Cartridges: Complete Scam?

Raymonda from months ago.  I own a Benz Ruby 3 since 2006 ($3000).  It is mounted on a what once sold for $1100 arm, the SME IV (modified).  It last sold for about $4,000 a few years ago.  So, I had a 30 year old arm with a 12 year old cartridge on a VPI TNT VI.   
I consider this less than SOTA but high-end.  The reason I am still using the cartridge after 2500+ hours is cleanliness (stylus cleaned with a Magic Eraser every record side), mostly clean LPs, proper VTF and VTA (set-up).  I will continue to use this expensive cartridge until it does show signs of wear (maybe another 500+ hours).  The point is that expensive cartridges can last a long time and provide so many hours of enjoyment that the annual cost is greatly reduced and I don't feel the need to "upgrade" from here.  Plus, the initial cost of a high quality arm in the 80s became inflated as everyone noted.  

Also, the lack of smog in the past 15 years in the NW San Fernando Valley (previously the smog capital of the country was L.A.) does not destroy the rubber parts of the cartridge like it did in the 60's to the 80's when my expensive Dynavector's died after 3 short years (stylus was fine, the cantilevers froze from hardened rubber mounting).   

This thread has been amusing and aggravating to me, at the same time.  The OP obviously came from a confrontational direction and shows quite a bit of arrogance and close-mindedness to boot.

The responses focusing on cartridge/tonearm  compatability supplied the most important perspective necessary.  I cannot attest to current products as I am one of those 'old vintage dinosaurs who  live in the past'.  My two TTs are mid-70s  Technics direct drive SL-1300 and SL-1350.  My cartridge line of preference is Audio Technica MM.  My best cartridges were all made between 1975 and 1982, and were designed to be compatible with tonearms of that era.  I have recently added to my cartridge collection a few Signet TK9s, a TK10, and an At25; all with NOS stylii.  Their sound production is a definite step up in clarity and depth of sound stage, but I would be averse to calling them the absolute best.  The incredible detail of these carts can sometimes be fatiguing over long listening sessions.  However, my Signet TK7lca or AT14sa will provide hours of pleasant enjoyment over a wide range of source material.  Not everything has to be better or worse.  'Different' is ok.

BTW, the speed stability on my two TTs is rock solid.  They both are supported with acoustic isolators...checked regularly for level positioning.  VTA, VTF, AZ are all carefully checked with each cartridge swap.  All records are washed in the Spin-Clean, finalized with a vintage Disc Washer, and stylus brushed after each side is played.  Why do I mention this, you might ask?  Because the previous care enables me to listen to vinyl that is a quiet as a cd.  Period.  I am a dyed-in-the-wool believer of keeping the basics solid.  Purchase the best compatible equipment I can AFFORD initially, set it up to the best of my ability, and then care for it as if it were the last stereo on Earth. 

Maybe the OP will gain some education and maturity in the coming years, and learn that cubic dollars are not the solution to every problem he encounters.

just my $0.02

Mr. OP,
Why dontcha buy a vintage PHILIPS RR 522 radiorecorder ?
Taping classic rock albums of the day and listening to them on BASF and AGFA c cassette tapes again and again more than 40 years ago lead me to audio Nirvana, well or at least Nirvana told by Gary Brooker in "Twas Held in I" (from 1968)
: )

There is no doubt in my mind that a modest cartridge properly set up in a top quality deck will sound significantly better than the reverse. I just had my TD124 totally tricked out by an expert-STS in Nashville. This project included a motor rebuild with high-torque brushes, an $1100 custom bearing, an $1100 thick aluminum top platter, Audiosilente idler wheel, custom motor mounts, complete stripping of chassis and iron sub platter and refinishing, new wiring, and the list goes on. A new 12" Reed 3P in cocobolo was mounted. Greg of STS put a lowly Shure vintage cartridge on the Reed (from the photos he sent me I’m guessing an M91) and reported some of the blackest backgrounds and best sound he has ever heard. Greg owns far more expensive cartridges and has heard plenty of far more expensive decks. I realize that one anecdotal report does not mean much but I think this is representative of tons of past experiences by most dyed in the wool vinyl ’philes.
I think of the concept as being the logical reverse of the more frequently discussed topic; which is more important between source/electronics and speakers. I am strongly of the opinion that it is far better to have top quality source and electronics with modest loudspeakers than the reverse. The best speakers in the world can’t polish a turd coming into them. But with top signal going into them, modest speakers properly set up in the listening room can sound unbelievably good.
The interesting thing in this analogy is that most wrong-headed enthusiasts make the mistake of focusing on fancy looking and expensive loudspeakers since they are so prominent in the room but don’t get drawn to expensive cartridges because-let’s face it-nobody but the owner and a few cognescenti notice them.