Miles Davis Quotes

If you understood everything I said, you’d be me

Man, sometimes it takes you a long time to sound like yourself.

     Illicit flight Alfa Bravo Charlie quickly reached a predetermined altitude and stopped dead. The passengers on board screamed the way people do on fairground rides. The shuttle hesitated momentarily and then shot forward accelerating rapidly to reach a blistering 145,222 miles per hour. They were in a Mach 22 situation. The cries from on-board could not be heard from the ground. Neither did anyone in the great metropolis of Llar witness the bright blue vapour trail the craft left behind in its wake. It was after all overcast and raining heavily.

Don't play what's there; play what's not there.

Do not fear mistakes - there are none.

It’s like, how did Columbus discover America when the Indians were already here? What kind of shit is that, but white people’s shit?

My future starts when I wake up every morning. Every day I find something creative to do with my life.

Knowledge is freedom and ignorance is slavery.

Anybody can play. The note is only 20 percent. The attitude of the motherfucker who plays it is 80 percent.

When you’re creating your own shit, man, even the sky ain’t the limit.

you have to play a long time to be able to play like yourself.

The Angel Gabriel disappeared once for sixty years and they found him on earth hiding in the body of a man named Miles Davis.

It's not about standing still and becoming safe. If anybody wants to keep creating they have to be about change.

Some day I'm gonna call me up on the phone, so when I answer, I can tell myself to shut up.

Good music is good no matter what kind of music it is.

It’s not the note you play that’s the wrong note – it’s the note you play afterwards that makes it right or wrong.

If you sacrifice your art because of some woman, or some man, or for some color, or for some wealth, you can't be trusted.

I’m always thinking about creating. My future starts when I wake up in the morning and see the light.

Music is an addiction.

For me, music and life are all about style.

I always listen to what I can leave out.

I know what I’ve done for music, but don’t call me “a legend”.(…) A legend is an old man with a cane known for what he used to do. I’m still doing it.

The thing is, all my heroes were junkies. Lenny Bruce, Keith Richards, William Burroughs, Miles Davis, Hubert Selby, Jr... These guys were cool. They were committed. They would not have been caught dead doing an ALF episode.

I ran a few miles, Davis, and they were musical. Then I made love like the sound of a trumpet, as heard by Helen Keller.

I remember one time - it might have been a couple times - at the Fillmore East in 1970, I was opening for this sorry-ass cat named Steve Miller. Steve Miller didn't have his shit going for him, so I'm pissed because I got to open for this non-playing motherfucker just because he had one or two sorry-ass records out. So I would come late and he would have to go on first and then we got there we smoked the motherfucking place, everybody dug it.

If you don't know what to play, play nothing.

Sometimes you have to play a long time to be able to play like yourself.

WE WERE ALL UP IN THAT SHIT LIKE A MUTHAFUCKA. IT'S CLEANER THAN A BROKE DICK DOG.

In 2014, my friend Herbie Hancock was invited to give the prestigious Norton Lectures at Harvard University, where he shared great insights on the topics of mentorship and changing poison into medicine. Herbie related lessons from his jazz mentor, Miles Davis, who taught him that “a great mentor can provide a path to finding your own true answers,” and to always “reach up while reaching down; grow while helping others.

I had a ritual—and having any ritual sounded so mature that I told everyone about it, even the regulars. On my days off I woke up late and went to the coffee shop and had a cappuccino and read. Then around five p.m., when the light was failing, I would take out a bottle of dry sherry and pour myself a glass, take out a jar of green olives, put on Miles Davis, and read the wine atlas. I didn't know why it felt so luxurious, but one day I realized that ritual was why I had moved to New York—to eat olives and get tipsy and read about Nebbiolo while the sun set. I had created a life that was bent in service to all my personal cravings.

I hate how white people always try to take credit for something after they discover it. Like it wasn't happening before they found out about it--which most times is always late, and they didn't have nothing to do with it happening.

Time isn't the main thing. It's the only thing.

Do not fear mistakes, there are none.

But you've got to have style in whatever you do -- writing, music, painting, fashion, boxing, anything.

Sometimes you have to play a long time to play like yourself.

—Every word counts. —Choose power words. —Hemingway would approve. —Focus and narrow. —Ideas are collapsible. —Remember Miles Davis.

Philly Joe was a bitch. If he'd been a lawyer and white, he would have been president of the United States, because in order to get there you gotta talk fast and carry a lot of bullshit with you; Philly had it all and a lot to spare.

