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Quote by Kimberly Novosel

“The voice sang on, “I am ready, I am ready, I am fine. I am fine, I am fine, I am fine.” I played it again. I was not fine.”

Quote by Kimberly Novosel

Book:Loved
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Loved

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Kimberly Novosel

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“Shimamoto was in charge of the records. She'd take one from its jacket, place it carefully on the turntable without touching the grooves with her fingers, and, after making sure to brush the cartridge free of any dust with a tiny brush, lower the needle ever so gently onto the record. When the record was finished, she'd spray it and wipe it with a felt cloth. Finally she'd return the record to its jacket and its proper place on the shelf. Her father had taught her this procedure, and she followed his instructions with a terribly serious look on her face, her eyes narrowed, her breath held in check. Meanwhile, I was on the sofa, watching her every move. Only when the record was safely back on the shelf did she turn to me and give a little smile. And every time, this thought hit me: It wasn't a record she was handling. It was a fragile soul inside a glass bottle.”

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Book:South of the Border, West of the Sun
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“Jazz presumes that it would be nice if the four of us--simpatico dudes that we are--while playing this complicated song together, might somehow be free and autonomous as well. Tragically, this never quite works out. At best, we can only be free one or two at a time--while the other dudes hold onto the wire. Which is not to say that no one has tried to dispense with wires. Many have, and sometimes it works--but it doesn't feel like jazz when it does. The music simply drifts away into the stratosphere of formal dialectic, beyond our social concerns. Rock-and-roll, on the other hand, presumes that the four of us--as damaged and anti-social as we are--might possibly get it to-fucking-gether, man, and play this simple song. And play it right, okay? Just this once, in tune and on the beat. But we can't. The song's too simple, and we're too complicated and too excited. We try like hell, but the guitars distort, the intonation bends, and the beat just moves, imperceptibly, against our formal expectations, whetehr we want it to or not. Just because we're breathing, man. Thus, in the process of trying to play this very simple song together, we create this hurricane of noise, this infinitely complicated, fractal filigree of delicate distinctions. And you can thank the wanking eighties, if you wish, and digital sequencers, too, for proving to everyone that technologically "perfect" rock--like "free" jazz--sucks rockets. Because order sucks. I mean, look at the Stones. Keith Richards is always on top of the beat, and Bill Wyman, until he quit, was always behind it, because Richards is leading the band and Charlie Watts is listening to him and Wyman is listening to Watts. So the beat is sliding on those tiny neural lapses, not so you can tell, of course, but so you can feel it in your stomach. And the intonation is wavering, too, with the pulse in the finger on the amplified string. This is the delicacy of rock-and-roll, the bodily rhetoric of tiny increments, necessary imperfections, and contingent community. And it has its virtues, because jazz only works if we're trying to be free and are, in fact, together. Rock-and-roll works because we're all a bunch of flakes. That's something you can depend on, and a good thing too, because in the twentieth century, that's all there is: jazz and rock-and-roll. The rest is term papers and advertising.”

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Book:Air Guitar: Essays on Art & Democracy
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