Alternative Music Quotes

Im okay Im okay now. But you really need to listen to me 'cause im telling you the truth I mean this im okay Trust me... Im not okay ...Well okay im not okay. Im not o-f cking-kay

Music is pleasing not only because of the sound but because of the silence that is in it: without the alternation of sound and silence there would be no rhythm.

Creativity is the catalyst to the future.

Economics is a study of cause-and-effect relationships in an economy. It's purpose is to discern the consequences of various ways of allocating resources which have alternative uses. It has nothing to say about philosophy or values, anymore than it has to say about music or literature.

The futility of everything that comes to us from the media is the inescapable consequence of the absolute inability of that particular stage to remain silent. Music, commercial breaks, news flashes, adverts, news broadcasts, movies, presenters—there is no alternative but to fill the screen; otherwise there would be an irremediable void. We are back in the Byzantine situation, where idolatry calls on a plethora of images to conceal from itself the fact that God no longer exists. That's why the slightest technical hitch, the slightest slip on the part of a presenter becomes so exciting, for it reveals the depth of the emptiness squinting out at us through this little window.

Seeking out people with different views, different perspectives, different ideas is often challenging, because it requires us to set aside judgment and open our minds. But we have to remind ourselves that to get beyond where we are, where I believe most of us are, we would all be be well served to choose our music carefully, to stop talking and listen to one another.

The ideological blackmail that has been in place since the original Live Aid concerts in 1985 has insisted that ‘caring individuals’ could end famine directly, without the need for any kind of political solution or systemic reorganization. It is necessary to act straight away, we were told; politics has to be suspended in the name of ethical immediacy. Bono’s Product Red brand wanted to dispense even with the philanthropic intermediary. ‘Philanthropy is like hippy music, holding hands’, Bono proclaimed. ‘Red is more like punk rock, hip hop, this should feel like hard commerce’. The point was not to offer an alternative to capitalism - on the contrary, Product Red’s ‘punk rock’ or ‘hip hop’ character consisted in its ‘realistic’ acceptance that capitalism is the only game in town. No, the aim was only to ensure that some of the proceeds of particular transactions went to good causes. The fantasy being that western consumerism, far from being intrinsically implicated in systemic global inequalities, could itself solve them. All we have to do is buy the right products.

A long apprenticeship is the most logical way to success. The only alternative is overnight stardom, but I can't give you a formula for that.

For the life of me I cannot remember, what made us think that we were wise and we'd never compromise. For the life of me I cannot believe we'd ever die for these sins, we were merely freshmen.

I have never seen a more sublime demonstration of the totalitarian mind, a mind which might be linked unto a system of gears where teeth have been filed off at random. Such snaggle-toothed thought machine, driven by a standard or even by a substandard libido, whirls with the jerky, noisy, gaudy pointlessness of a cuckoo clock in Hell. The boss G-man concluded wrongly that there were no teeth on the gears in the mind of Jones. 'You're completely crazy,' he said. Jones wasn't completely crazy. The dismaying thing about classic totalitarian mind is that any given gear, thought mutilated, will have at its circumference unbroken sequences of teeth that are immaculately maintained, that are exquisitely machined. Hence the cuckoo clock in Hell - keeping perfect time for eight minutes and twenty-three seconds, jumping ahead fourteen minutes, keeping perfect time for six seconds, jumping ahead two seconds, keeping perfect time for two hours and one second, then jumping ahead a year. The missing teeth, of course, are simple, obvious truths, truths available and comprehensible even to ten-year-olds, in most cases. The wilful filling off a gear teeth, the wilful doing without certain obvious pieces of information - That was how a household as contradictory as one composed of Jones, Father Keeley, Vice-Bundesfuehrer Krapptauer, and the Black Fuehrer could exist in relative harmony - That was how my father-in-law could contain in one mind an indifference toward slave women and love fora a blue vase - That was how Rudolf Hess, Commandant of Auschwitz, could alternate over the loudspeakers of Auschwitz great music and calls for corpse-carriers - That was how Nazi Germany sense no important difference between civilization and hydrophobia - That is the closest I can come to explaining the legions, the nations of lunatics I've seen in my time.

In Victorian London they used to burn phosphorus at seances in an attempt to see ghosts, and I suspect that the pop-music equivalent is our obsession with B-sides and alternate versions and unreleased material.

We have looked for myths that include us in great novels, music, the latest comic book, or even some stupid advertising campaign. We'll look anywhere for a mythology that embraces people like ourselves.

It's not enough just to do those things anymore; what you must do instead if you want success on any large scale is either figure out a way of getting yourself associated in the audience's mind with their pieties and their sense of 'community,' i.e. ram it home that you're one of THEM; or, alternately, deck and bake yourself into an image configuration so blatant or outrageous that you become a culture myth.

the fact that they stole their whole shtick from Woody Guthrie and the coal-mining bards. While the alternative nation meows about personal fashion angst, the Appalachian nation still sings about unemployment.

I believe in art the way other people believe in god. I say that because books and paintings and music and photography gave me an alternate world to inhabit when the one I was born into was a dead zone. I say it because if you, even inside whatever terror itches your skin, pick up a pen or a paintbrush, a camera or clay or a guitar, you already have what you are afraid to choose. Volition. It was already in you.

When I was reading, I was not lonely or self-aware. I felt upheld by the stories. I read a whole stack of fiction at one time, alternating between books so I could finish all of them together, the multiple endings crashing around me like the cymbals in a musical finale. When I stopped reading, I felt lonely again, like a window had been thrown open.

Maybe the internet raised us, or maybe people are jerks.

What I’m praying is that you will choose those beautiful possibilities over any self-annihilating alternatives. My whole life on earth has been the weaving of a single powerful spell. The best part of all my magic was loving you.” (as spoken by the character Valerie Hyerman)

NPR faded from the radio in a string of announcements of corporate supporters, replaced by a Christian station that alternated pabulum preaching and punchy music. He switched to shit-kicker airwaves and listened to songs about staying home, going home, being home and the errors of leaving home.

Crack had a social logic to it, a specific kind of reasoning that drew from a vast well of common experience for its symbolic resonance. Crack stood for pain and power, chaos and order, the truth behind the lie. Crack was a sociolegal logic grounded in blood.

We cannot be happy if we expect to live all the time at the highest peak of intensity. Happiness is not a matter of intensity but of balance and order and rhythm and harmony. Music is pleasing not only because of the sound but because of the silence that is in it: without the alternation of sound and silence there would be no rhythm. If we strive to be happy by filling all the silences of life with sound, productive by turning all life’s leisure into work, and real by turning all our being into doing, we will only succeed in producing a hell on earth.

I'm tired of the music industry these days! They polish everything until it no longer sounds real. The raw uncut sound is something I think no genre but alternative and Aerow music retain.

Joy and anger, sorrow and happiness, caution and remorse Come upon us by turns, with ever changing mood. They come like music from hollows, like wood when played by the wind, or how mushrooms grow from the damp. Daily and nightly they alternate within but we cannot tell whence they spring. Without these emotions I should not be. Without me, they would have no instrument

True ease in writing comes from art, not chance, As those move easiest who have learn'd to dance. 'Tis not enough no harshness gives offence, The sound must seem an echo to the sense. Soft is the strain when Zephyr gently blows, And the smooth stream in smoother numbers flows; But when loud surges lash the sounding shore, The hoarse, rough verse should like the torrent roar. When Ajax strives some rock's vast weight to throw, The line too labours, and the words move slow; Not so, when swift Camilla scours the plain, Flies o'er th' unbending corn, and skims along the main. Hear how Timotheus' varied lays surprise, And bid alternate passions fall and rise! While, at each change, the son of Libyan Jove Now burns with glory, and then melts with love; Now his fierce eyes with sparkling fury glow, Now sighs steal out, and tears begin to flow: Persians and Greeks like turns of nature found, And the world's victor stood subdu'd by sound! The pow'r of music all our hearts allow, And what Timotheus was, is Dryden now.

I had a bizarre rapport with this mirror and spent a lot of time gazing into the glass to see who was there. Sometimes it looked like me. At other times, I could see someone similar but different in the reflection. A few times, I caught the switch in mid-stare, my expression re-forming like melting rubber, the creases and features of my face softening or hardening until the mutation was complete. Jekyll to Hyde, or Hyde to Jekyll. I felt my inner core change at the same time. I would feel more confident or less confident; mature or childlike; freezing cold or sticky hot, a state that would drive Mum mad as I escaped to the bathroom where I would remain for two hours scrubbing my skin until it was raw. The change was triggered by different emotions: on hearing a particular piece of music; the sight of my father, the smell of his brand of aftershave. I would pick up a book with the certainty that I had not read it before and hear the words as I read them like an echo inside my head. Like Alice in the Lewis Carroll story, I slipped into the depths of the looking glass and couldn’t be sure if it was me standing there or an impostor, a lookalike. I felt fully awake most of the time, but sometimes while I was awake it felt as if I were dreaming. In this dream state I didn’t feel like me, the real me. I felt numb. My fingers prickled. My eyes in the mirror’s reflection were glazed like the eyes of a mannequin in a shop window, my colour, my shape, but without light or focus. These changes were described by Dr Purvis as mood swings and by Mother as floods, but I knew better. All teenagers are moody when it suits them. My Switches could take place when I was alone, transforming me from a bright sixteen-year-old doing her homework into a sobbing child curled on the bed staring at the wall. The weeping fit would pass and I would drag myself back to the mirror expecting to see a child version of myself. ‘Who are you?’ I’d ask. I could hear the words; it sounded like me but it wasn’t me. I’d watch my lips moving and say it again, ‘Who are you?