Holder: "You live over on Conroe, that's over two miles away." Sky: "You know what street I live on?" Holder: "Yeah. Linden Sky Davis, born September 29th. 1455 Conroe Street. Five feet three inches. Donor." Sky: [take a step backward and confused] Holder: "Your ID. You showed me your ID earlier. At the store." Sky: "You look at it for two seconds." Holder: "I have a good memory." Sky: "You stalk." Holder: "I stalk? You're the one standing in front of my house.

A lot of people ask me where music is going today. I think it's going in short phrases. If you listen, anybody with an ear can hear that. Music is always changing. It changes because of the times and the technology that's available, the material that things are made of, like plastic cars instead of steel. So when you hear an accident today it sounds different, not all the metal colliding like it was in the forties and fifties. Musicians pick up sounds and incorporate that into their playing, so the music that they make will be different.

Don t play what's there, play what's not there.

Don't play what's there, play what's not there.

Miles Davis said there are two categories of thinking: the truth and white bullshit. The national anthem is white bullshit.

It’s like what Miles Davis says: “Don’t worry about mistakes, there aren’t any.

When I got into music I went all the way into music; I didn't have no time after that for nothing else.

See, music is about style.

After we became a couple, she composed our time together. She planned days as if they were artistic events. One afternoon we went to Tybee Island for a picnic; we ate blueberries and drank champagne tinted with curacao and listened to Miles Davis, and when I asked the name of her perfume, she said it was L'Heure Bleue. She talked about 'perfect moments.' One such moment happened that afternoon; she'd been napping; I lay next to her, reading. She said, 'I'll always remember the sounds of the sea and of pages turning, and the smell of L'Heure Bleue. For me they signify love.

Music is a funny thing when you really come to think about it.

Bad music is what will ruin music, not the instruments musicians choose to play.

Miles Davis once said: “Do not fear mistakes—there are none.

¿No iba él a besarla, o a intentar besarla? ¿No trataría de llevársela a la cama? ¿No es eso lo previsible, lo que se espera de un hombre? ¿Para qué Sam Cooke y Miles Davis, para qué tanto vino, para qué la Vía Láctea?

Being rebellious and black, a nonconformist, being cool and hip and angry and sophisticated and ultra clean, whatever else you want to call it -- I was all those things and more. But I was playing the fuck out of my horn and had a great group, so I didn't get recognition based only on a rebel image.

Here is my room, in the yellow lamplight and the space heater rumbling: Indian rug red as Cochise's blood, a desk with seven mystic drawers, a chair covered in material as velvety blue-black as Batman's cape, an aquarium holding tiny fish so pale you could see their hearts beat, the aforementioned dresser covered with decals from Revell model airplane kits, a bed with a quilt sewn by a relative of Jefferson Davis's, a closet, and the shelves, oh, yes, the shelves. The troves of treasure. On those shelves are stacks of me: hundreds of comic books- Justice League, Flash, Green Lantern, Batman, the Spirit, Blackhawk, Sgt. Rock and Easy Company, Aquaman, and the Fantastic Four... The shelves go on for miles and miles. My collection of marbles gleams in a mason jar. My dried cicada waits to sing again in the summer. My Duncan yo-yo that whistles except the string is broken and Dad's got to fix it.

Don't play what s there play what's not there.

There are two rules for success... 1. Never reveal everything you know.

Life would be much better if the speed limit was three miles per hour.

Miles Davis saying, “Don’t play what’s there, play what’s not there.

Our ability to leave our physical bodies and travel to other places has been demonstrated in controlled laboratory experiments by researchers with good academic credentials. These include Charles Tart at the University of California in Davis, and Russell Targ and Harold Puthoff at the Stanford Reesearch Institute. Russell Targ's research of "remote viewing" involves two people. The "viewer" stays in a carefully controlled laboratory environment while a "beacon" person is located somewhere outside that vicinity. A computer then selects a location that is unknown to the viewer. The beacon person is secretly notified where he or she is to go, based on the computer's random selection of a site. After the beacon person gets to the site, the viewer is asked to describe what the beacon person is seeing. The distance between the beacon person and the viewer appears to have no significant effect on the viewer's ability to accurately describe the site; the distance between them can be a few blocks or many thousand miles. In several successful attempts, a Soviet psychic not only accurately described the location of Targ's associate Keith Harary who acted as a beacon, he also described what Harary would see at the next computer-selected site--even before he got there or knew what he would see!

