A Quote by Rob Chapman
I'm an avowed modernist. I'm for the new thing. I came to the conclusion many years ago that rock music is essentially a conservative form.
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Conservative thinking is a very important part of Republican Party and the Republican Party is very important to the conservative movement. Since the 1960's, the polarization of the two parties and their alignment with essentially liberal and progressive and conservative thinking respectively is one of the big changes and it's made it really hard to separate those two out and so party and ideology are much more intertwined today than they were even 20 years ago, let alone 40 years ago.
There are many fans of hard rock music that have been wrongly pigeonholed as apathetic. This music is not music for the elitist coffeehouse culture in SoHo. It' s rock 'n' roll music for kids across the land, and I think that makes it much more subversive in a way, in that it has the form and the function of a powerful, populist music, but it can carry very incendiary messages.
I have a real problem with rock music because it seems that lineage doesn't really exist. When you grow up, you're told that rock 'n' roll is the only authentic way to express yourself. Live instrumentation, singer, live drums. You're told that's the best medium to communicate. So much of modern rock is referencing music from 20 years ago.
The music industry was invented, like, 100 years ago. I'm talking about the goddess Matangi, who invented music 5,000 years ago. She was the only thing that inspired me.
I think opera music is very conservative, and Rock and Roll music is conservative as well, and that's why I'm trying to make a bridge between these two elements.
Rock and roll came in and changed my life and changed the whole music scene forever, and then I grew to love R&B and Motown and all black music, gospel music. But I never dismiss any form of music. I listen to everything.
I think the thing that we agreed to so many years ago, actually, was that the music didn't have to support the dance nor the dance illustrate the music, but they could be two things going on at the same time.
I grew up in the funk, rock and roll, blues and r&b tradition, and I came to this thing we call jazz later. And I came to improvise music from the standpoint of jazz; I was improvising, but within these other genres of music.
For me, music was an age/time/place thing. One day I woke up and realized I was done. That was many years ago.
I have always maintained that paradigm shift away from signing Rock and Metal acts is part of the decline in sales the major labels have talked about for years. I mean, to me, that should be so obvious. For decades, literally, as long as Rock N' Roll has existed, a large swath of major label income came from Rock, and later, Metal bands. So if you essentially stop signing the thing that brought in a significant portion of your income, how are you confused when you don't sell as much? It's like cutting off your nose to spite your face. I still don't get it.
Years and years ago, when everyone knew that Pierce was going to be doing the job, they started selecting new people. I had this bizarre thing when I hadn't done many movies, and of going on for an interview.
Rock 'n' roll is a young form. People over twenty- five ruin it. This whole censorship thing has come about because old people are playing with a form that is essentially young and rebellious. Do you know how brilliant it was for The Beatles to break up when they did?.
Something about music urges us to engage with its larger context, beyond the piece of plastic it came on-it seems to be part of our genetic makeup that we can be so deeply moved by this art form. Music resonates in so many parts of the brain that we can't conceive of it being an isolated thing.
It is more difficult to maintain friendship with people that you work with five minutes ago, than from many years ago. For some reason we've just remained friends, we talk to each other all the time. For a while, for years, we spent New Year together.
When modernist poetry, or what not so long ago passed for modernist poetry, can reach the stage where the following piece by Mr. Ezra Pound is seriously offered as a poem, there is some justification for the plain reader and orthodox critic who shrinks from anything that may be labelled 'modernist' either in terms of condemnation or approbation. Better he thinks, that ten authentic poets should be left for posterity to discover than one charlatan should be allowed to steal into the Temple of Fame.
Today we take New England clam chowder as something traditional that makes our roots as American cooking very solid, with a lot of foundation. But the first person who decided to mix potatoes and clams and bacon and cream, in his own way 100 to 200 years ago, was a modernist.