As with outlaw figures, in diverse musical and oral cultures throughout the world- Mexican corridos and Egyptian shaabi music, for example- Hip Hop's irreverence toward dominant values and noncompliance with the status quo creates alternative, counterhegemonic spaces.

It probably didn't help that we kept being taken on holiday to monasteries. Not many kids there, just monks. Although you do find the best reverb in monastic chapels. I have a theory that the religious experience is actually based on reverb - which is why outdoor weddings always seem weird. God isn't in the details, he's in the echo.

Why are there no saxophone-flavored potato chips? It's like they don't want my car to run on an alternative form of energy.

Punk is not just the sound, the music, punk is a lifestyle.

The trend toward narcissistic flair has been responsible in large part for smiting rock with the superstar virus, which revolves around the substituting of attitudes and flamboyant trappings, into which the audience can project their fantasies, for the simple desire to make music, get loose, knock the folks out or get ‘em up dancin.’ It’s not enough just to do those things anymore; what you must do instead if you want success on any large scale is figure a way of getting yourself associated in the audience’s mind with their pieties and their sense of “community,” i.e., ram it home that you’re one of THEM; or, alternately, deck and bake yourself into an image configuration so blatant or outrageous that you become a culture myth.

Their other hands flipped up, palm to palm, and Merik’s only consolation as he and the domna slid into the next movement of the dance was that her chest heaved as much as his did. Merik’s right hand gripped the girl’s, and with no small amount of ferocity, he twisted her around to face the same direction as he before wrenching her to his chest. His hand slipped over her stomach, fingers splayed. Her left hand snapped up—and he caught it. Then the real difficulty of the dance began. The skipping of feet in a tide of alternating hops and directions. The writhing of hips countered the movement of their feet like a ship upon stormy seas. The trickling tap of Merik’s fingers down the girl’s arms, her ribs, her waist—like the rain against a ship’s sail. On and on, they moved to the music until they were both sweating. Until they hit the third movement. Merik flipped the girl around to face him once more. Her chest slammed against his—and by the Wells, she was tall. He hadn’t realized just how tall until this precise moment when her eyes stared evenly into his and her panting breaths fought against his own. Then the music swelled once more, her legs twined into his, and he forgot all about who she was or what she was or why he had begun the dance in the first place. Because those eyes of hers were the color of the sky after a storm. Without realizing what he did, his Windwitchery flickered to life. Something in this moment awoke the wilder parts of his power. Each heave of his lungs sent a breeze swirling in. It lifted the girl’s hair. Kicked at her wild skirts. She showed no reaction at all. In fact, she didn’t break her gaze from Merik, and there was a fierceness there—a challenge that sent Merik further beneath the waves of the dance. Of the music. Of those eyes. Each leap backward of her body—a movement like the tidal tug of the sea against the river—led to a violent slam as Merik snatched her back against him. For each leap and slam, the girl added in an extra flourishing beat with her heels. Another challenge that Merik had never seen, yet rose to, rose above. Wind crashed around them like a growing hurricane, and he and this girl were at its eye. And the girl never looked away. Never backed down. Not even when the final measures of the song began—that abrupt shift from the sliding cyclone of strings to the simple plucking bass that follows every storm—did Merik soften how hard he pushed himself against this girl. Figuratively. Literally. Their bodies were flush, their hearts hammering against each other’s rib cages. He walked his fingers down her back, over her shoulders, and out to her hands. The last drops of a harsh rain. The music slowed. She pulled away first, slinking back the required four steps. Merik didn’t look away from her face, and he only distantly noticed that, as she pulled away, his Windwitchery seemed to settle. Her skirts stopped swishing, her hair fluttered back to her shoulders. Then he slid backward four steps and folded his arms over his chest. The music came to a close. And Merik returned to his brain with a sickening certainty that Noden and His Hagfishes laughed at him from the bottom of the sea.

Driving to pick up his son, Bennie alternated between the Sleepers and the Dead Kennedys, San Francisco bands he'd grown up with. He listened for muddiness, the sense of actual musicians playing actual instruments in an actual room. Nowadays the quality (if it existed at all) was usually an effect of analogue signaling rather than bona fide tape - everything was an effect in the bloodless constructions Bennie and his peers were churning out. He worked tirelessly, feverishly, to get things right, stay on top, make songs that people would love and buy and download as ring tones (and steal, of course) - above all, to satisfy the multinational crude-oil extractors he'd sold his label to five years ago. But Bennie knew that what he was bringing into the world was shit. Too clear, too clean. The problem was precision, perfection; the problem was digitization, which sucked the life out of everything that got smeared through its microscopic mesh. Film, photography, music: dead. An aesthetic holocaust!

It was a roaring spring morning with green in the sky, the air spiced with sand sagebrush and aromatic sumac. NPR faded from the radio in a string of announcements of corporate supporters, replaced by a Christian station that alternated pabulum preaching and punchy music. He switched to shit-kicker airwaves and listened to songs about staying home, going home, being home and the errors of leaving home.

I was once asked to pick a couple of records for an interview I was doing on Radio 2. I picked one by Will Oldham and one by Joanna Newsom. Someone on the production phoned me to say that I couldn't have either record because they were 'too alternative' and I could just pick two from their playlist. Now, personally, I think that Radio 2's listeners would dig both Joanna Newsom and Will Oldham if they heard their records, and that the fact they don't get to hear them contributes to the cultural wasteland we live in. I told them that I'd been to see Joanna Newsom in the Albert Hall a couple of weeks before and it had been sold out. How could she be 'too alternative'? 'Alternative' and 'mainstream' aren't strictly to do with whether things are popular or minority interest. They are ideological labels. Someone like Joe Pasquale would be called 'mainstream' and regularly pops up on TV, but would play the smaller end of the touring-theatre circuit. If Joanna Newsom can sell out Albert Hall, why can't she get played on Radio 2? I would agree that it's because her work is too layered, challenging and interesting. Think about that. What you get to hear about is filtered, and not filtered to get rid of useless cunts like Joe Pasquale, but of things that might enrich your life.

Sexual healing and general recovery need to work together in the same way that music and lyrics work together to make a song: They alternate and blend together at different times. They are complementary, not isolated, experiences.

How else could we identify another weirdo or outlier? These symbols intimated a belief system, a way of thinking not just about music but about school and friends and politics and society. It was also a way to separate yourself, to feel bold or try on boldness without yet possessing it. A little inkling of the nonconformist person you could be—you wanted to be—but weren’t quite ready to commit to. I papered my walls with band posters and what little I could find in mainstream magazines about alternative and punk, maybe a picture of Babes in Toyland from Spin or Fugazi from Option. The iconoclast images and iconography covered my room, a jarring contrast to the preppy blue-and-white-striped wallpaper I’d insisted on in elementary school. I resented the parts of myself that were late to adopt coolness, late to learn—I wanted to have always possessed a savviness and sophistication, even though I clearly had neither.

Mister Geoffrey, my experiment shows that the dynamo and the bulb are both working properly," I said. "So why won't the radio play?" "I don't know," he said. "Try connecting them here." He was pointing toward a socket on the radio labeled "AC," and when I shoved the wires inside, the radio came to life. We shouted with excitement. As I pedaled the bicycle, I could hear the great Billy Kaunda playing his happy music on Radio Two, and that made Geoffrey start to dance. "Keep pedaling," he said. "That's it, just keep pedaling." "Hey, I want to dance, too." "You'll have to wait your turn." Without realizing it, I'd just discovered the difference between alternating and direct current. Of course, I wouldn't know what this meant until much later. After a few minutes of pedaling this upside-down bike by hand, my arm grew tired and the radio slowly died. So I began thinking, "What can do the pedaling for us so Geoffrey and I can dance?

I wake up one day and it’s twenty-plus years later, and here I am still. That’s getting left behind. And even then, you can have a decent life. You know why I’m still here? It’s because I’m content. Maybe even happy. I found my path. My life is simple. I wake up in the morning. I eat my Cheerios, drink my coffee, think my thoughts. I go home after work and sit on my back patio and pet my dog and listen to music and myself breathing. It feels good to be alive and exist. Most things haven’t worked out for me - especially love - but that’s all right. I’m not as pretty as I used to be. More of my life’s behind me than in front of me. Who knows how many years I took off it while I was partying. But I’m a lot healthier now, if you can believe it. “I get lonely sometimes, but so does everyone else. We’re all looking for some sort of salvation in something sometimes we try to find it in people. We find out salvation, and it slips through our fingers. We find it again. We get left behind. Living is hurting, but I’ll take living over the alternative any day. Consciousness is a marvelous gift. It took almost dying to make me realize that. Hell, I’m just rambling now. Anyway, having said all this, you did not get left behind.

It is not simply as release or play, in other words, that popular music saves society from its routine murders; it is not just relief from the long day's work or the joy that comes from cutting loose or the affirmation of community that makes it attractive, although all of these play their parts. In the Americas, popular music is a mission and strategy to recover the deep theoretical roots that extend far into the past and constitutes nothing less an alternative history of Western civilization.

In the music of the rushing stream sounds the joyful assurance, "I shall become the sea." It is not a vain assumption; it is true humility, for it is the truth. The river has no other alternative. On both sides of its banks it has numerous fields and forests, villages and towns; it can serve them in various ways, cleanse them and feed them, carry their produce from place to place. But it can have only partial relations with these, and however long it may linger among them it remains separate; it never can become a town or a forest. But it can and does become the sea. The lesser moving water has its affinity with the great motionless water of the ocean. It moves through the thousand objects on its onward course, and its motion finds its finality when it reaches the sea.

