creatives in a world of more creatives....

It's hard to imagine sustaining the creative class as the numbers inflate and the capital diminishes.  But, we are also in the throws of the chopped hierarchical tree, in which a select few where given the whole share of resources and attention for their creative endeavors.

Length, size, genre, mediums, fidelity, production values are just some of the things that seem to matter less and less, as ultimately, attention becomes the trophy creatives seek, sometimes in the most desperate ways.

The death of the critical class is inevitable because the distribution of the voice is constant. An opinion is an opinion after all, and control of content doesn't exist.  What you ultimately get is the good with the bad.  Then this naturally follows, "what is good and what is bad". Nobody gets to decide for you anymore. 

A new book to read - How Music Works

Finally getting around to reading David Byrne's book, "How Music Works".  It was recommended by a dear friend, and it's been sitting in my book queue for months.  

And quite frankly, it feels real nice to have a book queue. You should start one today.  Books are practically the only things I collect, aside from vintage musical gear and a couple old film cameras. But, space is getting more and more limited and AU's + VST's are getting so good, that soon, I won't be needing that Roland AP-7's  (the one that works 40% of the time) or the TB-3's, or the Juno's or even the Nordleads anymore. Well, the Nord is not quite that old.

Irregardless, start reading again.  Throw away the futurist opinion that my "too smart for his own good" computer scientist friend "C" has; that books are obsolete tech. We will all benefit collectively from your curiosity.  

And as far as the book, David's insights thus far have been mind opening.  It's really the first theoretical music book I've picked up, even though he might be reluctant to classify it as such. And even though I've recorded and released records over the last few years, I never thought about the form as conceptually as say, filmmaking.  It always seemed more instinctual.  But, I welcome this new openness.  And what better way to start then Byrne, while I track down Eno's, "Year with Swollen Appendices".