There once was a musician who valued being exceedingly good at almost everything. He practiced his instrument long and arduously. He studied music history, music theory, music philosophy, and music pedagogy to the point of perfection. He rehearsed in ensembles with true devotion and enthusiasm. He was highly sought after by those institutions who prize hard work and great achievement. When he encountered the notion of "raising the bar," he realized that that was undoubtedly his lifelong intention and goal. This musician was, indeed, exceedingly good at almost everything.
However, this musician did not like to practice, or listen to, exceedingly high quality compositions. He settled for music that was approved by the uneducated masses. He considered that aiming at exceedingly high quality compositions was elitist, boring, and, in actuality, wrong, since any music is just as good as any other. Right?
After years, this musician woke up one day and realized that his life was a lie, a sham, a total unfulfillment. He realized that wanting to be exceedingly good at playing music - was exceedingly bad - when exceedingly good music was itself rejected. After years of being indoctrinated by useless postmodern, democratic, commercial, ultra-relativistic brainwashings, this musician finally realized that exceedingly good ability and knowledge, when applied to less-than-exceedingly good music, is exceedingly bad and pointless.
To bad he waited so long to learn this exceedingly good thing.

Jody Nagel
November 19, 2001
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