Atmosphere Music Quotes

As the crew began lighting up their cigars and pipes, they could hear the ragtime music of Scott Joplin being performed by the colored composer himself enlivening the atmosphere with a jubilant feeling of gaiety, hope, and promise.

His incredible untidiness, his addiction to music at strange hours, his occasional revolver practice within doors, his weird and often malodorous scientific experiments, and the atmosphere of violence and danger which hung around him made him the very worst tenant in London.

Music is energy. A mood, atmosphere. Feeling.

When people really hate one another, the tension within them can sometimes make itself felt throughout a room, like atmospheric waves, first hot, then cold, wafted backwards and forwards as if in an invisible process of air conditioning, creating a pervasive physical disturbance.

With our music, and music that we popularize, we try to reach out and remind people that, when taken out of the hands of a parasite, music is still a great lead into a democratic atmosphere of chaos, where moments of great freedom and where great friends could be found. And that in the world of rapidly dissolving authentic cultures, soul-searching through the music is something that connects you with the most authentic thing there - your savage heart.

I was sure the old man knew nothing about the beatitudes, ecstasies, dazzling reverberations of sexual encounters. Cut out the poetry was his message. Clinical sex, deprived of all the warmth of love—the orchestration of all the senses, touch, hearing, sight, palate; all the euphoric accompaniments, back-ground music, moods, atmosphere, variations—forced him to resort to literary aphrodisiacs.

There is one thing I like about the Poles—their language. Polish, when it is spoken by intelligent people, puts me in ecstasy. The sound of the language evokes strange images in which there is always a greensward of fine spiked grass in which hornets and snakes play a great part. I remember days long back when Stanley would invite me to visit his relatives; he used to make me carry a roll of music because he wanted to show me off to these rich relatives. I remember this atmosphere well because in the presence of these smooth−tongued, overly polite, pretentious and thoroughly false Poles I always felt miserably uncomfortable. But when they spoke to one another, sometimes in French, sometimes in Polish, I sat back and watched them fascinatedly. They made strange Polish grimaces, altogether unlike our relatives who were stupid barbarians at bottom. The Poles were like standing snakes fitted up with collars of hornets. I never knew what they were talking about but it always seemed to me as if they were politely assassinating some one. They were all fitted up with sabres and broad−swords which they held in their teeth or brandished fiercely in a thundering charge. They never swerved from the path but rode rough−shod over women and children, spiking them with long pikes beribboned with blood−red pennants. All this, of course, in the drawing−room over a glass of strong tea, the men in butter−colored gloves, the women dangling their silly lorgnettes. The women were always ravishingly beautiful, the blonde houri type garnered centuries ago during the Crusades. They hissed their long polychromatic words through tiny, sensual mouths whose lips were soft as geraniums. These furious sorties with adders and rose petals made an intoxicating sort of music, a steel−stringed zithery slipper−gibber which could also register anomalous sounds like sobs and falling jets of water.

The reach of vibrations is according to the fineness of the plane of their starting-point. To speak more plainly, the word uttered by the lips can only reach the ears of the hearer; but the thought proceeding from the mind reaches far, shooting from mind to mind. The vibrations of mind are much stronger than those of words. The earnest feelings of one heart can pierce the heart of another; they speak in the silence, spreading out into the sphere, so that the very atmosphere of a person's presence proclaims his thoughts and emotions. The vibrations of the soul are the most powerful and far-reaching, they run like an electric current from soul to soul.

Atmosphere" is a massive song. A lot of people say it's their favorite Joy Division song, but it's not mine; it reminds me too much of Ian, like it's his death march or something, and it figures that it's one of the most popular songs to play at funerals: Robbie Williams has got "Angels" for weddings and we've got "Atmosphere" for funerals.

Nothing really matches the atmosphere of the old Polaroid film. Except perhaps a poem, a musical phrase, or a forest hung with mist.

It was disquieting to Eddie, this jarring contrast between the bright, cheery atmosphere inside Palisades and the slowly darkening world outside it. As calliope music played and diapered babies crawled in derbies, bombs fell on the other side of the world, which no longer seemed so comfortably distant.

And no matter how much the gray people in power despise knowledge, they can’t do anything about historical objectivity; they can slow it down, but they can’t stop it. Despising and fearing knowledge, they will nonetheless inevitably decide to promote it in order to survive. Sooner or later they will be forced to allow universities and scientific societies, to create research centers, observatories, and laboratories, and thus to create a cadre of people of thought and knowledge: people who are completely beyond their control, people with a completely different psychology and with completely different needs. And these people cannot exist and certainly cannot function in the former atmosphere of low self-interest, banal preoccupations, dull self-satisfaction, and purely carnal needs. They need a new atmosphere— an atmosphere of comprehensive and inclusive learning, permeated with creative tension; they need writers, artists, composers— and the gray people in power are forced to make this concession too. The obstinate ones will be swept aside by their more cunning opponents in the struggle for power, but those who make this concession are, inevitably and paradoxically, digging their own graves against their will. For fatal to the ignorant egoists and fanatics is the growth of a full range of culture in the people— from research in the natural sciences to the ability to marvel at great music. And then comes the associated process of the broad intellectualization of society: an era in which grayness fights its last battles with a brutality that takes humanity back to the middle ages, loses these battles, and forever disappears as an actual force.

