Jude: Doesn't really matter, you know, what kind of nasty names people invent for the music. But, uh, folk music is just a word, you know, that I can't use anymore. What I'm talking about is traditional music, right, which is to say it's mathematical music, it's based on hexagons. But all these songs about, you know, roses growing out of people's brains and lovers who are really geese and swans are turning into angels – I mean, you know, they're not going to die. They're not folk music songs. They're political songs. They're already dead. You'd think that these traditional music people would – would gather that mystery, you know, is a traditional fact, you know, seeing as they're all so full of mystery.
Keenan Jones: And contradictions.
Jude: Yeah, contradictions.
Keenan Jones: And chaos.
Jude: Yes, it's chaos, clocks, and watermelons – you know, it's – it's everything. These people actually think I have some kind of, uh, fantastic imagination. It gets very, uh … lonesome. But traditional music is just, uh … it's too unreal to die. It doesn't need to be protected. You know, I mean, in that music is the only true valid death you can feel today, you know, off a record player. But like everything else in great demand, people try to own it. Has to do with, like, uh, the purity thing. I think its meaninglessness is holy. Everybody knows I'm not a folk singer.
Keenan Jones: And contradictions.
Jude: Yeah, contradictions.
Keenan Jones: And chaos.
Jude: Yes, it's chaos, clocks, and watermelons – you know, it's – it's everything. These people actually think I have some kind of, uh, fantastic imagination. It gets very, uh … lonesome. But traditional music is just, uh … it's too unreal to die. It doesn't need to be protected. You know, I mean, in that music is the only true valid death you can feel today, you know, off a record player. But like everything else in great demand, people try to own it. Has to do with, like, uh, the purity thing. I think its meaninglessness is holy. Everybody knows I'm not a folk singer.
Jude : Doesn't really matter, you know, what kind of nasty names people invent for the music. But, uh, folk music is just a word, you know, that I can't use anymore. What I'm talking about is traditional music, right, which is to say it's mathematical music, it's based on hexagons. But all these songs about, you know, roses growing out of people's brains and lovers who are really geese and swans are turning into angels – I mean, you know, they're not going to die. They're not folk music songs. They're political songs. They're already dead. You'd think that these traditional music people would – would gather that mystery, you know, is a traditional fact, you know, seeing as they're all so full of mystery.
Keenan Jones : And contradictions.
Jude : Yeah, contradictions.
Keenan Jones : And chaos.
Jude : Yes, it's chaos, clocks, and watermelons – you know, it's – it's everything. These people actually think I have some kind of, uh, fantastic imagination. It gets very, uh … lonesome. But traditional music is just, uh … it's too unreal to die. It doesn't need to be protected. You know, I mean, in that music is the only true valid death you can feel today, you know, off a record player. But like everything else in great demand, people try to own it. Has to do with, like, uh, the purity thing. I think its meaninglessness is holy. Everybody knows I'm not a folk singer.
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