A Quote by John Dyer Baizley
I feel like I've gotten to the point where when I get tired of making art I can make a smooth transition into making music and vice versa. There is always something to do.
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What people that are professionals in the art world - both in literature and the other arts - always try to do is to recognize the feasibility of making the transition from the particular to the general - to make the transition from the portrait of one postman - to take Van Gogh, for example, to something that is every postman. That synecdotal transition that most selfies don't make. But we who live in this world, and not simply in our private realities, understand that that's the transition our art has to make.
Making of poetry, music, dance and art as culture-making in the service of nation-making. You can find writings that make that purpose for art quite explicit.
As a child, I felt that the Indian part of me was unacknowledged, and therefore somehow negated, by my American environment and vice versa. Growing up, I was impatient with my parents for being so different, holding on to India the way they did, and always making me feel like I had to make a choice of which way I would go.
You could easily spend several lifetimes trying to master film. It make very good use of all the things that I love. Narrative, image-making, also sound and music. It's so full that I can't really imagine getting tired of it. Or getting to the point like I feel like I know it.
Making music has gotten easier; selling it has gotten harder. Making music has been democratized, but the market is in the hands of fascists.
I only wanted to get married once, so when I felt I was ready to handle it, I looked at my relationships and noticed that boyfriends get tired of girlfriends, and vice versa, but you never get tired of your friends.
My advice to young people wanting to make music and to be in this industry is to really spend your time making music. Make so much music you have no friends. Make music. Figure out what it is you love, and... because if you're making cool art, then everything else will fall into line.
What I love about making movies is that it's a collaboration. It's one of the most rewarding things, to create something and have someone show you something that you didn't see, and vice versa.
When I sit down to make music, I try to enter a flow; I always open a blank session and just make something that I feel like making.
I literally make music for my wife and my friends. I don't feel beholden to my fans. I don't even really know who they are. But, I know that this whole thing started with me making stuff that I got off on, and I've gotta believe that that's how it's going to end, too. That's the only way it can go. There are a lot of artists who have gotten pretty caught up in that. That's why I like the defeatist attitude. Just assume that no one is going to like it and that no one cares, and you'll end up making something that you really like.
I take photos, I used to make films, I journal incessantly, and I really value the documentation of life. Because it's almost like you are making something special by wanting to make it exist in an object - on paper or even just in the computer - making these recordings, making this music.
I've always explored things that people find a bit more freakish, like free jazz, and I'd gotten to a point where the live music I was making was really hectic and turning much more confrontational. So when I started working on Everything Ecstatic, that was very normal for me. I think it was a departure, but people read it as an escape from something, whereas every record I do is, I feel, a departure.
You're not just making music for your personal use no more, just making music for your homies around you; you're making music for people around the world. Kids in Alaska - like, you're making music for everybody. When I make music, I just think on a larger scale.
I feel really fortunate and grateful that not only do I get to do what I love, but I get to do it and serve a conversation that I feel is necessary culturally. The fact that I get to bring those two passions together is amazing to me - that I get to use my art in order to inform my activism and vice versa!
The music you make is shaped by what you play it on ... if you feel that you're not getting enough out of a song, change the instrument - go from an acoustic to an electric or vice versa, or try an open tuning ... do something to shake it up.
I feel like I wasn't making music that meant anything to me until I was 26 years old, so I'm realizing that sometimes it takes three years or five years to understand what the point of even making music together is.
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