Daphne turned to Simon with an amused expression. “I can’t quite decide if she is being terribly polite or exquisitely rude.” “Exquisitely polite, perhaps?” Simon asked mildly. She shook her head. “Oh, definitely not that.” “The alternative, of course, is—” “Terribly rude?” Daphne grinned and watched as her mother looped her arm through Lord Railmont’s, pointed him toward Daphne so that he could nod his good-bye, and led him from the room. And then, as if by magic, the remaining beaux murmured their hasty farewells and followed suit. “Remarkably efficient, isn’t she?” Daphne murmured. “Your mother? She’s a marvel.” “She’ll be back, of course.” “Pity. And here I thought I had you well and truly in my clutches.” Daphne laughed. “I don’t know how anyone considered you a rake. Your sense of humor is far too superb.” “And here we rakes thought we were so wickedly droll.” “A rake’s humor,” Daphne stated, “is essentially cruel.” Her comment surprised him. He stared at her intently, searching her brown eyes, and yet not really knowing what it was he was looking for. There was a narrow ring of green just outside her pupils, the color as deep and rich as moss. He’d never seen her in the daylight before, he realized. “Your grace?” Daphne’s quiet voice snapped him out of his daze. Simon blinked. “I beg your pardon.” “You looked a thousand miles away,” she said, her brow wrinkling. “I’ve been a thousand miles away.” He fought the urge to return his gaze to her eyes. “This is entirely different.” Daphne let out a little laugh, the sound positively musical. “You have, haven’t you? And here I’ve never even been past Lancashire. What a provincial I must seem.” He brushed aside her remark. “You must forgive my woolgathering. We were discussing my lack of humor, I believe?” “We were not, and you well know it.

Music?” he asked. I nodded and handed him my iPod. We’d been running together three more times now and had worked out our routine. We talked for the first mile or so, while we were warming up. When breathing became more important than talking, we switched to music, which we would listen to for the rest of the run, and then we’d turn the iPods off as we’d cool down and walk to one of our houses—we alternated. But the run before, Frank had proposed that we switch iPods so that he could see if my “music, not observational comedy” theory was effective in terms of helping him run faster, and I could apparently learn all about some group called Freelance Whales which was, apparently, an actual band. I’d made him a mix of my favorite songs that hopefully weren’t too alienating for someone who claimed he never listened to country and had no idea who the Cure was.

The permanent mutter—information you hadn’t asked for alternating with music you hadn’t chosen (and quite unrelated to the mood you happened to be in)—was a theft of time, a diffusion and an entropy of the spirit, convenient and agreeable to the inert but intolerable to those with initiative.

Flying means boredom. Next time you're going away, just drive. You can leave when you want. You don't have to sit next to a stranger. You can listen to all sorts of loud music without headphones and look at things out of the window that aren't just clouds. Driving is sensible alternative to flying.

Consider yourself and the cello. As you play the music moves out to the listener, and also enters the core of your own being, for somehow you are tuned to the cello. Well, I am persuaded that this is because you are a chord. I am a chord. Our DNA dictates our physicality-made up of billions of little notes-on a basic level. Add to that our geography, background et cetera, and you have your original score. Life is the layering of chords, but the underlying one that we are will never change. This brings us to string theory and love. Our personal chord resonates with the personal ones of others, and sometimes we encounter another person who is completely harmonious with us. It is a dominant, overwhelming attraction on the DNA level. However, such a person can appear to be our opposite-and that's where this 'opposites attract' notion comes from-because they have tuned their chord in a different way. In reality, we are attracted to the person we have chosen not to become, an alternative adjustment to a chord that is nearly the same as our own. The clashing portions of the chords sounding together advance the richness of it. So when you make love you aren't expressing emotions or showing affection, you are merging melodies. You are players in the same symphony.

I challenged one student about why he always wore headphones in class. He replied that it didn’t matter, because he wasn’t actually playing any music. In another lesson, he was playing music at very low volume through the headphones, without wearing them. When I asked him to switch it off, he replied that even he couldn’t hear it. Why wear the headphones without playing music or play music without wearing the headphones? Because the presence of the phones on the ears or the knowledge that the music is playing (even if he couldn’t hear it) was a reassurance that the matrix was still there, within reach. Besides, in a classic example of interpassivity, if the music was still playing, even if he couldn’t hear it, then the player could still enjoy it on his behalf. The use of headphones is significant here – pop is experienced not as something which could have impacts upon public space, but as a retreat into private ‘OedIpod’ consumer bliss, a walling up against the social. The consequence of being hooked into the entertainment matrix is twitchy, agitated interpassivity, an inability to concentrate or focus. Students’ incapacity to connect current lack of focus with future failure, their inability to synthesize time into any coherent narrative, is symptomatic of more than mere demotivation.

Traditions that cease to evolve render themselves irrelevant or obsolete. And what's the problem with inventing new performance practices? Are customs being slandered? Do successful alternative diminish the value of traditional ones? *The argument that musicians must embrace conventional rituals is just as perilous as unilaterally rejecting them.*

This is the part they don’t tell you about in the movies. Or in On the Road. This is not rock ’n’ roll. You are not William Burroughs, and it doesn’t make a damn bit of difference if Kurt Cobain was slumped over in an alleyway in Seattle the day Bleach came out. There is no junkie chic. This is not Soho and you are not Sid Vicious. You are not a drugstore cowboy and you are not spotting trains. You are not a part of anything—no underground sect, no counter-culture movement, no music scene, nothing. You have just been released from jail and are walking down Mission Street, alternating between taking a hit off a cigarette and puking, looking for coins on the ground so you can catch a bus as you shit yourself.

It must be dawn, and the last breath went out of this body on the table - how long before? Irretrievably gone from this world, as dead as though she had lived a thousand years ago. Men have cut the isthmus of Panama and joined the two oceans; they have bored tunnels that run below rivers; built aluminum planes that fly from Frisco to Manila; sent music over the air and photographs over wires; but never, when the heartbeat of their own kind has once stopped, never when the spark of life has fled, have they been able to reanimate the mortal clay with that commonest yet most mysterious of all processes; the vital force. And this man thinks he can - this man alone, out of all the world's teeming billions! ("Jane Brown's Body")

Our Memories Are Like dancing waters in my soul Like a diamond emerging from a coal Like hope ere endless flames of pain Like graceful dances in the rain Like somber music played in C Like a distant, alternate vision of me Like a dream yet fading beyond the mind Like colors seen by one once blind Like a conflagration of all profound Like the ringing of a precious sound Like lies that tax and take their toll Like dancing waters in my soul

Whatever the evolutionary precursors of drug use are, a permanently “drug-free” human culture has yet to be discovered. Like music, language, art, and tool use, the pursuit of altered states of consciousness is a human universal. With access to few alternatives, Siberian shamans imbibe reindeer and human urine to maximize the psychedelic yield of Amanita muscaria mushrooms (the metabolite that is excreted may be stronger than the substance initially ingested); on nearly the opposite side of the world, New Zealanders party with untested “research chemicals” synthesized by Chinese chemists. Drug use spans time and culture. It is a rare human who has never taken a drug to alter her mood; statistically, it is non-users who are abnormal. Indeed, today, around two thirds of Americans over 12 have had at least one drink in the last year, and 1 in 5 are current smokers. (In the 1940s and ’50s, a whopping 67% of men smoked.) Among people ages 21 to 25, 60% have taken an illegal drug at least once—overwhelmingly marijuana—and 20% have taken one in the past month. Moreover, around half of us could suffer from physical withdrawal symptoms if denied our daily coffee. While Americans are relatively prodigious drug users—topping the charts in the use of many substances—we are far from alone in our psychoactive predilections.

I haven't heard anything new that I've liked on the show. A lot of the bands we play with are just bad, especially those alternative rock bands. They can do it in the studio but they can't play live... I see the audience applauding while they're playing, and I wonder if it's just because they're fans of the band and don't care, or out of spite. Because it certainly isn't because they sound good. Branford Marsalis on the musical acts booked on The Tonight Show.

The writing style which is most natural for you is bound to echo the speech you heard when a child. English was the novelist Joseph Conrad's third language, and much of that seems piquant in his use of English was no doubt colored by his first language, which was Polish. And lucky indeed is the writer who has grown up in Ireland, for the English spoken there is so amusing and musical. I myself grew up in Indianapolis, where common speech sounds like a band saw cutting galvanized tin, and employs a vocabulary as unornamental as a monkey wrench. In some of the more remote hollows of Appalachia, children still grow up hearing songs and locutions of Elizabethan times. Yes, and many Americans grow up hearing a language other than English, or an English dialect a majority of Americans cannot understand. All these varieties of speech are beautiful, just as the varieties of butterflies are beautiful. No matter what your first language, you should treasure it all your life. If it happens not to be standard English, and if it shows itself when you write standard English, the result is usually delightful, like a very pretty girl with one eye that is green and one that is blue. I myself find that I trust my own writing most, and others seem to trust it most, too, when I sound most like a person from Indianapolis, which is what I am. What alternatives do I have? The one most vehemently recommended by teachers has no doubt been pressed on you, as well: to write like cultivated Englishmen of a century or more ago.

It seems to begin before dawn with the Muslims, when a mosque at the edge of the mangrove forest softly announces, in a lullaby voice, the morning call to prayer. Not to be outdone, the local Christians soon crank up pop-sounding hymns that last anywhere from one to three hours. This is followed by cheerful, though overamplified, kazoo-like refrain from the Hindu temple that reminds Less of the ice cream truck from his childhood. Then comes a later call to prayer. Then the Christians decide to ring some bronze bells. And so on. There are sermons and live singers and thunderous drum performances. In this way, the faiths alternate throughout the day, as at a music festival, growing louder and louder until, during the outright cacophony of sunset, the Muslims, who began the whole thing, declare victory by projecting not only the evening call to prayer but the prayer itself in its entirety. After that, the jungle falls to silence. Perhaps this is the Buddhists' sole contribution. Every morning, it starts again.

