Perhaps the true measure and quality of greatness in Cage is that his life and work ignore such thinking, letting it pass like the breeze. The best art doesn’t offer answers, it asks probing, fascinating questions. It is antithetical to this value to think that one thing is the answer to all things in Cage, when his achievement lies on a spectrum that, in maturity, begins with tossing coins and continues to question after question after question, leaving us to explore what answers might lie inside ourselves.
The tinkering under the hood continues (it seems like it will never end, but it will, I promise, I think I’ve solved all my technical issues), and the music continues, so have some Friday links and miscellany: ‘“After tax, that’s like, what, $75,000?” an investment banker at a rival firm said as he contemplated Morgan(…)
2011 Year’s Best Jazz, a baker’s dozen (and more) …
The story of how the digitization of music revealed the music industry’s feet of clay has been told more than once, but it’s never been properly explained. File sharing may be the prevailing symptom, but it’ s not the actual cause. Something preceded the creation of Napster, and that was the desire, even the need for many music fans, to have a Napster. As far as I have seen, after the many books and articles on the subject, no one has touched on the parties responsible, the decisions they made, what they thought they were doing and how they were fooling themselves. Perhaps it’s because it’s been told from the standpoint of business, when it’s really a story about music.