grad einen organissimo post gefunden, der mir irgendwie zu passen scheint, von hier, Post 20,
I think when you get into „interpreting“ the emotional content of Miles‘ music, you’re doomed to a resolution in ambiguity, because by all accounts, this was one „complicated“ individual who not only had a bunch of opposite tendencies at play internally, but was also one who made no attempt to resolve them either: Bisexual (rumored) vs. Pussyhound, Nice Guy vs. Total Asshole, Sensitive Lover vs. Wife Beater, Man Of The Street vs. Bourgeois Negro, you name it, if there’s a conflict to be had, Miles probably not only had it, but played to it but publically and privately. I think it’s this confluence of opposites (I can’t really call them „conflicts“, because I see no signs of them being anything other than welcomed by Miles) that makes the easy labelling such as „vulnerable“ etc. fallacious and over simplistic.
geht zwar um einen andere Aspekt von Miles – aber diese Erkenntnis, dass die Widersprüche zu Miles dazugehören und man was verliert, wenn man sie auflöst, find ich zunehmend überzeugender, auch hier…
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