I have never been a poster boy for serenity, but I knew I needed to restore some semblance of inner peace. In search of a fix much quicker than my weekly forays into the talking cure, I came upon an ancient and proven practice, one that exists in every culture and religious tradition as a means to attaining calm and an alternate plane of consciousness: an extended fast. Buddha did it, Jesus did it, even Pythagoras and George Bernard Shaw did it. It's like a Cole Porter song from the world's least-fun musical.

The last year had been a series of wrong turns, bad choices, abandoned projects. There was the all-girl band in which she had played bass, variously called Throat, Slaughterhouse Six and Bad Biscuit, which had been unable to decide on a name, let alone a musical direction. There was the alternative club night that no-one had gone to, the abandoned first novel, the abandoned second novel, several miserable summer jobs selling cashmere and tartan to tourists. At her very, very lowest ebb she had taken a course in Circus Skills until it transpired that she had none. Trapeze was not the solution. The much-advertised Second Summer of Love had been one of melancholy and lost momentum. Even her beloved Edinburgh had started to bore and depress her. Living in a her University town felt like staying on at a party that everyone else had left, and so in October she had given up the flat in Rankellior Street and moved back to her parents for a long, fraught, wet winter of recriminations and slammed doors and afternoon TV in a house that now seemed impossibly small.

Although a little noisy at first, in a bizarre twist of fate, electronic music became popular in France in the 1890’s before fizzling out in favor of Swing music – which somehow made an early appearance in the 1900’s. In another alternative timeline, the Beatles never existed and England invented popcorn and hamburgers in the 1840’s. Damn, that’s what almost happened last time again, thought Scrooby tensely, while maneuvering himself onto a stronger looking branch. Details, everything was about the details. Sometimes there was almost too much detail to keep up with.

While we cannot directly affect the images, we can drain them of their power. We can turn away from them, look directly at one another, and find alternative images of beauty in a female subculture; seek out the plays, music, films that illuminate women in three dimensions; find the biographies of women, the women's history, the heroines that in each generation are submerged from view; fill in the terrible, 'beautiful' blanks. We can lift ourselves and other women out of the myth - but only if we are willing to seek out and support and really look at the alternatives.

Philanthropy is like hippy music, holding hands’, Bono proclaimed. ‘Red is more like punk rock, hip hop, this should feel like hard commerce’. The point was not to offer an alternative to capitalism – on the contrary, Product Red’s ‘punk rock’ or ‘hip hop’ character consisted in its ‘realistic’ acceptance that capitalism is the only game in town. No, the aim was only to ensure that some of the proceeds of particular transactions went to good causes. The fantasy being that western consumerism, far from being intrinsically implicated in systemic global inequalities, could itself solve them. All we have to do is buy the right products.

She played over every favourite song that she had been used to play with Willoughby, every air in which their voices had been oftenest joined, and sat at the instrument gazing on every line of music that he had written out for her, till her heart was so heavy that no further sadness could be gained; and this nourishment was every day applied. She spent whole hours at the pianoforte alternately singing and crying; her voice often totally suspended by her tears. In books too, as well as in music, she courted misery which a contrast between the past and present was certain of giving. She read nothing but what they have been used to read together.

The crowd listened all the more closely for having waited and despaired, especially since this time the bells, ringing softly, demanded a deeper hush. The prelude was muted, a blend in which one could no longer distinguish bells alternating then coming together, it was a concert of bronze united, as if far off and very old. Music in a dream! It did not come from the tower, but from much farther away, from the depths of the sky, from the depths of time. This carillonneur had had the idea of playing some old Christmas carols, Flemish carols born of the race, mirrors in which it recognises itself. Like everything that has passed through the centuries, it was very solemn and a little sad.

The absolute success of these two movements is such that at this stage, "indie" and "yuppie" are meaningless designators. The yuppie aesthetic of connoisseurship has infiltrated everywhere and now there is only--for many of us--either luxury gelato or food made of chemical waste. Ikea, Martha Stewart, and Whole Foods make yuppiedom no longer a chic and extravagant choice but an enforced mode. It's either that or eat at a toxic toilet such as McDonald's. The indie aesthetic is likewise de rigueur. H&M, Urban Outfitters, and American Apparel sell the floppy "Brit on a holiday" look to all Americans. Radiohead and Arcade Fire music is blasted from speakers at stadiums. For many poor souls, there is no alternative to the alternative.

In those days, private houses were the primary venue where secular music was heard. Public concerts in large halls were less common, largely reserved for orchestral and large choral works.40 From childhood on, Beethoven made his reputation as a performer mainly in the setting of house music, and that situation hardly changed through his career. Solo pieces and chamber music, in other words, were played in chambers, much of the time by amateur musicians for audiences of family and friends. Programs were a mélange of genres and media; a concerto might be followed by a solo piece, followed by an aria, the musicians alternately playing and listening. The audience typically wandered in and out of the room, sometimes chatted and played cards.

Personally, I like my gods old, grizzled and *here*. I'll take Dylan; the pirate raiding party of the Stones; the hope-I-get-very-old-before-I-die, present live power of the Who; a fat, still-mesmerizing-until-his-death Brando—they all suit me over the alternative. I would've liked to have seen that last Michael Jackson show, a seventy-year-old Elvis reinventing and relishing in his talents, where Jimi Hendrix might've next taken the electric guitar, Keith Moon, Janis Joplin, Kurt Cobain and all the others whose untimely deaths and lost talents stole something from the music I love, living on, enjoying the blessings of their gifts and their audience's regard. Aging is scary but fascinating, and great talent morphs in strange and often enlightening ways.

Sometimes Cookies Are the Best Medicine For hospice patients at death’s door, big existential conversations aren’t always the needed medicine. One oddly powerful alternative is baking cookies together. “Just the basic joy of smelling a cookie. It smells freaking great. [And it’s like the snowball.] You’re rewarded for being alive and in the moment. Smelling a cookie is not on behalf of some future state. It’s great in the moment, by itself, on behalf of nothing. And this is another thing back to art. Art for its own sake. Art and music and dance. Part of its poignancy is its purposelessness, and just delighting in a wacky fact of perhaps a meaningless universe and how remarkable that is. One way for all of us to live until we’re actually dead is to prize those little moments.

Richard Lovelace makes a compelling case that the best defense is a good offense. “The ultimate solution to cultural decay is not so much the repression of bad culture as the production of sound and healthy culture,” he writes. “We should direct most of our energy not to the censorship of decadent culture, but to the production and support of healthy expressions of Christian and non-Christian art.”10 Public protests and boycotts have their place. But even negative critiques are effective only when motivated by a genuine love for the arts. The long-term solution is to support Christian artists, musicians, authors, and screenwriters who can create humane and healthy alternatives that speak deeply to the human condition. Exploiting “Talent” The church must also stand against forces that suppress genuine creativity, both inside and outside its walls. In today’s consumer culture, one of the greatest dangers facing the arts is commodification. Art is treated as merchandise to market for the sake of making money. Paintings are bought not to exhibit, nor to grace someone’s home, but merely to resell. They are financial investments. As Seerveld points out, “Elite art of the New York school or by approved gurus such as Andy Warhol are as much a Big Business today as the music business or the sports industry.”11 Artists and writers have been reduced to “talent” to be plugged into the manufacturing process. That approach may increase sales, but it will suppress the best and highest forms of art. In the eighteenth century, the world nearly lost the best of Mozart’s music because the adults in the young man’s life treated him primarily as “talent” to exploit.

I can remember starving in a small room in a strange city shades pulled down, listening to classical music I was young I was so young it hurt like a knife inside because there was no alternative except to hide as long as possible- not in self-pity but with dismay at my limited chance: trying to connect. the old composers-Mozart, Bach, Beethoven, Brahms were the only ones who spoke to me and they were dead. finally, starved and beaten, I had to go into the streets to be interviewd for low-paying and monotonous jobs by strange men behind desks men without eyes men without faces who would take my hours break them piss on them. now I work for the editors the readers the critics but still hang around and drink with Mozart, Bach, Brahms and the Bee some buddies some men sometimes all we need to be able to continue alone are the dead rattling the walls that close us in.

The mood and temper of the public in regard to the treatment of crime and criminals is one of the most unfailing tests of the civilization of any country. A calm and dispassionate recognition of the rights of the accused against the State, and even of convicted criminals against the State, a constant heart-searching by all charged with the duty of punishment, a desire and eagerness to rehabilitate in the world of industry all those who have paid their dues in the hard coinage of punishment, tireless efforts towards the discovery of curative and regenerating processes, and an unfaltering faith that there is a treasure, if you can only find it, in the heart of every man – these are the symbols which in the treatment of crime and criminals mark and measure the stored-up strength of a nation, and are the sign and proof of the living virtue in it.27 In 1908 and 1909 over 180,000 people were in prison in Britain, around half for failure to pay a fine on time.28 Churchill argued that more time should be allowed for payment, since the best principle for a prison system should be to ‘prevent as many people as possible from getting there’.29 He set in motion processes by which the number of people imprisoned for failing to pay a fine for drunkenness was reduced from 62,000 to 1,600 over the next decade.30 Churchill also searched for alternative punishments for petty offences, especially by children, as he saw prison as a place of last resort for serious offenders.31 When he visited Pentonville Prison in October, he released youths imprisoned for minor offences and although he was not at the Home Office long enough to reform the penal system as a whole, he reduced the sentences of nearly 400 individuals.32 He also introduced music and libraries into prisons, tried to improve the conditions of suffragettes imprisoned for disturbing the peace and reduced the maximum amount

During an individual's immersion in a domain, the locus of flow experiences shifts: what was once too challenging becomes attainable and even pleasurable, while what has long since become attainable no longer proves engaging. Thus, the journeyman musical performer gains flow from the accurate performance of familiar pieces in the repertoire; the youthful master wishes to tackle the most challenging pieces, ones most difficult to execute in a technical sense; the seasoned master may develop highly personal interpretations of familiar pieces, or, alternatively, return to those deceptively simple pieces that may actually prove difficult to execute convincingly and powerfully. Such an analysis helps explain why creative individuals continue to engage in the area of their expertise despite its frustrations, and why so many of them continue to raise the ante, posing ever-greater challenges for themselves, even at the risk of sacrificing the customary rewards.

