"There are a lot of wonderful things created in our culture that have been ignored that can speak to them"
About this Quote
A composer doesn’t mourn “ignored” art unless he’s also indicting the machinery that decides what counts. David Amram’s line carries the quiet urgency of someone who has spent a lifetime watching culture get flattened into a playlist: the “wonderful things” are already here, already made, already resonant, but they sit outside the spotlight that institutions and markets train on the same narrow canon.
The pronouns do most of the work. “Our culture” is expansive, democratic, even a little aspirational: it suggests folk traditions, immigrant stories, local scenes, odd hybrids, the kind of music and literature that thrives without permission. “Them” is equally telling. He’s talking about an audience not yet reached - younger listeners, outsiders, the disengaged, people told (implicitly) that culture isn’t for them unless it comes with prestige branding. Amram’s point is less “we need to create new art” than “we need to relearn how to listen.”
Context matters: Amram is a bridge figure, associated with the Beat era, jazz, and classical composition, a career built on collaboration and cross-pollination rather than gate-kept purity. So the subtext reads like a manifesto against cultural amnesia. Ignored works “can speak to them” because they weren’t engineered for mass legibility; they carry specific textures of time, place, and marginality that feel newly relevant in an era of algorithmic sameness. He’s arguing that the problem isn’t a lack of meaning in culture; it’s a distribution of attention that mistakes popularity for value.
The pronouns do most of the work. “Our culture” is expansive, democratic, even a little aspirational: it suggests folk traditions, immigrant stories, local scenes, odd hybrids, the kind of music and literature that thrives without permission. “Them” is equally telling. He’s talking about an audience not yet reached - younger listeners, outsiders, the disengaged, people told (implicitly) that culture isn’t for them unless it comes with prestige branding. Amram’s point is less “we need to create new art” than “we need to relearn how to listen.”
Context matters: Amram is a bridge figure, associated with the Beat era, jazz, and classical composition, a career built on collaboration and cross-pollination rather than gate-kept purity. So the subtext reads like a manifesto against cultural amnesia. Ignored works “can speak to them” because they weren’t engineered for mass legibility; they carry specific textures of time, place, and marginality that feel newly relevant in an era of algorithmic sameness. He’s arguing that the problem isn’t a lack of meaning in culture; it’s a distribution of attention that mistakes popularity for value.
Quote Details
| Topic | Art |
|---|---|
| Source | Help us find the source |
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