And what is your stance regarding conservatory non-contemporary music? Aren't then all the early 20th century or earlier compositions essentially dead styles too, which are constantly resurrected by academic perpetuators who exploit the nostalgia some listeners have for those older periods of music? I mean, what's the difference between J@LC and any classical conservatory? Or between Wynton striving for the recreation of be-bop or earlier jazz and a conservatory director/soloist focusing on reviving interest in traditional baroque or romantic music? I don't want to defend Wynton Marsalis here, especially his arrogant opinions on what constitutes real jazz, but I'd like to understand why the preservationist work carried by Marsalis is viewed in such a negative way, while the preservationist work carried by music academies/conservatories is usually lauded.