Such speculation is significant for this find out only insofar because it establishes the paramount role of Davis' self-centered personality in this book. Davis shows modest or no interest in politics, social issues, history, literature, or any subject aside from music. Women are absolutely important to him, but always in the perspective of a spoiled smaller boy whose unique requirements are always central. His feelings for women are no doubt real, while those feelings are invariably measured by a woman's capability to fit into Davis' life and satisfy his needs. However, once a feasible conflict in between women and music arises, that will emerge as the more essential just isn't in doubt:
I adore women. I never needed any assist or ever had any issue finding women. I including being with them, talking and shit like that. But I never have messed using a musician's girlfriend. Never. Even if she hadn't been with him for incredibly long. You by no means know when you may possibly need to hire a musician to play with you. You do not want no shit like that obtaining within the way of what you might be playing together (403).
Even Davis' morality is right here revealed as a facet of his passion for music. What helps him musically is good, and what hurts him musically is bad. He leaves women once they become.
Davis' experience in the music world and in American society in general is shaped by his color, his genius and his outspoken personality. To try to understand his perspective is to try to imagine what like a black, brilliant, rich, proud, honored jazz artist would be like inside a nation that's even now racist and which undervalues jazz as a musical form. Davis suspecting a white conspiracy of types to undermine him, his career, and his musical genius just isn't surprising, then:
For probably the most part, Davis' views on music, politics, and religion are expressed not during the abstract, not as parts of some well-defined philosophy of life, but rather as expressions of raw, deeply felt experience. For example, he doesn't leisurely take into account the significance of jazz to American culture, but instead squeezes his opinions out of himself as if they had been hard-won notes of rage and longing wrung from his trumpet in an improvisational run. Always, he puts these views during the context of personal experience.
Of course, they did not discover a way to clip Davis' wings. Even a long period away during the creation of music did not deter Davis' spirit. This was as much the result of his dogged determination as his musical brilliance: "Dumb, insensitive critics have destroyed plenty of excellent music and musicians who just weren't as powerful as I was in acquiring the potential to say, 'Fuck y'all'" (352).
The first time Davis is genuinely and entirely awakened by jazz he describes the experience in terms of radical turbulence instead of serene pleasure: "When I heard Diz and Bird in B's band, I said, 'What? What's this!?' Man, that shit was so terrible it was scary" (7). Davis did not want or seek being serene or satisfied with his very own music or with others' music. He wanted being moved inside a revolutionary way, inside a new way, a strong way. This desire marks the first write-up of the book, as just stated, and the last: "Brother, I'm just going to try to keep my music having up on the one, get
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