Epstein Secrets

n of Charley Parker’s flatted fifth and ninth to the dominant seventh chord led suddenly somewhere else and she knew it. Hearing my arrangement of a Beethoven piano piece become a HOUSE_OVERSIGHT_013508 mix of classical and modern jazz themes that | called “How High the Moonlight Sonata,” she laughed lasc

he polychromatic properties of light like a talisman. In his essay called Newton, the Man, the early 20" Century Cambridge Don and economic theorist, John Maynard Keynes, said that the Newton of the chapel followed “...certain mystic clues which God had laid about the world to allow a sort of philosopher’s trea

fast-moving financial product, a miracle medical cure, an idea, a smashed up sound - is like the first time you looked at a Matisse painting or heard Beethoven (or Orbital). It switched on a new sensibility. But you have probably had - or will shortly - another moment. This is the instant a cold and creeping

tually the entire world was pulled into the fire. “In the autumn of 1919, in which I write, we are at the dead season of our fortunes,” the economist John Maynard Keynes wrote after the Paris Peace Conference settled The Great War, dimly aware that an even deader season lay somewhere in the future in the form o

in an instant. The Long Now project, then, was like one of those carefully isolated arctic freezers, where samples of essential grains and DNA from Beethoven’s hair and Einstein’s brain are sunk and iced against the godforbid day in which our basic feedstock or a chunk of humanity has been wiped out by acc

ine power. Looking back on his formative years, before Europe was ground up in the First World War, the powerfully brilliant and sensitive economist John Maynard Keynes bitterly recalled the iron certainty of his set of friends and their confident, diffident arrogance: “We were not aware that civilization was