A rambling essay on John Zorn
John Zorn. It was an incredible experience to have such a hero of contemporary music as John Zorn come to speak to us. I remember back in Australia when we were taught about Zorn's work in contemporary music history classes. It was fascinating to see him in person and to hear him talk. When you hear about someone from afar, you often see their work as the key element about them, the category they fit into, their contribution to history. For me hearing John talk opened up the humanity that is every present in what we do, and is sometimes forgotten when we look at artistic contributions from afar. I think the most important takeaway from John's talk was how to be a human, not how to be a composer of musician. Or maybe more accurately, how to live as a human who is involved in the musical world.
Much of John's work is just stuff he does with his friends that happens to be art. There is no pretention about him in my mind, though some of the things he says may come across as arrogant. Though I must say it was hilarious to hear him blowing of incredible opportunities at a whim, while many people in the room would have killed for such opportunities. I must say though, that I believe his attitude comes from not hold his work in esteem as an artwork, but in holding it as just something he wants to do. Just someway he sees the world, and just some way to get his thoughts out there. I believe this is what drives is output, and this is why he can take his scores off people who aren't playing it the way he wants them to play it, because to him his music is just this thing he wants to do, with his people, and if someone doesn't get it, then he doesn't want to do it with them. Interestingly enough, I believe this attitude has greatly contributed to his success as an artist. He isn't trying to cater for any market, simply expressing himself, and making enough to make a living (well, probably surpassing that amount, but I believe he would be happy simply making enough to live and make is art on). I really admire his outlook.
What I don't understand is how someone could see this life, attitude, and artistic output and ask him if he has some kind of privilege that he must owe it to. I understand the kind of climate we live in these days, but I found that and incredibly insulting this to ask, and really couldnt believe my ears. To his credit, Zorn, who grew up in a time before the concept of privilege even existed, took the question well, and answered in a totally upstanding manner, calmly explaining that he had worked for everything he had, that he had been through rough times, and lived in hard places. But honestly, to say that someone's position and success has anything to do with privilege is insane. There are across the world many many many sons and daughters of millionares who have done nothing with their lives, lived comfortably until they died, so while some people may have a headstart in life, they still have to work incredibly hard to get to where they want to be. And obviously John Zorn is not the child of some millionares. AND ANOTHER THING. Zorn is known for his creativity, his music which is radical and different to everybody else's. What then was he privileged with creativity? How far are you going to take this?
Much of John's work is just stuff he does with his friends that happens to be art. There is no pretention about him in my mind, though some of the things he says may come across as arrogant. Though I must say it was hilarious to hear him blowing of incredible opportunities at a whim, while many people in the room would have killed for such opportunities. I must say though, that I believe his attitude comes from not hold his work in esteem as an artwork, but in holding it as just something he wants to do. Just someway he sees the world, and just some way to get his thoughts out there. I believe this is what drives is output, and this is why he can take his scores off people who aren't playing it the way he wants them to play it, because to him his music is just this thing he wants to do, with his people, and if someone doesn't get it, then he doesn't want to do it with them. Interestingly enough, I believe this attitude has greatly contributed to his success as an artist. He isn't trying to cater for any market, simply expressing himself, and making enough to make a living (well, probably surpassing that amount, but I believe he would be happy simply making enough to live and make is art on). I really admire his outlook.
What I don't understand is how someone could see this life, attitude, and artistic output and ask him if he has some kind of privilege that he must owe it to. I understand the kind of climate we live in these days, but I found that and incredibly insulting this to ask, and really couldnt believe my ears. To his credit, Zorn, who grew up in a time before the concept of privilege even existed, took the question well, and answered in a totally upstanding manner, calmly explaining that he had worked for everything he had, that he had been through rough times, and lived in hard places. But honestly, to say that someone's position and success has anything to do with privilege is insane. There are across the world many many many sons and daughters of millionares who have done nothing with their lives, lived comfortably until they died, so while some people may have a headstart in life, they still have to work incredibly hard to get to where they want to be. And obviously John Zorn is not the child of some millionares. AND ANOTHER THING. Zorn is known for his creativity, his music which is radical and different to everybody else's. What then was he privileged with creativity? How far are you going to take this?
John Zorn is quite the prolific composer with an incredible span of works under his belt. It is riveting to hear about the parameters he upholds when it comes to having this work performed, such as a gold standard from the musicians that play his works and the musicality they can bring out of whatever he notates. What is unique is his ease with adjusting players until he gets the sound he is looking for. What also seems like an anomaly in the scene today is the notion that he never writes demos nor revisions for projects. He receives and has earned the respect that he demands when putting together a performance or work.
ReplyDeleteI have to admit, this is hard to come to terms with when the competition is high and there is the possiblity that someone else can be hired at a cheaper rate (some people will even work for free). I think you’re interpreting the question wrong,- as the person who asked the question, I asked him if he thought that his ability to operate the way he does and never compromising with the high level he expects, stemmed in any way from privilege. This was not an attack on his talent at all, but a question that stemmed from curiosity because personally it does not seem rational that any other person could be able to pull off anything close to what works for him. Privilege has been a part of American social systems for quite some time; gender bias is systemic. “According to a survey of the 22 largest American orchestras, women composers accounted for only 1.8 percent of the total pieces performed in the 2014-2015 concert season.” https://www.bsomusic.org/stories/by-the-numbers-female-composers/
I am glad that he answered the question gracefully, and told us about his humble beginnings trying to survive in New York. But as a person of color and as a woman, I might have to work harder to have high demands met.
Hey Ben, I think you maybe have a misunderstanding of what privilege is or how it works beyond money and class lines. And that someone can work tirelessly and still have their career boosted by say, being white, or a guy, or growing up in a certain location. Many other folx can work just as tirelessly and never see the same achievements or recognition come their way due to structural/societal racism or sexism, and this is something that's been an ongoing situation long before Zorn was born.
ReplyDeleteHappy to chat this out more in person if you happen to read this.