Has the flame finally gone out?

I believe Tony Banks wanted to share a percentage of writing with Steve Hackett... as I can pick up in interviews with Banks where he is endlessly bragging about Hackett's contributions to Wind And Wuthering. I believe Tony Banks is very picky and very detailed to a point where he might reject an idea from another band member that is solid and extremely useful and only because he hears the idea taking the piece far from where the original sounding art form of it developed. So...if we were to place most rejected ideas from Rutherford, Phillips, Hackett, Collins. and Gabriel into the early Genesis music ...would Tony Banks be right? Also take in to account that Tony Banks was the main writer from the very start and schooled Rutherford, Collins, Hackett, and Phillips in the areas of composition. Just by the 4 of them working with Banks..opened up some education for them..because Banks was already a trained writer and years ahead of their musical knowledge and knowing what to do overall with the music...in the same vain that Lennon and McCartney would have or Ray Davies...or even George Harrison with "All Things Must Pass". Even though Banks was a progressive writer he had the same mindset and knew how to produce an album like a play musically. He had ideas for certain chord voicings that would give Genesis a distinctive sound.

 Whenever I see old photographs of Rutherford, Phillips and Banks...sitting around playing acoustic guitars together..I imagine Banks instructing the both of them on chord voicings. That's how the music of Genesis developed and after Phillips departure..he went to music college to study piano and guitar. He writes piano pieces that are in the vain of Tony Banks. I'm just considering that Tony Banks was like a teacher in Genesis and being a perfectionist..he may have been difficult to work with and that revolving around his consistent picking of every detail in the music to be totally perfect. Selling England By The Pound and The Lamb are perfect and I only say this because they feel complete and perfectly done as an art. I do not know if members of Genesis feel the opposite of that. 

It is a content feeling to be secluded in a room listening to the Chateau d"Herouville Sessions by Jethro Tull. There is no need for an audience. Prog should remain on the underground forever and truly those are the best options to take considering that today's independent artist will forever remain independent. You're suppose to represent yourself today because supposedly there are no more record companies. Networking, You Tube, Craig's List, ...you know? all these bones thrown to us and we can only go as far as our luck will take us. It's 2014 and I land many more worthwhile connections in the music business when I play in a priceless venue. That is where the agents, managers, musicians, give you opportunities to be a session musician for a well known artist or auditioning. Everything still happens on the spot, during live transmission..and all or most of the important deals are "hands on" situations" . Everyone texts and e-mails , but everyone meets physically to offer connections...which is to say that you must be in these places to follow through and not home on the computer. In that sense, things are still as they were in the 70's.