Fresh from the clogged tubes of teh intarwubs…
"The first carbon tax to reduce the greenhouse gases from imports comes not between two nations, but between two states. Minnesota has passed a measure to stop carbon at its border with North Dakota.
To encourage the switch to clean renewable energy Minnesota plans to add a carbon fee of between $4 and $34 per ton of carbon dioxide emissions to the cost of coal-fired electricity, to begin in 2012, to discourage the use of coal power; the greatest source of greenhouse gas emissions.
State officials in North Dakota are mounting a legal battle against Minnesota. State officials argue that this would unfairly discourage coal-powered electricity sales in favor of renewably powered electricity." And the fragmentation of the States begins.
"Every artist is entitled to their own price point, just as every consumer has a choice in what they purchase. Nobody puts a gun to someone’s head and says, “Hey, buy this Picasso for 20 million.” Likewise, if $9.99 is too much to spend for one of my albums, so be it, your choice. But if you’re holding your breath, waiting for me to boost my cool-quotient by giving my music away for free, it’s not going to happen. The fact is that I feel my music has value. You may disagree, and that’s fine. But I know how much energy I put into what I do, and how long it takes me to make something I’m satisfied with. Giving that away just feels wrong to me. It’s not about money per se; I can donate a large sum of money to charity and not think twice, but I won’t give my art away. I’d rather sell it to 100 people who value it as I do than give it away to 1000 who could care less. That’s MY choice." Interesting and lucid counterargument.
"The aesthetic ideals couldn’t be more different: jazz is about subtlety and, one wants to say, beauty; metal is about intimidation, alienation and assault.
But then again, over the last decade jazz and metal have become harder to reduce and easier to like, in a sum-total kind of way. And in the process they’ve generated more and more points of comparison.
Jazz stages and metal stages are places where a certain kind of experimentation happens: brainy and cabalistic, with a hint of a smile. Both increasingly depend on educated virtuosos. In both genres you can develop curious harmonic worlds, warp the tempos, brush against folkloric or conservatory music, play many notes very speedily and engage sturdy American grooves or a more studied system of fitting odd-number beats into even-number meters."