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Originally Posted by evollove
Totally fair. I'll give you your curiosity.
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you can't give me what's already mine, but i suppose that's an american idiom that eludes me
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Originally Posted by evollove
For the most part, I like mystery in my music, so I guess that's where I'm coming from.
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that would be like saying "i like mystery in my novels, so i guess i don't want to know grammar"
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Originally Posted by evollove
(Although, again, I really appreciate a good piece on whatever Schoenberg's doing tonally in a certain string quartet or whatever.)
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and yet, "noise rock" is doing more tonally than schoenberg ever did, thanks to chaos, but nobody can tell me what structures are these
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Originally Posted by evollove
I'd want to know what Keith brought to drumming via a doc, then listen to a few tracks while reading about the drugs and fucking.
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sure, i can also tell you that beethoven hand-picked 60 grains of coffee to brew and drink before writing, or that bach was as genitally fecund as he was musically prolific, but we have better writing about what they contributed to the history of music, don't we?
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Originally Posted by evollove
A point with deep sociological or philosophical force in a rock essay feels like a waste. The same point made in a literary essay is fine with me, and part of a long, rich, honorable tradition.
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and yet, rock was the soundtrack of the social revolution of the 60s, but an essay about that somehow would be a waste.
as for rich and honorable traditions, i don't know what's in this piece but it's one of the best things i've ever read about rock (and yes it helped to be familiar with said scene back in those days)
http://www.washingtoncitypaper.com/a...on-the-killjoy
enjoy it, sucka.
(and of course i dare you to generationally place that writer without looking him up. it's an easy job, really)