But anyway, yes, you don't have a tin ear, musically speaking, and you've got a discernible strength in one area, tactility, you're good in that area, the direct sensual apprehension of the world, pre thought forms
It's quite interesting. I'm a very tactile writer I do everything in life by feel. So I know when people have got what I call the feeling eye and you do have the feeling eye
I don't think I can teach you taste, you're a hopeless case in that respect . you don't have a sophisticated ear for the social, different registers, shades, you're a bit lost there, you don't understand people and their codes
The old plenty of potential, if only he applied himself line. Heard it all before, teach
There was an interview with one of the sun ra arkestra I read years ago where he said sun ra was telling him he was playing too sentimental. At the time it resonated with me on a musical level which was and still is true. But as time passed by, I realised that it was pretty much the line between here and the potential. Bigger picture. Still have not learned how to cross it. A Burroughs or Anton Wilson would never be accused of such things, that's for sure. But is that the only place to aim for?
Danny L said to me last night, how does everyone all know Craner is a genius
How does this happen? All he does is get drunk and reminisce about his favourite showbiz and at record. So how do we know
And it's about delicacy of his instruments he has extremely well calibrated perceptions he makes great choices the discriminations he's capable of are very fine. He's one of only two people that made me feel threatened and competitive as a writer.
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