As a Juilliard student I would write music by day and by night hear John Coltrane at the Village Vanguard, Miles Davis and Art Blakey at the Café Bohemia, or Thelonious Monk trading sets with the young Ornette Coleman, who was just up from Louisiana playing his white plastic saxophone at the Five Spot at St. Marks Place and the Bowery. Years later, I got to know Ornette.

The thing in jazz that will get Bix Beiderbecke out of his bed at two o’clock in the morning, pick that cornet up and practice into the pillow for another two or three hours, or that would make Louis Armstrong travel around the world for fifty plus years non stop, just get up out of his sick bed, crawl up on the bandstand and play, the thing that would make Duke Ellington, the thing that would make Thelonious Monk, Miles Davis, Charlie Parker, Mary Lou Williams, the thing that would make all of these people give their lives for this, and they did give their lives, is that it gives us a glimpse into what America is going to be when it becomes itself. And this music tells you that it will become itself. And when you get a taste of that, there’s just nothing else you’re going to taste that’s as sweet.

Naw, I wasn't going to sell my principles for them. I wanted to be accepted as a good musician and that didn't call for no grinning, but just being able to play the horn good. And that's what I did then and now. Critics can take that or leave it.

There's a thread, now, that connects us, and that thread is Miles Davis. It's... I don't even know how to put it into words, but it's like, once you've been touched by Miles you're changed forever. But what you change to is more of who you really are...

Lots of people tried to be like Sly. Take Rick James: more than half of the shit he did was in direct imitation. But there were only two people who were capable of that kind of cool: Miles Davis and Sly. I didn’t know Miles as well, but watching Sly was a strange experience, both educational and disorienting. To me, crazy is a prerequisite for greatness. But it doesn’t have to be actual craziness. I play crazy, when in reality, I’m pretty close to sane. Sly wasn’t playing. He believed in his own abilities, but he also believed in his own legend. And while he was a real nice guy in most ways, he wouldn’t hesitate to misuse you when it came to money and drugs. Of course, he was so ahead of the game that he wouldn’t try to trick you. He’d come right out and ask you if he could misuse you.

Dad is partial to jazz, and every chance he gets, he winks at me, takes out Mom’s Mozart disc, then pops in a CD of Miles Davis or Woody Herman. Jazz to me sounds brown and tan, and it smells like wet dirt. Jazz music drives Mom crazy, which is probably why Dad puts it on. “Jazz makes me itch,” she says with a frown as Dad’s music explodes into the kitchen. Dad goes to her, gently scratches her arms and back, then engulfs her in a hug. She stops frowning. But she changes it back to classical again as soon as Dad leaves the room.

It’s like I’ve always had a painted musical sound track playing background to my life. I can almost hear colors and smell images when music is played. Mom loves classical. Big, booming Beethoven symphonies blast from her CD player all day long. Those pieces always seem to be bright blue as I listen, and they smell like fresh paint. Dad is partial to jazz, and every chance he gets, he winks at me, takes out Mom’s Mozart disc, then pops in a CD of Miles Davis or Woody Herman. Jazz to me sounds brown and tan, and it smells like wet dirt.

I hate how white people always try to take credit for something after they discover it. Like it wasn't happening before they found out about it -- which most times is always late, and they didn't have nothing to do with it happening. Then, they try to take all the credit, try to cut everybody black out.

Irwin Silber, the editor of the folk magazine Sing Out! was there, too. In a few years’ time he would castigate me publicly in his magazine for turning my back on the folk community. It was an angry letter. I liked Irwin, but I couldn’t relate to it. Miles Davis would be accused of something similar when he made the album Bitches Brew, a piece of music that didn’t follow the rules of modern jazz, which had been on the verge of breaking into the popular marketplace, until Miles’s record came along and killed its chances. Miles was put down by the jazz community. I couldn’t imagine Miles being too upset.

Just as I was crossing Madison Avenue, I somehow found myself flat out in the middle of the street. I had not tripped or missed a step. And yet there I was, down on the gravel with my heart galloping away. I quickly gathered myself and stumbled to my feet, shaken by what might have been if a car had sped through there. Oh no, Miles Davis, I’m not going with you, I thought as I stood. I wanted you in life, not in death. You chose to leave this place, but I’m not going anywhere. I believed then, as I do now, that Miles aimed to take me with him. And yet three decades later, I am, by God’s mercy, still right here.

