A Quote by David Grubbs
In eighteenth-century England, there was a practice of hiring a picturesque hermit who would inhabit the beautiful ruin on your estate. To me it rhymes with certain kinds of pop-music entertainers and eccentrics - both touted and tolerated.
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The Beautiful is everywhere; perhaps more in the arrangement of your saucepans on the white walls of your kitchen than in your eighteenth-century living room or in the official museums.
Anybody who has listened to certain kinds of music, or read certain kinds of poetry, or heard certain kinds of performances on the concertina, will admit that even suicide has its brighter aspects.
What makes 'The Marriage of Souls' such a wonderful book is Collins's intricate reconstruction of the late eighteenth-century world. Simplicity and philosophy are the hallmarks of eighteenth-century art and architecture. The classically pure lines look deceptively simple and unburdened by heavy symbolism or imagery.
People are now layering all kinds of different things together. Eighteenth century, 19th century, rustic, modern. Three dimensional printed pieces, very high end technological pieces, but mixed with local artisan stuff.
Games isn't really pop music, and neither is OPN. Both are part of the same ecosystem and both deal with exploring the undercurrents of pop music.
There's a great relationship between pop music and the way the body could be seen from the inside - when I was singing or listening to music I would change shape in my head, becoming all kinds of things and people. Music is a way of making your body.
My influences are jazz, blues, European classical music; they are rock music and pop music. So many kinds of music. World music from different countries like India and China. I think that would be a shame not to take advantage and do something... not unique, because I don't have this pretension.
I've wanted to write good pop music, beautiful pop music - not just throwaways. I've always wanted to make it sound luscious and beautiful and cinematic.
I love all types of music - jazz, great pop music, world music and folk music - but the music I listen to most is piano music from the 18th, 19th and 20th century. Russian music in particular.
Most of the music I've become interested in is hybrid in its originsClassical music, of course, is unbelievably hybrid. Jazz is an obvious amalgam. Bluegrass comes from eighteenth-century Scottish and Irish folk music that made contact with the blues. By exploring music, you're exploring everything.
I know exaggerators of both kinds: people whose lies are only picturesque adjectives, and people whose picturesque adjectives are only lies.
M. J. Putney has created true magic with this book, the kind that comes when you curl up in a comfortable armchair and let the story take your imagination away. Come visit an enchanted eighteenth-century England and meet two desperate lovers caught in the web of a sinister lord with great magical power. Romantic and lyrical, this tale will fill your reading time with pleasure. I loved it.
You want to embrace what the idea of pop music is. Not necessarily the stereotype of pop music; there was a time when you'd say 'pop music' and conjure up images of the Sweet, or Marc Bolan. That, to me, can be avant-garde still.
I understand that there are two kinds of films, there is the kind of cinema which allows you the opportunity to be an actor and then there are the masala entertainers. I have done both.
Pseudo-modernists pursue individual style because they know they cannot make a name without it; but if they had lived in the eighteenth century their sole object would have been to write correctly, to conform to the manner of the period. In practice, their conforming individualism means an imitation, studiously concealed, of the eccentricities of poems which really are individual.
When you talk about "infertility" you're already using a land-based metaphor - a woman's body compared to property, to be considered fruitful or barren. And "estate" encompasses both legacy and landscape. Think of Emerson, referring to his son's death as "the loss of a beautiful estate."
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