— Johannes Kepler in a letter to Galileo, 1610 (via yuhuang)
GS: “I am so sad that the next 15-year-old kid in a garage someplace in Saint Paul, that plugs into his Marshall and wants to turn it up to ten, will not have anywhere near the same opportunity that I did.He will most likely, no matter what he does, fail miserably. There is no industry for that anymore. And who is the culprit? There’s always the changing tide of interests — music taste changes with each generation. To blame that is silly. That was always the exciting part, after all: “What’s next?” But there’s something else. The death of rock was not a natural death. Rock did not die of old age. It was murdered. And the real culprit is that kid’s 15-year-old next-door neighbor, probably a friend of his. Maybe even one of the bandmates he’s jamming with. The tragedy is that they seem to have no idea that they just killed their own opportunity — they killed the artists they would have loved. Some brilliance, somewhere, was going to be expressed, and now it won’t, because it’s that much harder to earn a living playing and writing songs. No one will pay you to do it.
The masses do not recognize file-sharing and downloading as stealing because there’s a copy left behind for you — it’s not that copy that’s the problem, it’s the other one that someone received but didn’t pay for. The problem is that nobody will pay you for the 10,000 hours you put in to create what you created. I can only imagine the frustration of all that work, and having no one value it enough to pay you for it.
It’s very sad for new bands. My heart goes out to them. They just don’t have a chance. If you play guitar, it’s almost impossible. You’re better off not even learning how to play guitar or write songs, and just singing in the shower and auditioning for The X Factor. And I’m not slamming The X Factor, or pop singers. But where’s the next Bob Dylan? Where’s the next Beatles? Where are the songwriters? Where are the creators? Many of them now have to work behind the scenes, to prop up pop acts and write their stuff for them.
Here’s a frightening thought: from 1958 to 1983, name 100 musical anythings that are iconic, that seem to last beyond their time.
NS: The Beatles, The Stones…
GS: Elvis, the Beatles, Michael Jackson, the Stones, Jimi Hendrix, the numerous classic Motown artists, Madonna, U2, Prince, Pink Floyd… The list goes on. Individuals, all unanimously considered classic, timeless, revolutionary. Now from ‘84 until today, name some. Just give me a few — artists that, even after their passing, are or will be inescapable. Artists on the same level as the ones I just mentioned. Even if you don’t like them, they will be impossible to avoid, or deny, even after they’ve stopped making music and maybe passed on. In fact, they become bigger when they stop. Name artists that even compare with the ones I just named.
GS: Nirvana. That’s about it. They are the notable exception. Keep thinking. It’s harder, isn’t it, to name artists with as much confidence? The pickings are so slim, and it’s not an arbitrary difference. There was a 10- to 15-year period in the ’60s and ’70s that gave birth to almost every artist we now call “iconic,” or “classic.” If you know anything about what makes longevity, about what makes something an everlasting icon, it’s hard to find after that. The craft is gone, and that is what technology, in part, has brought us. What is the next Dark Side of the Moon? Now that the record industry barely exists, they wouldn’t have a chance to make something like that. There is a reason that, along with the usual top-40 juggernauts, some of the biggest touring bands are half old people, like me.”
1980 propaganda poster, “Love science, study science, use science.”
Everything—absolutely everything—is illuminated. Goll-lee.
grantimatter, we need to do something about this.
"To burn always with this hard, gem-like flame, to maintain this ecstasy, is success in life." - Walter Pater
Tonino: What exactly do you mean by “wild”?
Turner: I mean something that is self-willed, autonomous, self-organized. Basically it’s the opposite of controlled.
You can see wildness in the movement of glaciers, or you can track it in star-forming regions in the Orion Nebula. Wildness is everywhere. It starts with microscopic particles, and it goes more than 13 billion light-years into the cosmos. It’s in the soil and in the air, it’s on our hands, it’s in our immune systems, it’s in our lungs — where there are two thousand bacteria per square centimeter! In a certain respect, much of what we consider us is in fact not us. We breathe, and wildness comes in. We don’t control it.
Tonino: You’ve called wildness “an endangered experience.”
What do you mean by that? If we’re steeped in wildness, is it just a matter of perception?
Turner: It has to do with scale. On one scale you’ve got the Orion Nebula, which is twenty-six light-years across and two thousand times the mass of the sun. At the other extreme is the scale of quantum physics and subatomic particles, zooplankton and proteins. The scale that Henry David Thoreau and the American conservation movement focus on is that of voles and coral reefs and redwoods and whales. We’re particularly interested in wildness at that scale — and for good reason — but that scale doesn’t include all wildness. And here’s the problem: nowadays very few people directly experience voles, coral reefs, redwoods, and whales. You can live in San Francisco, ride a Google bus to work, stare at a screen, come home, stare at a screen, repeat, repeat, repeat. I’ve asked my environmental-studies students how much time each day, on average, they spend in contact with raw wild nature. Thirty minutes, they say. And what are they doing then? Walking between classes. They’ve told me they look at a screen eight to twelve hours a day, on average. These kids have not spent much time hiking in remote areas. They don’t have much personal experience with wild creatures. They also don’t have much experience with isolation. These days parents can hardly get their children to participate in an outdoor program, such as a backpacking trip, because it will cut them off from Facebook for two weeks.
— Jack Turner, Chinese philosophy scholar and backwoodsman, interviewed in The Sun.
Why is the “hoarder” so loathed by the Apple authorities?
Because she is feared.
The hoarder has “things” after all, items like books and records that are clues to a past when things were stores of knowledge, signifiers, totems of meaning. The cyber lords want it all destroyed. The library must be cleaned of nasty old books and filled with computers. The record collector must renounce his or her albums and replace them with an iPod."
— Ian Svenonius believes in a pack rat revolution.
San Francisco has the Golden Gate Bridge. St. Louis has the Arch. Las Vegas has its retro welcome sign. …
Created by an aviation pioneer, you know.
— Mr. Andrew WK explains things as they are.
A selection of art from Stewart Cowley’s Spacecraft, 2000-2100 A.D.: Terran Trade Authority Handbook, 1978. Artists featured include Angus McKie, Jim Burns, and Colin Hay.
God, I remember this book. I was just thinking about it last week. I’d pine over it in the bookshop. The yellow ships on the cover, they had guns angled 45 degrees down so they could dive at a ship and then fire as they were pulling up.
- What To Wear When You're On The Run From The NSA
It’s true! It’s all...