Jason, it’s a pleasure.” Instead of being in awe or “fangirling” over one of the best catchers in the country, my dad acts normal and doesn’t even mention the fact that Jason is a major league baseball player. “Going up north with my daughter?” “Yes, sir.” Jason sticks his hands in his back pockets and all I can focus on is the way his pecs press against the soft fabric of his shirt. “A-plus driver here in case you were wondering. No tickets, I enjoy a comfortable position of ten and two on the steering wheel, and I already established the rule in the car that it’s my playlist we’re listening to so there’s no fighting over music. Also, since it’s my off season, I took a siesta earlier today so I was fresh and alive for the drive tonight. I packed snacks, the tank is full, and there is water in reusable water bottles in the center console for each of us. Oh, and gum, in case I need something to chew if this one falls asleep.” He thumbs toward me. “I know how to use my fists if a bear comes near us, but I’m also not an idiot and know if it’s brown, hit the ground, if it’s black, fight that bastard back.” Oh my God, why is he so adorable? “I plan on teaching your daughter how to cook a proper meal this weekend, something she can make for you and your wife when you’re in town.” “Now this I like.” My dad chuckles. Chuckles. At Jason. I think I’m in an alternate universe. “I saw this great place that serves apparently the best pancakes in Illinois, so Sunday morning, I’d like to go there. I’d also like to hike, and when it comes to the sleeping arrangements, I was informed there are two bedrooms, and I plan on using one of them alone. No worries there.” Oh, I’m worried . . . that he plans on using the other one. “Well, looks like you’ve covered everything. This is a solid gentleman, Dottie.” I know. I really know. “Are you good? Am I allowed to leave now?” “I don’t know.” My dad scratches the side of his jaw. “Just from how charismatic this man is and his plans, I’m thinking I should take your place instead.” “I’m up for a bro weekend,” Jason says, his banter and decorum so easy. No wonder he’s loved so much. “Then I wouldn’t have to see the deep eye-roll your daughter gives me on a constant basis.” My dad leans in and says, “She gets that from me, but I will say this, I can’t possibly see myself eye-rolling with you. Do you have extra clothes packed for me?” “Do you mind sharing underwear with another man? Because I’m game.” My dad’s head falls back as he laughs. “I’ve never rubbed another man’s underwear on my junk, but never say never.” “Ohhh-kay, you two are done.” I reach up and press a kiss to my dad’s cheek. “We are leaving.” I take Jason by the arm and direct him back to the car. From over his shoulder, he mouths to my dad to call him, which my dad replies with a thumbs up. Ridiculous. Hilarious. When we’re saddled up in the car, I let out a long breath and shift my head to the side so I can look at him. Sincerely I say, “Sorry about that.” With the biggest smile on his face, his hand lands on my thigh. He gives it a good squeeze and says, “Don’t apologize, that was fucking awesome.

At the beginning of this chapter we identified several practical threats to liberalism. The first is that humans might become militarily and economically useless. This is just a possibility, of course, not a prophecy. Technical difficulties or political objections might slow down the algorithmic invasion of the job market. Alternatively, since much of the human mind is still uncharted territory, we don’t really know what hidden talents humans might discover in themselves, and what novel jobs they might create to offset the loss of others. That, however, may not be enough to save liberalism. For liberalism believes not just in the value of human beings – it also believes in individualism. The second threat facing liberalism is that, while the system might still need humans in the future, it will not need individuals. Humans will continue to compose music, teach physics and invest money, but the system will understand these humans better than they understand themselves and will make most of the important decisions for them. The system will thereby deprive individuals of their authority and freedom

Preparation - Poem by Malay Roy Choudhury Who claims I'm ruined? Because I'm without fangs and claws? Are they necessary? How do you forget the knife plunged in abdomen up to the hilt? Green cardamom leaves for the buck, art of hatred and anger and of war, gagged and tied Santhal women, pink of lungs shattered by a restless dagger? Pride of sword pulled back from heart? I don't have songs or music. Only shrieks, when mouth is opened wordless odour of the jungle; corner of kin & sin-sanyas; Didn't pray for a tongue to take back the groans power to gnash and bear it. Fearless gunpowder bleats: stupidity is the sole faith-maimed generosity- I leap on the gambling table, knife in my teeth Encircle me rush in from tea and coffee plateaux in your gumboots of pleasant wages The way Jarasandha's genital is bisected and diamond glow Skill of beating up is the only wisdom in misery I play the burgler's stick like a flute brittle affection of thev wax-skin apple She-ants undress their wings before copulating I thump my thighs with alternate shrieks: VACATE THE UNIVERSE get out you omnicompetent conchshell in scratching monkeyhand lotus and mace and discuss-blade Let there be salt-rebellion of your own saline sweat along the gunpowder let the flint run towards explosion Marketeers of words daubed in darkness in the midnight filled with young dog's grief in the sicknoon of a grasshopper sunk in insecticide I reappear to exhibit the charm of the stiletto. (Translation of Bengali poem 'Prostuti')

Like noiseless nautilus shells, their light prows sped through the sea; but only slowly they neared the foe. As they neared him, the ocean grew still more smooth; seemed drawing a carpet over its waves; seemed a noon-meadow, so serenely it spread. At length the breathless hunter came so nigh his seemingly unsuspecting prey, that his entire dazzling hump was distinctly visible, sliding along the sea as if an isolated thing, and continually set in a revolving ring of finest, fleecy, greenish foam. He saw the vast, involved wrinkles of the slightly projecting head beyond. Before it, far out on the soft Turkish-rugged waters, went the glistening white shadow from his broad, milky forehead, a musical rippling playfully accompanying the shade; and behind, the blue waters interchangeably flowed over into the moving valley of his steady wake; and on either hand bright bubbles arose and danced by his side. But these were broken again by the light toes of hundreds of gay fowl softly feathering the sea, alternate with their fitful flight; and like to some flag-staff rising from the painted hull of an argosy, the tall but shattered pole of a recent lance projected from the white whale's back; and at intervals one of the cloud of soft-toed fowls hovering, and to and fro skimming like a canopy over the fish, silently perched and rocked on this pole, the long tail feathers streaming like pennons. A gentle joyousness—a mighty mildness of repose in swiftness, invested the gliding whale. Not the white bull Jupiter swimming away with ravished Europa clinging to his graceful horns; his lovely, leering eyes sideways intent upon the maid; with smooth bewitching fleetness, rippling straight for the nuptial bower in Crete; not Jove, not that great majesty Supreme! did surpass the glorified White Whale as he so divinely swam.

This once-proud country of ours is falling Into the hands of the wrong people,' said Jones. He nodded, and so did Father Keeley and the Black Fuehrer. 'And, before it gets back on the right track,' said Jones, 'some heads are going to roll.' I have never seen a more sublime demonstration of the totalitarian mind, a mind which might be likened unto a system of gears whose teeth have been filed off at random. Such a snaggle-toothed thought machine, driven by a standard or even a substandard libido, whirls with the jerky, noisy, gaudy pointlessness of a cuckoo clock in Hell. The boss G-man concluded wrongly that there were no teeth on the gears in the mind of Jones. 'You're completely crazy,' he said. Jones wasn't completely crazy. The dismaying thing about the classic totalitarian mind is that any given gear, though mutilated, will have at its circumference unbroken sequences of teeth that are immaculately maintained, that are exquisitely machined. Hence the cuckoo clock in Hell — keeping perfect time for eight minutes and thirty-three seconds, jumping ahead fourteen minutes, keeping perfect time for six seconds, jumping ahead two seconds, keeping perfect time for two hours and one second, then jumping ahead a year. The missing teeth, of course, are simple, obvious truths, truths available and comprehensible even to ten-year-olds, in most cases. The willful filing off of gear teeth, the willful doing without certain obvious pieces of information — That was how a household as contradictory as one composed of Jones, Father Keeley, Vice-Bundesfuebrer Krapptauer, and the Black Fuehrer could exist in relative harmony — That was how my father-in-law could contain in one mind an indifference toward slave women and love for a blue vase — That was how Rudolf Hoess, Commandant of Auschwitz, could alternate over the loudspeakers of Auschwitz great music and calls for corpse-carriers — That was how Nazi Germany could sense no important differences between civilization and hydrophobia —

Interestingly enough, creative geniuses seem to think a lot more like horses do. These people also spend a rather large amount of time engaging in that favorite equine pastime: doing nothing. In his book Fire in the Crucible: The Alchemy of Creative Genius, John Briggs gathers numerous studies illustrating how artists and inventors keep their thoughts pulsating in a field of nuance associated with the limbic system. In order to accomplish this feat against the influence of cultural conditioning, they tend to be outsiders who have trouble fitting into polite society. Many creative geniuses don’t do well in school and don’t speak until they’re older, thus increasing their awareness of nonverbal feelings, sensations, and body language cues. Einstein is a classic example. Like Kathleen Barry Ingram, he also failed his college entrance exams. As expected, these sensitive, often highly empathic people feel extremely uncomfortable around incongruent members of their own species, and tend to distance themselves from the cultural mainstream. Through their refusal to fit into a system focusing on outside authority, suppressed emotion, and secondhand thought, creative geniuses retain and enhance their ability to activate the entire brain. Information flows freely, strengthening pathways between the various brain functions. The tendency to separate thought from emotion, memory, and sensation is lessened. This gives birth to a powerful nonlinear process, a flood of sensations and images interacting with high-level thought functions and aspects of memory too complex and multifaceted to distill into words. These elements continue to influence and build on each other with increasing ferocity. Researchers emphasize that the entire process is so rapid the conscious mind barely registers that it is happening, let alone what is happening. Now a person — or a horse for that matter — can theoretically operate at this level his entire life and never receive recognition for the rich and innovative insights resulting from this process. Those called creative geniuses continuously struggle with the task of communicating their revelations to the world through the most amenable form of expression — music, visual art, poetry, mathematics. Their talent for innovation, however, stems from an ability to continually engage and process a complex, interconnected, nonlinear series of insights. Briggs also found that creative geniuses spend a large of amount of time “doing nothing,” alternating episodes of intense concentration on a project with periods of what he calls “creative indolence.” Albert Einstein once remarked that some of his greatest ideas came to him so suddenly while shaving that he was prone to cut himself with surprise.

