"That's what drew me to rock music in the first place - that sense of remaking the world on your own terms"
About this Quote
Rock, in Stephan Jenkins's telling, isn't a genre so much as a permission slip. "Drew me" frames rock as an origin story: not just what he listened to, but what he became. The real engine of the line is the pivot from sound to agency. He's not praising distortion or swagger; he's praising a feeling - the private, electric certainty that you can take the givens of your life and rewire them.
"Remaking the world" is deliberately grand, but the subtext is intimate. For a musician who came up in the post-punk, alt-rock ecosystem and later fronted Third Eye Blind into mainstream rotation, the phrase carries a double edge: rock as rebellion and rock as industry. The fantasy is autonomy; the reality is negotiation with radio formats, labels, and the market's appetite for "authentic" defiance. That tension is what makes the quote work. It's idealistic without being naive, because "on your own terms" quietly acknowledges there are terms at all - boundaries you have to name, then push.
Culturally, Jenkins is invoking a classic rock myth updated for a more self-aware era. In the '60s it was about revolution; in the '90s it was about identity under late capitalism: make a self, brand a self, protect a self. His intent reads less like nostalgia and more like a defense of rock's remaining utility: even when the world can't be remade, the terms of your participation still can.
"Remaking the world" is deliberately grand, but the subtext is intimate. For a musician who came up in the post-punk, alt-rock ecosystem and later fronted Third Eye Blind into mainstream rotation, the phrase carries a double edge: rock as rebellion and rock as industry. The fantasy is autonomy; the reality is negotiation with radio formats, labels, and the market's appetite for "authentic" defiance. That tension is what makes the quote work. It's idealistic without being naive, because "on your own terms" quietly acknowledges there are terms at all - boundaries you have to name, then push.
Culturally, Jenkins is invoking a classic rock myth updated for a more self-aware era. In the '60s it was about revolution; in the '90s it was about identity under late capitalism: make a self, brand a self, protect a self. His intent reads less like nostalgia and more like a defense of rock's remaining utility: even when the world can't be remade, the terms of your participation still can.
Quote Details
| Topic | Music |
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