I honestly think that I learned quickly from these events. As I continued on my journey to non-snobdom, it wasn’t long before I could genuinely respect other people’s music tastes and shut down any judgments that subconsciously arose. Still, that didn’t mean that I wanted to expand my own listening, because I knew what I liked and I definitely knew what I didn’t like. But then we get to point 3: I started dating someone who loves prog rock — the epitome of dad rock — and when she plays it for me, I don’t mind. I enjoy it. Of course, music is situational. It’s experienced and enjoyed differently depending on the situation. Live music is very different from a studio recording. Townhouse parties are for mosh pits and scream-singing, not a chord-bychord breakdown of the latest indie chart-topper. The point of music is to enjoy it, or to critique it, or to process emotions, or to get something out of it — and at that point, exactly what you’re listening to is kind of irrelevant. Still, when it comes to dad rock, there’s a lot for me to overcome before reaching the point of enjoyment. Music is situational, and they’re not always positive situations. I use the term “dad rock” for a reason; to me, it’s the music that my dad and his friends have always tried to convince me to listen to. It’s the music that I’ve been told that I should respect and appreciate. It’s the music whose sexist or other harmful messages I should overlook because that’s not the point, and aren’t these men geniuses? I hated hearing these comments, and when my shiny new GWSS major “intimidated” my dad and his friends, we all knew it was because there was plenty to criticize — and now I had the language to follow through on it. I’ve talked about these experiences with friends, and it turns out that “Bruce Springsteen trauma” is surprisingly common. (Nothing against Springsteen himself, only the role that his music has played in my life.) And while I don’t fault others for listening to dad rock, I’ve always been pretty sure that I never would. But music is situational. And somehow, I’ve recently been able to replace some of these negative memories with more positive experiences. I’ve learned that listening to music with someone who makes you feel safe and supported is a much better experience. Trying to find your own beauty and sensation in music is a lot more fun than having it forced on you. And now listening to dad rock doesn’t always feel so bad anymore. ◆
Interview: Eduardo Pávez Alberto Leon
Tenemos Explosivos is a Chilean rock band. It was formed in 2009, and its members include veterans from Chile’s punk scene. They have been first-hand witnesses of Chile’s complicated social situation, from before and after Pinochet’s dictatorship. Their music offers a more complex approach to post-hardcore, both musically and lyrically. I had the opportunity to interview their frontman, Eduardo Pávez, who is currently a Ph.D. student in Theater & Performance at Columbia University. Eduardo’s interest in theater is one of the reasons for the band’s richer lyrical content, including influences from Greek tragedies and myths. This interview was translated from the original Spanish. Alberto León: Eduardo, a great pleasure. I have known your music since I was in ninth grade, put on in 2018. Your music was crucial in my intellectual formation… A great honor to be able to interview you and be face to face. Eduardo Pávez: My pleasure. AL: I wanted to start by asking you, where did the idea of forming “Tenemos Explosivos” come from and what does that name mean? EP: Tenemos Explosivos was formed when the guitarists, who are brothers, Juan José and René Sánchez, had a band called “Cría cuervos.” When “Cría cuervos” ended, they were left wanting to continue playing and making songs. I knew René, because René was part of the family of my wife at the time. I knew that he played the guitar; NF009 | 15