The heart of rock will always remain a primal world of action. The music revives itself over and over again in that form, primitive rockabilly, punk, hard soul and early rap. Integrating the world of thought and reflection with the world of primitive action is *not* a necessary skill for making great rock 'n' roll. Many of the music's most glorious moments feel as though they were birthed in an explosion of raw talent and creative instinct (some of them even were!). But ... if you want to burn bright, hard *and* long, you will need to depend on more than your initial instincts. You will need to develop some craft and a creative intelligence that will lead you *farther* when things get dicey. That's what'll help you make crucial sense and powerful music as time passes, giving you the skills that may also keep you alive, creatively and physically. The failure of so many of rock's artists to outlive their expiration date of a few years, make more than a few great albums and avoid treading water, or worse, I felt was due to the misfit nature of those drawn to the profession. These were strong, addictive personalities, fired by compulsion, narcissism, license, passion and an inbred entitlement, all slammed over a world of fear, hunger and insecurity. That's a Molotov cocktail of confusion that can leave you unable to make, or resistant to making, the lead of consciousness a life in the field demands. After first contact knocks you on your ass, you'd better have a plan, for some preparedness and personal development will be required if you expect to hang around any longer than your fifteen minutes. Now, some guys' five minutes are worth other guys' fifty years, and while burning out in one brilliant supernova will send record sales through the roof, leave you living fast, dying young, leaving a beautiful corpse, there *is* something to be said for living. Personally, I like my gods old, grizzled and *here*. I'll take Dylan; the pirate raiding party of the Stones; the hope-I-get-very-old-before-I-die, present live power of the Who; a fat, still-mesmerizing-until-his-death Brando—they all suit me over the alternative. I would've liked to have seen that last Michael Jackson show, a seventy-year-old Elvis reinventing and relishing in his talents, where Jimi Hendrix might've next taken the electric guitar, Keith Moon, Janis Joplin, Kurt Cobain and all the others whose untimely deaths and lost talents stole something from the music I love, living on, enjoying the blessings of their gifts and their audience's regard. Aging is scary but fascinating, and great talent morphs in strange and often enlightening ways. Plus, to those you've received so much from, so much joy, knowledge and inspiration, you wish life, happiness and peace. These aren't easy to come by.

This once-proud country of ours is falling into the hands of the wrong people,” said Jones. He nodded, and so did Father Keeley and the Black Fuehrer. “And, before it gets back on the right track,” said Jones, “some heads are going to roll.” I have never seen a more sublime demonstration of the totalitarian mind, a mind which might be likened unto a system of gears whose teeth have been filed off at random. Such a snaggle-toothed thought machine, driven by a standard or even a substandard libido, whirls with the jerky, noisy, gaudy pointlessness of a cuckoo clock in Hell. The boss G-man concluded wrongly that there were no teeth on the gears in the mind of Jones. “You’re completely crazy,” he said. Jones wasn’t completely crazy. The dismaying thing about the classic totalitarian mind is that any given gear, though mutilated, will have at its circumference unbroken sequences of teeth that are immaculately maintained, that are exquisitely machined. Hence the cuckoo clock in Hell—keeping perfect time for eight minutes and thirty-three seconds, jumping ahead fourteen minutes, keeping perfect time for six seconds, jumping ahead two seconds, keeping perfect time for two hours and one second, then jumping ahead a year. The missing teeth, of course, are simple, obvious truths, truths available and comprehensible even to ten-year-olds, in most cases. The willful filing off of gear teeth, the willful doing without certain obvious pieces of information— That was how a household as contradictory as one composed of Jones, Father Keeley, Vice-Bundesfuehrer Krapptauer, and the Black Fuehrer could exist in relative harmony— That was how my father-in-law could contain in one mind an indifference toward slave women and love for a blue vase— That was how Rudolf Hoess, Commandant of Auschwitz, could alternate over the loudspeakers of Auschwitz great music and calls for corpse-carriers— That was how Nazi Germany could sense no important differences between civilization and hydrophobia— That is the closest I can come to explaining the legions, the nations of lunatics I’ve seen in my time. And for me to attempt such a mechanical explanation is perhaps a reflection of the father whose son I was. Am. When I pause to think about it, which is rarely, I am, after all, the son of an engineer. Since there is no one else to praise me, I will praise myself—will say that I have never tampered with a single tooth in my thought machine, such as it is. There are teeth missing, God knows—some I was born without, teeth that will never grow. And other teeth have been stripped by the clutchless shifts of history— But never have I willfully destroyed a tooth on a gear of my thinking machine. Never have I said to myself, “This fact I can do without.” Howard W. Campbell, Jr., praises himself. There’s life in the old boy yet! And, where there’s life— There is life.

Miss Prudence Mercer Stony Cross Hampshire, England 7 November 1854 Dear Prudence, Regardless of the reports that describe the British soldier as unflinching, I assure you that when riflemen are under fire, we most certainly duck, bob, and run for cover. Per your advice, I have added a sidestep and a dodge to my repertoire, with excellent results. To my mind, the old fable has been disproved: there are times in life when one definitely wants to be the hare, not the tortoise. We fought at the southern port of Balaklava on the twenty-fourth of October. Light Brigade was ordered to charge directly into a battery of Russian guns for no comprehensible reason. Five cavalry regiments were mowed down without support. Two hundred men and nearly four hundred horses lost in twenty minutes. More fighting on the fifth of November, at Inkerman. We went to rescue soldiers stranded on the field before the Russians could reach them. Albert went out with me under a storm of shot and shell, and helped to identify the wounded so we could carry them out of range of the guns. My closest friend in the regiment was killed. Please thank your friend Prudence for her advice for Albert. His biting is less frequent, and he never goes for me, although he’s taken a few nips at visitors to the tent. May and October, the best-smelling months? I’ll make a case for December: evergreen, frost, wood smoke, cinnamon. As for your favorite song…were you aware that “Over the Hills and Far Away” is the official music of the Rifle Brigade? It seems nearly everyone here has fallen prey to some kind of illness except for me. I’ve had no symptoms of cholera nor any of the other diseases that have swept through both divisions. I feel I should at least feign some kind of digestive problem for the sake of decency. Regarding the donkey feud: while I have sympathy for Caird and his mare of easy virtue, I feel compelled to point out that the birth of a mule is not at all a bad outcome. Mules are more surefooted than horses, generally healthier, and best of all, they have very expressive ears. And they’re not unduly stubborn, as long they’re managed well. If you wonder at my apparent fondness for mules, I should probably explain that as a boy, I had a pet mule named Hector, after the mule mentioned in the Iliad. I wouldn’t presume to ask you to wait for me, Pru, but I will ask that you write to me again. I’ve read your last letter more times than I can count. Somehow you’re more real to me now, two thousand miles away, than you ever were before. Ever yours, Christopher P.S. Sketch of Albert included As Beatrix read, she was alternately concerned, moved, and charmed out of her stockings. “Let me reply to him and sign your name,” she begged. “One more letter. Please, Pru. I’ll show it to you before I send it.” Prudence burst out laughing. “Honestly, this is the silliest things I’ve ever…Oh, very well, write to him again if it amuses you.

If it will reassure you that I’m not a coward, I suppose I could rearrange his face.” Quietly he added, “The music has ended,” and for the first time Elizabeth realized they were no longer waltzing but were only swaying lightly together. With no other excuse to stand in his arms, Elizabeth tried to ignore her disappointment and step back, but just then the musicians began another melody, and their bodies began to move together in perfect time to the music. “Since I’ve already deprived you of your escort for the outing to the village tomorrow,” he said after a minute, “would you consider an alternative?” Her heart soared, because she thought he was going to offer to escort her himself. Again he read her thoughts, but his words were dampening. “I cannot escort you there,” he said flatly. Her smile faded. “Why not?” “Don’t be a henwit. Being seen in my company is hardly the sort of thing to enhance a debutante’s reputation.” Her mind whirled, trying to tally some sort of balance sheet that would disprove his claim. After all, he was a favorite of the Duke of Hammund’s…but while the duke was considered a great matrimonial prize, his reputation as a libertine and rake made mamas fear him as much as they coveted him as a son-in-law. On the other hand, Charise Dumont was considered perfectly respectable by the ton, and so this country gathering was above reproach. Except it wasn’t, according to Lord Howard. “Is that why you refused to dance with me when I asked you to earlier?” “That was part of the reason.” “What was the rest of it?” she asked curiously. His chuckle was grim. “Call it a well-developed instinct for self-preservation.” “What?” “Your eyes are more lethal than dueling pistols, my sweet,” he said wryly. “They could make a saint forget his goal.” Elizabeth had heard many flowery praises sung to her beauty, and she endured them with polite disinterest, but Ian’s blunt, almost reluctant flattery made her chuckle. Later she would realize that at this moment she had made her greatest mistake of all-she had been lulled into regarding him as an equal, a gently bred person whom she could trust, even relax with. “What sort of alternative were you going to suggest for tomorrow?” “Luncheon,” he said. “Somewhere private where we can talk, and where we won’t be seen together.” A cozy picnic luncheon for two was definitely not on Lucinda’s list of acceptable pastimes for London debutantes, but even so, Elizabeth was reluctant to refuse. “Outdoors…by the lake?” she speculated aloud, trying to justify the idea by making it public. “I think it’s going to rain tomorrow, and besides, we’d risk being seen together there.” “Then where?” “In the woods. I’ll meet you at the woodcutter’s cottage at the south end of the property near the stream at eleven. There's a path that leads to it two miles from the gate-off the main road." Elizabeth was too alarmed by such a prospect to stop to wonder how and when Ian Thornton had become so familiar with Charise's property and all its secluded haunts. "Absolutely not," she said in a shaky, breathless voice. Even she was not naïve enough to consider being alone with a man in a cottage, and she was terribly disappointed that he'd suggested it. Gentlemen didn't make such suggestions, and well-bred ladies never accepted them. Lucinda's warnings about such things had been eloquent and, Elizabeth felt, sensible.