The Ozarks are a fixture in my mindscape, but I didn't stay local in every respect. I always think of Miles Davis, "People who don't change end up like folk musicians playing in museums, local as a motherfucker." I wouldn't describe my attachment to home as ghostly, but long-distanced. My ear has been licked by many other tongues.

People as diverse as James Baldwin and Michelle Obama, Miles Davis and Toni Morrison, Spike Lee and Denzel Washington, and anonymous teachers, store clerks, steelworkers, and physicians, were all products of the Great Migration. They were all children whose life chances were altered because a parent or grandparent had made the hard decision to leave.

I'm a fiend when it comes to good pastry, and the French make the best as far as I'm concerned.

The metric system ruined me.

Don't worry about playing a lot of notes. Just find one pretty one.

Eventually I became a tad compulsive about hearing certain songs. At first it was a handful of jazz classics—Miles Davis’s “Freddie Freeloader,” John Coltrane’s “My Favorite Things,” Frank Sinatra’s “Luck Be a Lady.” (Before one primary debate, I must have played that last track two or three times in a row, clearly indicating a lack of confidence in my preparations.)

A few miles away across the East River was the apartment he could never get used to, the job where he had nothing to do, the dozen or so people he knew slightly and cared about not at all: a fabric of existence as blank and seamless as the freshly plaster wall he passed. Soon his wife would return from New Jersey. Soon everyone would be back, and things would go on much as they had before. From the street outside came the sound of laughter and shouting, bottles breaking, voices droning in the warm air, and children playing far past their bedtime. It all meant nothing whatever to Lowell. Standing in the parlor of a house no longer his, listening to the voices of people whose lives were closed to him forever, contemplating a future much like his past, he realized that it was finally too late for him. Everything had gone wrong, and he had succeeded at nothing, and he was never going to have any kind of life at all.

When the golden rabbit had safely emerged out of the forbidden passage, he pondered the direction back to his lair. “How can it be I don’t live where I used to live anymore? How can that be? Alright then….alright. What a strange dream…I feel as though I’ve been eaves dropping in tempo…but not in time!” The hare hopped off, humming passages from Miles Davis’ “Kind of Blue”.

Read. You should read Bukowski and Ferlinghetti, read Sylvia Plath and Anne Sexton, and listen to Coltrane, Nina Simone, Hank Williams, Loretta Lynn, Son House, Robert Johnson, Howlin’ Wolf, Lightnin’ Hopkins, Miles Davis, Lou Reed, Nick Drake, Bobbie Gentry, George Jones, Jimmy Reed, Odetta, Funkadelic, and Woody Guthrie. Drive across America. Ride trains. Fly to countries beyond your comfort zone. Try different things. Join hands across the water. Different foods. New tasks. Different menus and tastes. Talk with the guy who’s working in construction on your block, who’s working on the highway you’re traveling on. Speak with your neighbors. Get to know them. Practice civil disobedience. Try new resistance. Be part of the solution, not the problem. Don’t litter the earth, it’s the only one you have, learn to love her. Care for her. Learn another language. Trust your friends with kindness. You will need them one day. You will need earth one day. Do not fear death. There are worse things than death. Do not fear the reaper. Lie in the sunshine but from time to time let the neon light your way. ZZ Top, Jefferson Airplane, Spirit. Get a haircut. Dye your hair pink or blue. Do it for you. Wear eyeliner. Your eyes are the windows to your soul. Show them off. Wear a feather in your cap. Run around like the Mad Hatter. Perhaps he had the answer. Visit the desert. Go to the zoo. Go to a county fair. Ride the Ferris wheel. Ride a horse. Pet a pig. Ride a donkey. Protest against war. Put a peace symbol on your automobile. Drive a Volkswagen. Slow down for skateboarders. They might have the answers. Eat gingerbread men. Pray to the moon and the stars. God is out there somewhere. Don’t worry. You’ll find out where soon enough. Dance. Even if you don’t know how to dance. Read The Four Agreements. Read the Bible. Read the Bhagavad Gita. Join nothing. It won’t help. No games, no church, no religion, no yellow-brick road, no way to Oz. Wear beads. Watch a caterpillar in the sun.

