"For about seven years. I really like it there. There are a lot of great musicians. The scene is very open. A lot of stuff going on. People's ears are really open, they are not closed. A lot of scenes here, people just get tunnel vision and are into one thing"
About this Quote
New York comes off here less as a glamorous capital than as a working ecosystem: a place where listening is a civic virtue. John Zorn isn’t praising a skyline; he’s praising a habit. The repetition of “open” and the blunt “not closed” reads like a musician’s value system stripped down to first principles. In a culture where scenes often harden into brands, Zorn frames the ideal community as one that stays porous - curious enough to be changed by what it hears.
The intent is quietly polemical. Zorn has spent decades bouncing between downtown experimental music, jazz, hardcore, Jewish liturgical references, and contemporary composition, often in the same project. When he says other places “get tunnel vision,” he’s not merely describing provincialism; he’s indicting the economics and social psychology of scenes that survive by narrowing taste. Tunnel vision is how you build a marketable identity, how you secure gigs, how you signal belonging. It’s also how you stop evolving.
Context matters: Zorn’s New York is the post-1970s downtown lineage where lofts, small clubs, and DIY labels turned scarcity into cross-pollination. “A lot of stuff going on” isn’t tourist chatter; it’s code for density - the churn of collaborations, chance encounters, and stylistic collisions that make genre purity feel like a self-imposed disability.
The subtext is a challenge disguised as compliment: if you want the music to stay alive, keep your ears socially available. Openness is not a vibe; it’s discipline.
The intent is quietly polemical. Zorn has spent decades bouncing between downtown experimental music, jazz, hardcore, Jewish liturgical references, and contemporary composition, often in the same project. When he says other places “get tunnel vision,” he’s not merely describing provincialism; he’s indicting the economics and social psychology of scenes that survive by narrowing taste. Tunnel vision is how you build a marketable identity, how you secure gigs, how you signal belonging. It’s also how you stop evolving.
Context matters: Zorn’s New York is the post-1970s downtown lineage where lofts, small clubs, and DIY labels turned scarcity into cross-pollination. “A lot of stuff going on” isn’t tourist chatter; it’s code for density - the churn of collaborations, chance encounters, and stylistic collisions that make genre purity feel like a self-imposed disability.
The subtext is a challenge disguised as compliment: if you want the music to stay alive, keep your ears socially available. Openness is not a vibe; it’s discipline.
Quote Details
| Topic | Music |
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