We permit a new future to enter the room with these startling encounters. A young boy from Austin, Texas, Charles Black Jr., stood and knew it when he was just sixteen years old, thinking he was going to a coed social at the Driskill Hotel in his hometown in 1931. It was a dance, the first in a session of four, yet he remained transfixed by an image that he had never seen before. The trumpet player, a jazz musician whom he had not heard of, performed largely with his eyes closed, sounding out notes, ideas, laments, sonnets, “that had never before existed,” he said. His music sounded like an “utter transcendence of all else created.” He was with a friend, a “ ‘good old boy’ from Austin High,” who sensed it too, and was troubled. It rumbled the ground underneath them. His friend stood a while longer, “shook his head as if clearing it,” as if prying himself out of the trance. But Charles Black Jr. was sure even then. The trumpeter, “Louis Armstrong, King of the Trumpet” as it turned out, “was the first genius I had ever seen,” Black said, and that genius was housed in the body of a man whom Black’s childhood world had denigrated. The moment was “solemn.” Black had been staring at “genius,” yes, “fine control over total power, all height and depth, forever and ever,” and also staring at the gulf created by “the failure to recognize kinship.” He felt that Armstrong, who played as if “guided by a Daemon,” all “power” and lyricism, “opened my eyes wide, and put to me a choice”—to keep to a small view of humanity or to embrace a more expanded vision—and once Black made that choice, he never turned back. This is what aesthetic force can do—create a clear line forward, and an alternate route to choose.

Serlo himself loved music much: he used to maintain, that a player without taste for it never could attain a distinct conception and feeling of the scenic art. "As a man performs," he would observe, "with far more ease and dignity, when his gestures are accompanied and guided by a tune; so the player ought, in idea as it were, to set to music even his prose parts, that he may not monotonously slight them over in his individual style, but treat them in suitable alternation by time and measure.

A little less returned for him each spring. Music began to fail him. Brahms, although His dark familiar, often walked apart. His spirit grew uncertain of delight, Certain of its uncertainty, in which That dark companion left him unconsoled For a self returning mostly memory. Only last year he said that the naked moon Was not the moon he used to see, to feel (In the pale coherences of moon and mood When he was young), naked and alien, More leanly shining from a lankier sky. Its ruddy pallor had grown cadaverous. He used his reason, exercised his will, Turning in time to Brahms as alternate In speech. He was that music and himself. They were particles of order, a single majesty: But he remembered the time when he stood alone. He stood at last by God’s help and the police; But he remembered the time when he stood alone. He yielded himself to that single majesty; But he remembered the time when he stood alone, When to be and delight to be seemed to be one, Before the colors deepened and grew small.

Around age twenty-six, in an effort to stave off thirty, I began embracing the new alternative angst bands, like Pearl Jam, Nine Inch Nails, Bush, Stone Temple Pilots, et cetera, but at thirty, little of that remains. At thirty, you’re back to the comforting sounds you grew up with. You have enough genuine angst of your own, you don’t need it in your music.

Speaking is like conducting an orchestra; but instead of music, you are directing emotions.

The Moscow audience had of course heard it many times before, but Van’s interpretation was extraordinary. The work’s thundering octaves and delicate filigree were perfectly rendered. Musical lines soared and swooped and darted swiftly to and fro, unfolding a narrative that sounded both noble and ardent, majestic fanfares alternating with lovelorn airs. From the concerto’s opening piano chords, which pealed like colossal church bells, to its dark bass rumblings and songful melodies, every tone was imbued with an inner glow, with long phrases concluding in an emphatic, edgy pounce. The effect was simply breathtaking.

Inside the studio walls the alpha male personalities of James Hetfield and Lars Ulrich battled for territory, their sometimes discordant creative visions coalescing to the point where no aspect of the music being made was left unexamined or unsubjected to alternative methods of interpretation. The pair were learning that in order that an instrument in a song be emphasised, by definition another instrument must be de-emphasised, thus beginning a battle between guitarist and drummer, the energy from which would fuel the group for years to come.

I dare you to…” He pauses, and I want him to say it. I want him to want a kiss, because I realize I’d do it so fast it’d make his head spin. “I dare you to do your happy dance,” he says instead. “Happy dance?” “Come on, everyone has a happy dance.” “But… I have to be extremely happy to do a happy dance. It’s not something I can just, you know, jump into.” “How about I give you some inspiration.” He pulls his phone out of his pocket and presses a few buttons. A song with an upbeat keyboard begins, and Logan stands up. The happy lyrics say something about a birdhouse and a bee. He waves his hand at me to follow. Bouncing on the balls of his feet, he looks at me expectantly. I stand up to face him and try to sway a little. He shakes his head as he turns the volume up. “I just can’t, I’m not happy enough.” “Pretend like the Natchitoches Central Chiefs just won the Super Bowl.” He bounces a little more enthusiastically. “That’s good, I guess.” My sway becomes a little more pronounced. A smile takes hold, not because of the thought of the Chiefs winning the Super Bowl, but because Logan is such an awkward dancer. He’s gone from bouncing to alternating snaps of his fingers as he bobs his head. Plus, he’s a little off rhythm. “There’s a Tangled marathon on in two minutes!” He has to yell over the music now. “That’s better.” I start nodding my head to the beat. “It’s Christmas! You just got your Hogwarts acceptance letter, a copy ofAction Comics #1, and a brand new car that runs on water!” “Hell yeah!” I scream and let go.

One possible benefit of new workforce trends is that people will have more leisure time than in the past. This can happen in one of two ways. Some people will not be needed in the new digital economy, so they will find other ways to construct meaning in their lives outside the workplace. Alternatively, even those who work may find themselves with time for other kinds of pursuits. Rather than most waking hours being spent on work-related tasks, the society of the future may have time for nonwork activities, including art, culture, music, sports, and theater.

Proud," my debut novel is the result of a fevered imagination in galactic overdrive I have been unable to control. All my friends say it is bizarre and ludicrous. Music to my ears.

The willful filing off of gear teeth, the willful doing without certain obvious pieces of information— That was how a household as contradictory as one composed of Jones, Father Keeley, Vice-Bundesfuehrer Krapptauer, and the Black Fuehrer could exist in relative harmony— That was how my father-in-law could contain in one mind an indifference toward slave women and love for a blue vase— That was how Rudolf Hoess, Commandant of Auschwitz, could alternate over the loudspeakers of Auschwitz great music and calls for corpse-carriers— That was how Nazi Germany could sense no important differences between civilization and hydrophobia— That is the closest I can come to explaining the legions, the nations of lunatics I’ve seen in my time.

Spotify’s key allies—the partners that safeguarded its survival by rejecting Apple’s entreaties to kill the free ad-based tier—were the three major music labels. Sony Music, Universal Music, and Warner Music, which collectively controlled 65–70 percent of global music market share. There is a reason why the majors turned down Apple’s offer: they were desperate for an alternative to Apple’s domination of digital music distribution.

The critical partners are aligned not according to exclusion but rather by nonexclusivity: their goal, rather than “not Apple,” was “not only Apple.” Spotify, as a focused, fragile, undernourished startup, was the perfect alternative. It presented a much better option than staying under Apple’s thumb, or suffering under a similar giant. As one senior music exec put it, “The last place most of us want streaming to end up is a straight fight between Apple and Google.

Compared to all this, Ronstadt and Browne were still trying to graduate from the kids' table. Ronstadt had released her first album for Geffen, Don't Cry Now, in September 1973. Browne followed a few weeks later, in October, with his second album, For Everyman. Both albums sold respectably, but neither cracked the Top 40 on the Billboard album chart. And while Geffen had great expectations for both artists, in early 1974 each was still building an audience. Their tour itinerary reflected their transitional position. It brought them to big venues in Detroit, Boston, Philadelphia, and Washington, DC, but also took them far from the bright lights to small community theaters and college campuses in Oxnard, San Luis Obispo, New Haven, and Cortland, New York. At either end, there wasn't much glamour in the experience. They had moved up from the lowest rung on the touring ladder, when they had lugged their gear in and out of station wagons, but had progressed only to a Continental Trailways bus without beds that both bands crammed into for the late-night drives between shows. "The first thing that happened is we were driving all night, and the next morning we were exhausted," Browne remembered. "Like, no one slept a wink. We were sitting up all night on a bus."' "Touring was misery," Ronstadt said, looking back. "Touring is just hard. You don't get to meet anybody. You are always in a bubble . . . You saw the world outside the bus window, and you did the sound check every day."9 The performances were uneven, too. "While Browne is much more assured and confident on stage than he was a year or two ago, he's still very much like a smart kid with a grown-up gift for songwriting," sniffed Judith Sims of Rolling Stone. She treated Ronstadt even more dismissively, describing her as peddling "country schmaltz."' The young rock journalist Cameron Crowe, catching the tour a few days later in Berkeley, described Browne's set as "painfully mediocre."" But Ronstadt and Browne found their footing as they progressed, each alternating lead billing depending on who had sold more records in each market. By the time the cavalcade rolled into Carnegie Hall, the reception for Browne and Ronstadt was strong enough that the promoters added a second show. In February 1974, Jackson Browne and Linda Ronstadt were still at the edge of the stardom they would soon achieve.