COOL JAZZ: RECOMMENDED LISTENING Chet Baker, “But Not for Me,” February 15, 1954 Dave Brubeck and Paul Desmond, “You Go to My Head,” October 1952 Miles Davis and Gil Evans, “Blues for Pablo,” May 23, 1957 Miles Davis, “Fran Dance,” May 26, 1958 Miles Davis, “So What,” March 2, 1959 Stan Getz, “Moonlight in Vermont,” March 11, 1952 Modern Jazz Quartet, “Django,” December 23, 1954 Gerry Mulligan and Chet Baker, “Line for Lyons,” September 2, 1952

My father believes that everything is music,” I said. “And when you pass on you become part of the tune.” One improvisation amongst the millions and millions of melodies that create the symphony of everything. My dad basically believes that your life is your one chance at a solo—so it better be a good one. Mind you, he also thinks that Miles Davis was the Second Coming and most of the world’s woes are due to humanity’s failure to recognise him as such.

I don’t mean to compare myself to a couple of artists I unreservedly admire—Miles Davis and Ray Charles—but I would like to think that some of the people who liked my book responded to it in a way similar to the way they respond when Miles and Ray are blowing. These artists, in their very different ways, sing a kind of universal blues, they speak of something far beyond their charts, graphs, statistics, they are telling us something about what it is like to be alive. It is not self-pity which one hears in them, but compassion. And perhaps this is the place for me to say that I really do not, at the very bottom of my own mind, compare myself to other writers. I think I really helplessly model myself on jazz musicians and try to write the way they sound. I am not an intellectual, not in the dreary sense that word is used today, and do not want to be: I am aiming at what Henry James called “perception at the pitch of passion.

Maybe Jane was right. Maybe he was wrong to have filled her head with tales of Bessie Smith and Josephine Baker, let alone take her to see Jackie Wilson, Etta James, Tina Turner and the Ikettes. Maybe it wasn’t right to wake up to Chico Hamilton, Lee Morgan, Charlie Parker, and Art Blakey in the morning. Watch the sunset with Miles Davis, Cecil Taylor, and Little Willie John. But Greer didn’t know what else to offer that was beautiful and colored and alive, all at the same time.

There are more guys than girls in jazz. Next-to-no lady trumpeters (oh, there are a few) but it doesn't matter because, for me, jazz trumpet is all about one guy Miles Davis. He made this famous album in 1959 called Kind of Blue which is kind of, always, how I feel. That album gets into your bones goes and goes starts, hesitates, reaches out, feels for the music, the sound, the thing you want to change. Always grasping for the unattainable makes you kind of excited, kind of sorry.

Knik to Willow, the race is on, across the Tundra, miles from home, Girl in Red flies through the snow, shimmering dreams of ice-rainbows. Sinuous bodies seem to fly like a wolf-pack going by! How they thunder as they run steaming fur, in icy sun.

It was Marx, with his love of avant-garde instrumental music, who played Brian Eno, John Cage, Terry Riley, Miles Davis, and Philip Glass on his CD player while Sadie and Sam worked. It was Marx who suggested they reread The Odyssey and The Call of the Wild and Call It Courage. He also had them read the story structure book The Hero’s Journey, and a book about children and verbal development, The Language Instinct. He wanted the pre-verbal Ichigo to feel authentic, to have details that came from life.

That fear—the knowledge that a single false step while wandering inside the maze of the white man’s reality could blast you back home with the speed of a circus artist being shot out of a cannon—is the kryptonite that has lain under the bed of every great black artist from 1920s radio star Bert Williams to Miles Davis to Jay Z. If you can’t find a little lead-lined room where you can flee that panic and avoid its poisonous rays, it will control your life. That’s why Miles Davis and James Brown, who had similar reputations for being cantankerous and outrageous, seem so much alike. Each admired the other from a distance.

Every time I returned home I would drive on streets named for those who thought of me as chattel. “Go straight for two miles on Robert E. Lee.” “Take a left on Jefferson Davis.” “Make the first right on Claiborne.” Translation: “Go straight for two miles on the general whose troops slaughtered hundreds of Black soldiers who were trying to surrender.” “Take a left on the president of the Confederacy, who understood the torture of Black bodies as the cornerstone of their new nation.” “Make the first right on the man who allowed the heads of rebelling slaves to be mounted on stakes in order to prevent other slaves from getting any ideas.

