John Powers

Just a little taste of it.

Just a little taste of it.

Just a little taste of it.

Thank you.

Thank you.

Thank you.

Oh, well, you know, there's something about the themes that Beethoven was able to

Oh, well, you know, there's something about the themes that Beethoven was able to

Oh, well, you know, there's something about the themes that Beethoven was able to

No, no. It's something about the themes he was able to manifest that are all sitting right there. It's pre-written by the divine source or the creator. It's just sitting there in the divine stream of consciousness waiting for someone to pull it down. And he was a vessel for so many of those things that we all feel and we all want to hear, but nobody had played yet. Just that theme of thinking about

No, no. It's something about the themes he was able to manifest that are all sitting right there. It's pre-written by the divine source or the creator. It's just sitting there in the divine stream of consciousness waiting for someone to pull it down. And he was a vessel for so many of those things that we all feel and we all want to hear, but nobody had played yet. Just that theme of thinking about

No, no. It's something about the themes he was able to manifest that are all sitting right there. It's pre-written by the divine source or the creator. It's just sitting there in the divine stream of consciousness waiting for someone to pull it down. And he was a vessel for so many of those things that we all feel and we all want to hear, but nobody had played yet. Just that theme of thinking about

a minor chord, you know? And the second inversion was... Just that idea is so simple, it seems like it would be right under our nose, but the way he was able to pull it down for all time is what's exciting for me about his music in general. It has all these things that are so universal, so hardwired into our mainframe, and when you hear it, Now that to me sounds like blues.

a minor chord, you know? And the second inversion was... Just that idea is so simple, it seems like it would be right under our nose, but the way he was able to pull it down for all time is what's exciting for me about his music in general. It has all these things that are so universal, so hardwired into our mainframe, and when you hear it, Now that to me sounds like blues.

a minor chord, you know? And the second inversion was... Just that idea is so simple, it seems like it would be right under our nose, but the way he was able to pull it down for all time is what's exciting for me about his music in general. It has all these things that are so universal, so hardwired into our mainframe, and when you hear it, Now that to me sounds like blues.

That feeling is connected to the human condition. It is the human condition made into sound. It's something about his music that is always reflective of our collective state and how we deal with our internal world and how we either transcend or how we fall into despair and how we then come back up again like a phoenix it just is it's connected to something that's very very fundamental in humanity

That feeling is connected to the human condition. It is the human condition made into sound. It's something about his music that is always reflective of our collective state and how we deal with our internal world and how we either transcend or how we fall into despair and how we then come back up again like a phoenix it just is it's connected to something that's very very fundamental in humanity

That feeling is connected to the human condition. It is the human condition made into sound. It's something about his music that is always reflective of our collective state and how we deal with our internal world and how we either transcend or how we fall into despair and how we then come back up again like a phoenix it just is it's connected to something that's very very fundamental in humanity

Right. It's very foreboding. It has that sense.

Right. It's very foreboding. It has that sense.