When we reconfigure societies to put exchange at their centre, Thomas, we violate our nature. Humans thrived by hunting together, cooking communally, making music and telling stories around a blazing fire at night. Sure, the societies that replaced these communal practices with market exchanges unleashed great powers, allowing them to overwhelm others that did not. But there was a price to pay. Market exchange dissolves what makes us human. It is why our souls feel sick. By allowing exchange value to triumph over doing things together for their own sake – for the sheer hell of it – we end up crying ourselves to sleep at night. It’s what depresses us and enriches the self-help gurus and big pharma.

Now!’ Marvin interjected. ‘You must all be wondering why I invited you here. Well, you know why you’re here, Arthur; and I assume you’ve explained a little about the club to our members—’ ‘We’re looking at alternative truths, right?’ Bedivere asked. ‘The darker side to Britain, and all that.’ ‘Yes, yes, Bedivere, we shall cover that. We shall look at Europe, why we left and why ultimately the EU was disbanded; we shall look at the tragic situation in the United States, and we shall look at the abandonment of the Commonwealth states and the blight of Indonesia. But as well as that we shall also be looking closer to home, at our own histories, and I use the plural intentionally; at the rising rebels in the old Celtic countries, at the redefinition of New National Britain’s borders, and at our absolute ruler himself, George Milton, who thus far has used all his electoral power to claw hold of democratic immunity, whose Party has long since been a change-hand, change-face game of musical chairs with the same policies and people from one party to the next. This brings me to my former point of why I invited you here: because I believe that you three are the smartest, the most open, the most questioning, and that you will benefit most from hearing things from an alternative viewpoint—not always my own, and not always comfortable—that the three of you may one day take what you have learned here and remember it when the world darkens, and this country truly forgets that which it once was.’ There was a deep silence. Even Arthur, who was used to Marvin’s tangential speeches, was momentarily confounded, and in the quiet that followed he observed Bedivere to see what he thought of this side to their teacher. His eyes then slipped to Morgan, and he was surprised to find that she was transfixed. ‘But I must stress to all of you, it is my job at risk in doing this, my life at stake. So when you speak of this, speak only amongst yourselves, and tell no one what it is we discuss here. Understood?’ There was a series of dumbstruck nods of consent. Bedivere cleared his throat with a small cough. ‘And here I thought this was just going to be an extra-curricular history club,’ he joked.

BARTON CENTRE, 912, 9th Floor, Mahatma Gandhi Rd, Bengaluru, Karnataka - 560 001 Phone Number +91 8884400919 ### Uncover Sri Lanka's Enchantment: Your Upcoming Tropical Vacation Are you looking for the ideal tropical getaway with stunning scenery, a thriving culture, and a fascinating past? You need look no farther than a Surfnxt sri lanka tour package from bangalore. Known as the "Pearl of the Indian Sea," this island country tempts with its stunning regular excellence, cordial individuals, and various remarkable encounters. #### A Landscape Tapestry From immaculate beaches to verdant tea plantations and foggy mountainous areas, Sri Lanka is well known for its varied landscapes. Engaging in a tour from Bangalore allows you to fully experience the island's natural splendors. Explore the golden beaches of As you venture inland, you'll end up in the core of Sri Lanka's tea country. The picturesque slopes of Nuwara Eliya and Ella are covered with undulating green tea manors, making a postcard-wonderful background. Here, you can partake in a directed visit through a tea manufacturing plant and relish newly prepared Ceylon tea while looking at the shocking vistas. #### A Jump into History and Culture Past its shocking view, Sri Lanka is saturated with a rich social legacy that goes back millennia. The old city of Anuradhapura offers a brief look into the island's regal past with its very much safeguarded ruins and consecrated locales like the Sri Maha Bodhi tree, accepted to be the most seasoned living tree on the planet. Likewise, Polonnaruwa, the second capital of antiquated Sri Lanka, flaunts noteworthy archeological locales, including sanctuaries and sculptures that mirror the island's imaginative ability. Your Sri Lanka visit bundle will likewise incorporate the chance to encounter the nearby culture through customary moves, music, and culinary joys. Try not to miss attempting neighborhood top picks like containers, kottu roti, and the famous Sri Lankan curry, which burst with flavor and mirror the island's assorted culinary impacts. #### Special Untamed life Experiences Sri Lanka is a sanctuary for untamed life devotees. The island is home to a few public parks, including Yala and Udawalawe, where you can set out on an exhilarating safari. Spotting great elephants, panthers, and a heap of bird animal types is an elating encounter that couple of can stand up to. The opportunity to notice such heavenly animals right at home is really extraordinary. #### Consistent Travel from Bangalore sri lanka tour package from bangalore has never been more straightforward. With numerous flight choices, your tropical escape is only a couple of hours away. Entering an alternate world, with its accommodating local people and energetic business sectors, makes certain to be a reviving change from the hurrying around of city life. #### Your Process Is standing by With Surfnxt, you can modify your Sri Lanka visit bundle to accommodate your own inclinations, guaranteeing that each snapshot of your process is extraordinary. Whether you're looking for unwinding on flawless sea shores, experience in the mountains, or social advancement, Sri Lanka is the best objective for your next occasion. Enjoy the tranquility, experience, and appeal that look for you on this charming island. Prepare to investigate the sorcery of Sri Lanka — your tropical escape begins now!

Alternatives to time-out Isolating children for a period of time has become a popular discipline strategy advocated by many child psychologists and pediatricians. However, newly adopted toddlers seem to be more upset than helped by time-outs. Time-outs are intended to provide an opportunity for both parents and children to calm down and change their behaviors, but it isn’t effective for children who do not have self-calming strategies. Isolation can be traumatic for a toddler who is struggling with grief and/or attachment, and so perceives time-out as further rejection. If the child becomes angrier or more withdrawn as a result of being timed-out, try another strategy. One alternative is for parents to impose a brief time-out on themselves by temporarily withdrawing their attention from their child. For example, the parent whose child is throwing toys stops playing, looks away, and firmly tells the child, “I can’t continue playing until you stop throwing your toys.” Sitting passively next to the child may be effective, especially if the child previously was engaged in an enjoyable activity with the parent. Another alternative to parent enforced time-outs is self-determined time-outs, where the child is provided the opportunity to withdraw from a conflict voluntarily or at least have some input into the time-out arrangement. The parent could say, “I understand that you got very upset when you had to go to your room yesterday after you hit Sara. Can you think of a different place you would like to go to calm down if you feel like getting in a fight?” If the child suggests going out on the porch, the next time a battle seems to be brewing, Mom or Dad can say, “Do you need to go outside to the porch and calm down before we talk more?” Some children eventually reach the level of self-control where they remove themselves from a volatile situation without encouragement from Mom or Dad. These types of negotiations usually work better with older preschoolers or school-age children than they do with toddlers because of the reasoning skills involved. As an alternative to being timed-out, toddlers also can be timed-in while in the safety of a parent’s lap. Holding allows parents to talk to their child about why she’s being removed from an activity. For example, the toddler who has thrown her truck at the cat could be picked up and held for a few minutes while being told, “I can’t let you throw your toys at Misty. That hurts her, and in our family we don’t hurt animals. We’ll sit here together until you’re able to calm down.” Calming strategies could incorporate music, back rubs, or encouraging the child to breathe slowly. Objects that children are misusing should also be removed. For example, in the situation just discussed, the truck could be timed-out to a high shelf. If parents still decide to physically remove their child for a time-out, it should never be done in a way or place that frightens a toddler. Toddlers who have been frightened in the past by closed doors, dark rooms, or a particular room such as a bathroom should never be subjected to those settings. I know toddlers who, in their terror, have literally trashed the furniture and broken windows when they were locked in their rooms for a time-out. If parents feel a time-out is essential, it should be very brief, and in a location where the child can be supervised.

What exactly was grunge? That’s a question any person who’s thought about early ‘90s rock music has asked themselves at one point or another. Was it a scene or a musical style? A fashion category? A marketing ploy? A political bent? An ethos? Is the word synonymous with “alternative,” the other descriptor regularly applied to early ‘90s rock?

For some few, the split is seemingly overcome in the person of Jesus; but for more and more people, union with the divine is first experienced through the Christ: in nature, in moments of pure love, silence, inner or outer music, with animals, a sense of awe, or some kind of “Brother Sun and Sister Moon” experience. Why? Because creation itself is the first incarnation of Christ, the primary and foundational “Bible” that revealed the path to God. The

They are all grown up, but I’ll never see them that way. To me, anyone born the year that Back To The Future came out will always be The People That Are Too Young. I’m not sure when I decided that Michael J. Fox’s entrée to movie stardom was my personal Mendoza line for parsing out the generations. I acknowledge the inherent unreasonableness of my “Back To The Future Rule,” but I’ve been following it too long to stop now. I’m constitutionally unable to take people raised on Stars Wars prequels, Degrassi: The Next Generation, and MTV reality shows seriously, seeing as how they’ve been deprived of the bedrock values and education that you get from the original Star Wars films, the original Degrassi Junior High, and music videos—that’s right, music videos—on MTV.