His performance was also intensely visual, with his volatile movements in front of the piano, and his cries and wild vocal accompaniment to his playing, all of which spoke eloquently of his extraordinary passion for the instrument and the music he coaxed, tickled and sometimes pounded out of him. Many critics were put off by all this, thinking it was a mere outward show- and therefore insincere. In fact it is an essential part of music-making for Jarrett, his way of achieving his state of grace… the ecstasy of inspiration. Miles Davis understood that immediately, and so did most other musicians. Jack DeJohonette says: “The one thing that struck me about Keith, that made him stand out from other players, was that he really has a love affair with the piano, it’s a relationship with that instrument… Keith’s hands are actually quire small but because of that he can do things that a person like myself, or other pianists with normal hand spans, can’t do… it enables him to overlap certain chord sequences and do rhythmic things and contrapuntal lines and get these effects of like, four people playing the piano… But I’ve never seen anybody just have such a rapport with their instrument and know its limitations but also push them to the limits, transcend the instrument – which is what I try and do with the drums as well.

The very first thing I remember in my early childhood is a flame, a blue flame jumping off a gas stove somebody lit... I remember being shocked by the whoosh of the blue flame jumping off the burner, the suddenness of it... I saw that flame and felt that hotness of it close to my face. I felt fear, real fear, for the first time in my life. But I remember it also like some kind of adventure, some kind of weird joy, too. I guess that experience took me someplace in my head I hadn't been before... The fear I had was almost like an invitation, a challenge to go forward into something I knew nothing about. That's where I think my personal philosophy of life and my commitment to everything I believe in started... In my mind I have always believed and thought since then that my motion had to be forward, away from the heat of that flame.

Eventually I became a tad compulsive about hearing certain songs. At first it was a handful of jazz classics—Miles Davis’s “Freddie Freeloader,” John Coltrane’s “My Favorite Things,” Frank Sinatra’s “Luck Be a Lady.” (Before one primary debate, I must have played that last track two or three times in a row, clearly indicating a lack of confidence in my preparations.) Ultimately it was rap that got my head in the right place, two songs especially: Jay-Z’s “My 1st Song” and Eminem’s “Lose Yourself.” Both were about defying the odds and putting it all on the line (“Look, if you had one shot or one opportunity, to seize everything you ever wanted in one moment, would you capture it? Or just let it slip…”); how it felt to spin something out of nothing; getting by on wit, hustle, and fear disguised as bravado. The lyrics felt tailored to my early underdog status. And as I sat alone in the back of the Secret Service van on the way to a debate site, in my crisp uniform and dimpled tie, I’d nod my head to the beat of those songs, feeling a whiff of private rebellion, a connection to something grittier and more real than all the fuss and deference that now surrounded me. It was a way to cut through the artifice and remember who I was.

It was clear just how much Tommy loved the city. New York City. The CKY Grocery on Amsterdam had giant, bright red Spartan apples every day of the year, even if it wasn’t the right season. He loved that grocery, and the old, shaky Persian man who owned it. Tommy emphatically, yet erroneously believed that the CKY Grocery was the genuine heart of the great city. All five boroughs embodied distinct feelings for him, but there was only one that he’d ever truly romanticized. To him, Manhattan was the entire world. He loved everything between the East River and the Hudson; from the Financial District up to Harlem; from Avenue A to Zabar’s. He loved the four seasons, although autumn was easily the most anticipated. To Tommy, Central Park’s bright, almost copper hues in the fall were the epitome of orange. He loved the unique perfume of deli meats and subway steam. He loved the rain with such verve that every time it so much as drizzled, he would turn to the sky so he could feel the drops sprinkle onto his teeth. Because every raindrop that hit him had already experienced that much envied journey from the tips of the skyscrapers all the way down to the cracked and foot-stamped sidewalks. He believed every inch of the city had its own predetermined genre of music that suited it to a tee. The modal jazz of Miles Davis and Wayne Shorter was absolutely meant for the Upper East Side, north of 61st Street. Precisely between Gershwin and gospel. He loved the view from his apartment, even if it was just the leaves of the tree outside in July or the thin shadows of its bare branches crawling along the plain brick wall in January. Tommy loved his career. He loved his friends. And he loved that first big bite of apple I watched him take each and every morning. Everything was perfect in the city, and as long as things remained the way he wanted them to, Tommy would continue to love the city forever. Which is exactly why his jaw dropped when he opened the letter he found in his mailbox that morning. The first bite of still un-chewed apple fell out of his mouth and firmly planted itself within the crack of that 113th Street sidewalk.

You can tell whether a person plays or not by the way he carries the instrument, whether it means something to him or not. Then the way they talk and act. If they act too hip, you know they can’t play shit.

