"I'd love to be a saxophonist. I don't know why, but I pretend I'm the saxophonist when I listen to music. I have about as much chance playing the sax as I do learning how to fly"
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Price’s line is a small masterclass in how artists confess desire without letting it get sentimental. The opening is all appetite: not “I admire saxophonists,” but “I’d love to be one,” the kind of wanting that’s bodily, immediate, a little adolescent. Then he pivots to the private ritual that makes the want livable: he “pretend[s]” he’s the saxophonist while listening. That’s not a cute anecdote; it’s an admission that fandom is often a form of temporary identity theft, a low-stakes way to borrow someone else’s mastery and swagger for three minutes at a time. The sax matters, too: an instrument culturally coded as both cool and exposed. A sax solo is breath turned into attitude. To imagine yourself there is to imagine yourself articulate in a way ordinary speech can’t manage.
The punchline lands because it’s blunt and oddly tender: “about as much chance…as…learning how to fly.” Price chooses an impossibility with a childish clarity, which is exactly the point. The fantasy isn’t delusion; it’s a controlled hallucination, a way to keep longing in play without turning it into a midlife crisis purchase and a stack of lesson books.
Contextually, it fits a writer who’s built a career eavesdropping on ambition, self-mythmaking, and the gap between who people are and who they rehearse being. He’s not mocking the dream; he’s marking the distance. The honesty is the flex: he knows the line between participating in art and pretending you can become it, and he defends the pretend as its own kind of truth.
The punchline lands because it’s blunt and oddly tender: “about as much chance…as…learning how to fly.” Price chooses an impossibility with a childish clarity, which is exactly the point. The fantasy isn’t delusion; it’s a controlled hallucination, a way to keep longing in play without turning it into a midlife crisis purchase and a stack of lesson books.
Contextually, it fits a writer who’s built a career eavesdropping on ambition, self-mythmaking, and the gap between who people are and who they rehearse being. He’s not mocking the dream; he’s marking the distance. The honesty is the flex: he knows the line between participating in art and pretending you can become it, and he defends the pretend as its own kind of truth.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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