Thurston Moore
That brings a bit of joy to it. It’s the whole Jack Kerouac thing, like holy poverty. Embracing that canon, that lineage. To me, books, records . . . these are documents, and a lot of my book is predicated on talking about significant documents that become these connections between people within a community that inform, intrigue, and progress people further into the work that is happening. I wanted to write about these significant documents that were shared by people who didn’t know each other, like somebody in Melbourne like [JG] Thirlwell.
When I met him later, we realized we read and listened to the same things growing up, but we didn’t know each other. We lived on different parts of the planet. The Stooges and Patti Smith. He was like, you know, these are really, in the grand scheme of things, minor documents. Why did they connect with all these different people? This whole world of punk and post-punk and art punk sprang forward from it.
Those seeds were really interesting to me. I wanted at first just to talk about those signifiers. In editing, there was too much of it. A lot of the book was originally a lot of record reviewing. I just started writing about those things [laughs].
Even things that were once completely obscure and arcane are now being rediscovered, and everybody has access to it. It’s kind of great.
I also knew that books and records are perennials. They can become obscure, but they don’t ever really vanish, especially in the culture now where everything is transparent in the shared digital library of the world. You can’t really make anything invisible. Even things that were once completely obscure and arcane are now being rediscovered, and everybody has access to it. It’s kind of great. In fact, it’s amazing. I’m glad I’ve lived long enough to actually see footage of [the jazz guitarist] Sonny…
La suite est à lire sur: jacobin.com
Auteur: Thurston Moore