Many aspects of the Crutti, Rissetto, Davi, and Sciambra (and later the Andollina and Maggio) attacks were similar: targeting a successful grocery and bar in an unfashionable, isolated part of the city (the Sciambra grocery was less than a mile from the Crutti place) and breaking in during the dead of night. Robbery was never the motive. The assailant usually targeted the man first, if he attacked the woman at all. Harriet Crutti, Mary Davi, and Anna Andollina escaped relatively unscathed. Only Joseph and Conchetta Rissetto were attacked with equal ferocity. And perhaps Catherine Maggio wouldn’t have died if she hadn’t attempted to defend her husband.

In the spring of 2015, Warren started the Appalachian Trail in Georgia. At age sixty-five, he was a walking contradiction. His white beard clashed with his youthful eyes, his soft, round stomach opposed his rectangular rack-solid calves, and his welcoming smile conflicted with his focused gaze. A finish in Maine would mark his eighteenth thru hike of the 2,189 mile footpath. The circumference of the earth is 24,903 miles; Warren had recorded over 36,000 miles between Springer Mountain and Katahdin.

He put Bach’s Brandenburg Concertos, for instance, beside Pet Sounds by the Beach Boys and Miles Davis’s Bitches Brew. (“Same thing, different time,” he said.)

Hastily created a decade ago and limited by primitive PC electronics, DOS did many frustrating things. Naming files was one of them. DOS restricted file names to a maximum of eleven characters, which had to appear like this:   xxmiller.tom   Because of this, people couldn’t give memorable names to their DOS files. It was preferable to call a file about a jazz trumpeter Miles or perhaps MilesDavis but DOS wouldn’t allow that. A file name must have no more than eight characters, then a period, then three characters. The nearest a DOS name could come to Miles Davis was MilesDav.isx. That wasn’t exactly easy to remember. With more powerful PCs and more planning, it was easy to create a program that allowed so-called long file names. OS/2 created files such as TomMiller or Holiday.On.Ice or any combination of 255 characters. But when someone using a DOS application, with its short names, tried to find a file bearing a long OS/2 name either in his own PC or from another PC, reached via a network, it wasn’t possible. The OS/2 files, if they had long names, were not visible through DOS (or Windows, for that matter, which then relied on the same file-naming technique). As a result, few OS/2 customers bothered to switch to long names. The short, inconvenient DOS names persisted. The

he’ll tell me useless angel stories—of how Gabriel disappeared once for sixty years and they found him on earth hiding in the body of a man named Miles Davis, or how Raphael snuck out of heaven to visit Satan and returned with something called a cell phone. (Evidently everyone has them in hell now.) He watches the television and when they show an earthquake or a tornado he’ll say, “I destroyed a city with one of those once. Mine was better.

Day an' night they set in a room with a checker-board on th' end iv a flour bar'l, an' study problems iv th' navy. At night Mack dhrops in. 'Well, boys,' says he, 'how goes th' battle?' he says. 'Gloryous,' says th' Sthrateejy Board. 'Two more moves, an' we'll be in th' king row.' 'Ah,' says Mack, 'this is too good to be thrue,' he says. 'In but a few brief minyits th' dhrinks'll be on Spain,' he says. 'Have ye anny plans f'r Sampson's fleet?' he says. 'Where is it?' says th' Sthrateejy Board. 'I dinnaw,' says Mack. 'Good,' says th' Sthrateejy Board. 'Where's th' Spanish fleet?' says they. 'Bombardin' Boston, at Cadiz, in San June de Matzoon, sighted near th' gas-house be our special correspondint, copyright, 1898, be Mike O'Toole.' 'A sthrong position,' says th' Sthrateejy Board. 'Undoubtedly, th' fleet is headed south to attack and seize Armour's glue facthory. Ordher Sampson to sail north as fast as he can, an' lay in a supply iv ice. Th' summer's comin' on. Insthruct Schley to put on all steam, an' thin put it off again, an' call us up be telephone. R-rush eighty-three millyon throops an' four mules to Tampa, to Mobile, to Chickenmaha, to Coney Island, to Ireland, to th' divvle, an' r-rush thim back again. Don't r-rush thim. Ordher Sampson to pick up th' cable at Lincoln Par-rk, an' run into th' bar-rn. Is th' balloon corpse r-ready? It is? Thin don't sind it up. Sind it up. Have th' Mulligan Gyards co-op'rate with Gomez, an' tell him to cut away his whiskers. They've got tangled in th' riggin'. We need yellow-fever throops. Have ye anny yellow fever in th' house? Give it to twinty thousand three hundherd men, an' sind thim afther Gov'nor Tanner. Teddy Rosenfelt's r-rough r-riders ar-re downstairs, havin' their uniforms pressed. Ordher thim to th' goluf links at wanst. They must be no indecision. Where's Richard Harding Davis? On th' bridge iv the New York? Tur-rn th' bridge. Seize Gin'ral Miles' uniform. We must strengthen th' gold resarve. Where's th' Gussie? Runnin' off to Cuba with wan hundherd men an' ar-rms, iv coorse. Oh, war is a dhreadful thing. It's ye'er move, Claude,' says th' Sthrateejy Board. "An

