, but mostly he was traveling around
the country to sell books on marketplaces. My mother was a teacher. I
went to school - which cost me quite some time. And the best one could
do was to think of something different. It costed a lot of energy not to
show others who you were. And everytime I failed the others - the other
children and the teachers - laughed.

Later on I tried to become a engineer. But when I was in Liverpool, in
1959, I noticed that everything around me looked like it died slowly,
everything: cars, chimneys, streets. In Sweden I was not able to
recognise it all because of all the trees which still were there, but
in England there were very little trees. I didn't want to become an
engineer for such a society, and therefore I had to quit the study. I
was about 22 or 23 years old.

I always found music to be the best thing in the world. Therefore I
began to take pianolessons to be able to play more classical pieces on
the piano. It did not work out very well for me. But one day I decided
to create my own music, the way I imagined it really. So I started to
study composition. I tried to write pieces which could represent my own
world. I wrote down notes and signs on the paper, and than something was
played which sounded alike. I felt very happy. But everytime I heard the
records of the Rolling Stones or good folkmusic I wondered why signs on
paper should be written in the first place, when the best music could
originate without these signs. When I heard the music of Terry Riley in
1966, I discovered how complicated every single tone is, even the most
simple one. The basis of a notation of music is one of a social and
political kind. Notation hinders, directs and 'includes' the hearing and
excludes disorderly ideas. And often notation is the reason for the
division of making music in all kinds of tasks for specialists, which
makes the creation of music just like the production of any other
product in this society. And the division of people in many specialised
groups, without the possibility to communicate between those groups is
characteristic for a society which removes itself more and more from the
material things which earth offers to people and the human culture.
Imperalism is applied to the outside, and social repression to the
inside to create material possibilities for gigantic culture projects,
such as the flight of man to the moon.

"Proteinimperialismus"(Proteinimperialism - jvdb) was created in spring
1967. The word 'Proteinimperialism' was used by the scientist Georg
Borgström to describe the fact that the western world forces the
starving countries by economic means to produce food for the pigs and
the cooking pots of the overpopulated countries of the western world.
The piece was showed on account of 'Sköna Stund'('cosey moment'-jvdb),
an exhibition on western imperalism. It is my last piece as a
'composer', at least till now. Since then I play the guitar in a swedish
folkrock band.

Translated by Jan van den Brink