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Pharoah Sanders On Finding Your Own Sound

A lot of time I don’t know what I want to play. So I just start playing, and try to make it right, and make it join to some other kind of feeling in the music. Like, I play one note, maybe that one note might mean love. And then another note might mean something else. Keep on going like that until it develops into—maybe something beautiful. – The New Yorker

The Victor Klemperer Case – How Political Language Shapes What Happens

In Hitler’s Germany linguistic habits shaped attitude and culture, and eventually acquiescence to a system of segregation and dehumanization. The language of the Third Reich was corrosive, and contagious. Forced to repeat “the Jew Klemperer” enough times, one thinks of that person not as Victor Klemperer but as “The Jew.” The Jews were in effect deprived of their name, and in turn of their humanity. – The American Interest

Why Dialects Improve On A Language’s “Correct” Use

Languages do exist, but they are not necessarily the things we take them for. On the one hand, we each have an understanding of at least our mother tongue that allows us to produce sentences in it according to certain rules. I say “I kicked the ball” not “the ball kicked I.” That knowledge of rules in our brains is one part of the reality of a language. The other part is its existence as an autonomous system, a means of communication whose form is negotiated between speakers. It is not fixed, but changes as it is used in millions of separate interactions. – Paris Review

David Lang Didn’t Like How Beethoven’s “Fidelio” Turned Out. So He Rewrote It

“Before you get mad at me for saying that anything Beethoven wrote has problems, you should know that Beethoven himself was unhappy with the opera. He drastically rewrote it several times over the course of many years, each time tasking a new librettist to fix what the last had written. When the opera originally premiered in 1805 it even had a different name – Leonore, or the Triumph of Conjugal Love. Beethoven ended up writing four Leonore overtures; every time he rewrote the opera he wrote a new one.” – The Guardian