Around their mounds, they dug scores of miles of watercourses on the order of Venetian canals; one allowed them to punt their craft two and a half miles across Pine Island between the sound and Matlacha Pass, saving themselves from a ten-mile paddle around either end of the island.

More radically, how can we be sure that the source of consciousness lies within our bodies at all? You might think that because a blow to the head renders one unconscious, the ‘seat of consciousness’ must lie within the skull. But there is no logical reason to conclude that. An enraged blow to my TV set during an unsettling news programme may render the screen blank, but that doesn’t mean the news reader is situated inside the television. A television is just a receiver: the real action is miles away in a studio. Could the brain be merely a receiver of ‘consciousness signals’ created somewhere else? In Antarctica, perhaps? (This isn’t a serious suggestion – I’m just trying to make a point.) In fact, the notion that somebody or something ‘out there’ may ‘put thoughts in our heads’ is a pervasive one; Descartes himself raised this possibility by envisaging a mischievous demon messing with our minds. Today, many people believe in telepathy. So the basic idea that minds are delocalized is actually not so far-fetched. In fact, some distinguished scientists have flirted with the idea that not all that pops up in our minds originates in our heads. A popular, if rather mystical, idea is that flashes of mathematical inspiration can occur by the mathematician’s mind somehow ‘breaking through’ into a Platonic realm of mathematical forms and relationships that not only lies beyond the brain but beyond space and time altogether. The cosmologist Fred Hoyle once entertained an even bolder hypothesis: that quantum effects in the brain leave open the possibility of external input into our thought processes and thus guide us towards useful scientific concepts. He proposed that this ‘external guide’ might be a superintelligence in the far cosmic future using a subtle but well-known backwards-in-time property of quantum mechanics in order to steer scientific progress.

More radically, how can we be sure that the source of consciousness lies within our bodies at all? You might think that because a blow to the head renders one unconscious, the ‘seat of consciousness’ must lie within the skull. But there is no logical reason to conclude that. An enraged blow to my TV set during an unsettling news programme may render the screen blank, but that doesn’t mean the news reader is situated inside the television. A television is just a receiver: the real action is miles away in a studio. Could the brain be merely a receiver of ‘consciousness signals’ created somewhere else? In Antarctica, perhaps? (This isn’t a serious suggestion – I’m just trying to make a point.) In fact, the notion that somebody or something ‘out there’ may ‘put thoughts in our heads’ is a pervasive one; Descartes himself raised this possibility by envisaging a mischievous demon messing with our minds. Today, many people believe in telepathy. So the basic idea that minds are delocalized is actually not so far-fetched. In fact, some distinguished scientists have flirted with the idea that not all that pops up in our minds originates in our heads. A popular, if rather mystical, idea is that flashes of mathematical inspiration can occur by the mathematician’s mind somehow ‘breaking through’ into a Platonic realm of mathematical forms and relationships that not only lies beyond the brain but beyond space and time altogether. The cosmologist Fred Hoyle once entertained an even bolder hypothesis: that quantum effects in the brain leave open the possibility of external input into our thought processes and thus guide us towards useful scientific concepts. He proposed that this ‘external guide’ might be a superintelligence in the far cosmic future using a subtle but well-known backwards-in-time property of quantum mechanics in order to steer scientific progress.

Those days not only Sidney Bechet, but also Charlie Parker and Miles Davis were playing in small boîtes de nuit which we frequented. Lazy spring afternoons we would pick up our mail and some gossip at Gaït Frogé's English Bookshop on the rue de Seine, or saunter over to the Père Lachaise cemetery to gawk at the graves of Oscar Wilde and Heinrich Heine, among other immortals. But dying, a blight common to earlier generations, did not enter into our scheme of things. It wasn't on our dance cards.