A Quote by Daniel O'Sullivan
We met [with Massimo Pupillo] many years ago in the halcyon days of the underground avant-prog math-rock scene when I was playing in Guapo.
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I'm not sure at all about the current prog rock scene.
I remember Massimo [Pupillo] sending me an email from Tibet saying he was up in a cave somewhere, being very still. We found we had lots of shared affinities that we'd never really talked about before.
The emergence of the independent hip-hop scene has replaced what we called the "underground scene". It's what the underground scene has evolved into: actual businesses.
It's perhaps easier to say what prog rock isn't than what it is: it's not three-minute pop songs, it's not straightforward rock, metal, blues or jazz, but can have elements of all them and more. It's a form that is on the boundaries of many different forms, that is open to all sorts of influences.
The avant-garde has always existed throughout the history of mankind. The good things from the avant-garde last and eventually, after many years, become tradition and people forget they were ever part of the avant-garde. The kitchen is a living discipline, always evolving, and there will always be cutting edge things that over the years, ends up being part of tradition.
There's no doubt that prog rock has an image problem: many musicians hate the label, and too many people associate it with 10-minute drum solos and the weirder bits of JRR Tolkien.
When I got to New York City when I was 18, I started playing in clubs in Brooklyn - I have good friends and devoted fans on the underground scene, but we were playing for each other at that point - and that was it.
I've always liked pop music. There was a bit of a misunderstanding with the avant-garde rock scene, because I think I was sort of swimming the wrong way, really.
I love math and was a math teacher for many years, so it was fun for me to write several math books, including 'Fraction Fun,' 'Calculator Riddles,' and 'Shape Up!' 'Fun with Triangles and Other Polygons.'
I also think within the scene, a specific scene - if I were to play a part that I played 10 years ago now, my interpretation of that scene would be totally different. I would be making different choices. Because I can't somehow subtract all of the experiences that I've had in my life. And it's fascinating to see, because somewhere I'm very reflective in that. You know, I've been playing basically actually close to 40 years old, so I'm somewhere lost in age in this movie. But it's been fascinating to see that I can't subtract that time.
No I.D. is actually married to my cousin, and my cousin is my manager. So I met him when she met him many years ago. I was in the studio and he hooked me up with a bunch of producers that he knew.
I was always singing but didn't plan on pursuing it seriously. When I got to New York City when I was 18, I started playing in clubs in Brooklyn - I have good friends and devoted fans on the underground scene, but we were playing for each other at that point - and that was it.
Jay Z in many ways is a rock artist. In the sense that they've used hard rock, punk rock, psychedelic rock aesthetics and influences in their music. When you see Kanye West, he has a full band playing. Jay Z has a full band playing with Marshalls.
I met [my wife Margot] on Fire Island when I had a house there many years ago.
Among the many factors that make a return to halcyon days of the first decades of the postwar era virtually impossible is the decline of clearly defined political leadership.
To some extent at that time, we injected rock and roll into that scene- we played loud and that was a huge turning point for that scene. We were involved in playing with all those people.
