MOG shots (or why we MOG)
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Artist:
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Album:
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Track:
Photo from the Utatan Project - all rights reservedAfter the who comes the why.
The who is easily dismissed as my avatar is all you need to know.
The why is a question I'll also address to my fellow Moggers: why do you mog?
Is it because your journal needs a soundtrack? Is it because your megalomania needs a larger audience? Is it because your egotism is seeking escape from solipsism? Or is it because misery loves company?
I'm not sure of my own answers to these questions. I've chosen to mog whilst trying to eschew monologues about myself. Pretty much all that begins with an "I" is fictional.
Try as I may, I can't escape my music of choice. To an extent, the tracks and songs are a remote echo of my self.
Which brings us to the how.
How do you choose your tracks? How do make up your mind on a particular tune?
And with the how it's never too long before the why comes back into the picture.
Why do you pick the piece to post? Is it to flaunt your hype-ability with unto-now-unheard tracks? Is it to share your likes and enthusiasm? Or is it a spur of the moment and mood?
All these shots of MOG make up a larger picture which only time can reveal.
For the moment a glimpse of it can be heard hereunder.
What are your MOG shots made of?








Comments (8)
Alice Coltrane: harp, piano
Pharoah Sanders: soprano saxophone, percussion
Rashied Ali: drums
Cecil McBee: bass
Tulsi: tamboura
Majid Shabazz: bells, tambourine.
Recorded at the Coltrane Studio, Dix Hills, New York on November 8, 1970
To Contrabandwidth: The surprise of new sounds and music are key to our life. When I hear new sound, I feel like Colombo as he first on foot on the New World. For that I'll ever be grateful. Ancillary question: is quantity preferable to quality when it comes to music?