A Quote by David Grubbs

I found myself thinking about the distance between the 60s and today through certain moments. Like the Henry Flynt interview with Ubuweb founder Kenny Goldsmith, where he talks about how he was scarred by how proud John Cage was to be ignorant of popular music. Goldsmith says, "Nobody thinks twice nowadays about listening to everything!" Something that had seemed so uniquely, radically syncretistic in Flynt's day seems much more commonplace now.
For me, Twitter is a public persona. It's UbuWeb or Kenneth Goldsmith (as opposed to Kenny Goldsmith). I don't interact. It's a lousy form for conversation and opinion (what can you really say in 140 characters?), but a wonderful propaganda and sloganeering tool. I use it as a one-way street.
Kenny Goldsmith from Ubuweb describes himself as an amateur archivist, and people can download files from Ubuweb - it's not a streaming service. But it's a miracle that it's still online and they're able to make it work through the donations of server space and volunteer efforts.
Nobody was listening when I learned how to play music. But there's something about being on stage, talking to the audience, looking at them and smiling, that's always been difficult for me. I'm a lot more comfortable now, but there are still moments of awkwardness.
It might be David Adjaye talking about how the structure of jazz music informs his architecture, it might be the musician Terry Riley talking about how he thinks so much about cinema. I'd love to see more of a rupture between mediums and a flow between them.
James Goldsmith is important because he used the power of the markets to break up the cosy patrician elite that ran Britain and its industries in the 1950s and '60s. In the process, Goldsmith helped transfer power in this country away from politics and towards the markets and the financial sector.
Beyond that, it gets down to the nuts and bolts of discipline - not a tradition or genre, I don't care about that, actually - but discipline in the sense of just working on music and working on thinking about music. It doesn't matter if it's jazz or not. It's about how we listen, how we interact, how we guide our attention when we're listening, and how we can refine what we're doing musically.
I went to Goldsmith College of Art in London in the '80s and there I made sculptures, but the objects had nothing to do with how I was thinking. I was making beautifully sanded wooden boxes!
I remember listening to an interview with Beyonce and she talked about how she and her husband, Jay-Z, have always made it a point to have the conversation about them be about their music, not about their business, not about their personal business.
The truth is, everything we know about America, everything Americans come to know about being American, isn't from the news. I live there. We don't go home at the end of the day and think, "Well, I really know who I am now because the Wall Street Journal says that the Stock Exchange closed at this many points." What we know about how to be who we are comes from stories. It comes from the novels, the movies, the fashion magazines. It comes from popular culture.
So much of my poetry begins with something that I can describe in visual terms, so thinking about distance, thinking about how life begins and what might be watching us.
If I look at the one thorn that is in my side, of all my life, it is my weight. I fret about it, I'm anxious about it, being an actor on television - it drives me insane. It just seems to be something that plays a central part in waking up in the morning and thinking, 'How am I with myself today?'
I was thinking a lot about music, about how music is mixed and how everything is happening at the same time; it just amounts to how the sound is lowered or raised. I was trying to get that with writing.
It's kinda ridiculous what you can't say nowadays. You really can't say anything you believe! I think it's fricking ridiculous how sensitive everyone is to everything, how much things are frowned upon. How much stuff will cost you nowadays. I think it's fricking ridiculous that we can't - there's certain topics that you can't really say how you feel about.
Ace of Spades says that this became clear to him in a revelation one night. He was watching Chris Matthews interview [Barack] Obama, and he didn't get one question! He didn't ask Obama one question about how Obamacare works. Every question was one degree or another: How do you feel about [John] Boehner opposing it? How do you feel about it? What will make you happy? Do you think you can get it? [It] was irrelevant!
I was listening to this interview with fiction writer George Saunders the other day, and he said something about how the role of a writer is to build a more detailed world. I think it applies to what Gord Downie is doing with his body of work, which is to build a more detailed world and there's something really political about that.
Nobody talks about my contribution to the sport. Nobody talks about the 101 medals I have won in my 20-year career. Nobody talks about the efforts I made to attain those heights.
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