Truth, she believed, lies in what is said as much as in what isn't, in the same way that a melody not only is a sequence of audible notes but encompasses the spaces and pauses in between. When listening to music, you must learn to take in even the atmosphere of an echo.

It’s not just about private time. It’s the atmosphere, the music and the lighting. It’s about doing something in public you know you shouldn’t and doing it anyway for the thrill of it.

The sun is origin of both the dawn’s light and birds’ morning songs. The glow on the horizon is light filtered through our atmosphere; the music in the air is the sun’s energy filtered through the plants and animals that powered the singing birds. The enchantment of an April sunrise is a web of flowing energy. The web is anchored at one end by matter turned to energy in the sun and at the other end by energy turned to beauty in our consciousness. April 22nd—Walking Seeds The springtime flush of flowers is over.

Dark draperies hung upon the walls. The general furniture was profuse, comfortless, antique, and tattered. Many books and musical instruments lay scattered about, but failed to give any vitality to the scene. I felt that I breathed an atmosphere of sorrow. An air of stern, deep, and irredeemable gloom hung over and pervaded all.

The more he is open to all that is beautiful and harmonious, the more his life is tuned to that universal harmony and the more he will show a friendly attitude towards everyone he meets. His very atmosphere will create music around him.

Fame wouldn’t exist if it weren’t for education. It’s only of concern to schoolteachers. Oh no, we are not talking about fame, but what I call eternity. Believers call it the kingdom of God. The way I see it, all of us more demanding people, those of us who long for something better and have that one dimension too many, would be incapable of living if, apart from this world’s atmosphere, there weren’t another air to breathe; if, apart from time, eternity didn’t also exist, the kingdom of authentic life. Mozart’s music is a part of it, as are the poems of your great writers. So too are the saints who performed miracles, died as martyrs and set a great example to people. But the image of every authentic act, the strength of every authentic emotion, are just as much a part of eternity, even if nobody knows about them, witnesses them, writes them down and preserves them for posterity. There is no such thing as posterity in eternity, only contemporaneity.

The differences which exist between every one of our real impressions -- differences which explain why a uniform depiction of life cannot bear much resemblance to the reality -- derive probably from the following cause: the slightest word that we have said, the most insignificant action that we have performed at anyone epoch of our life was surrounded by, and colored by the reflection of things which logically had no connection with it and which later have been separated from it by our intellect which could make nothing of it for its own rational purposes, things, however, in the midst of which -- here the pink reflection of the evening upon the flower-covered wall of a country restaurant, a feeling of hunger, the desire for women, the pleasure of luxury; here the blue volutes of the morning sea and, enveloped in them, phrases of music half emerging like the shoulders of water-nymphs -- the simplest act or gesture remains immured as within a thousand vessels, each one of them filled with things of a color, a scent, a temperature that are absolutely different one from another, vessels, moreover, which being disposed over the whole range of our years, during which we have never ceased to change if only in our dreams and our thoughts, are situated at the most various moral altitudes and give us the sensation of extraordinarily diverse atmospheres.

Instructions for Dad. I don't want to go into a fridge at an undertaker's. I want you to keep me at home until the funeral. Please can someone sit with me in case I got lonely? I promise not to scare you. I want to be buried in my butterfly dress, my lilac bra and knicker set and my black zip boots (all still in the suitcase that I packed for Sicily). I also want to wear the bracelet Adam gave me. Don't put make-up on me. It looks stupid on dead people. I do NOT want to be cremated. Cremations pollute the atmosphere with dioxins,k hydrochloric acid, hydrofluoric acid, sulphur dioxide and carbon dioxide. They also have those spooky curtains in crematoriums. I want a biodegradable willow coffin and a woodland burial. The people at the Natural Death Centre helped me pick a site not for from where we live, and they'll help you with all the arrangements. I want a native tree planted on or near my grave. I'd like an oak, but I don't mind a sweet chestnut or even a willow. I want a wooden plaque with my name on. I want wild plants and flowers growing on my grave. I want the service to be simple. Tell Zoey to bring Lauren (if she's born by then). Invite Philippa and her husband Andy (if he wants to come), also James from the hospital (though he might be busy). I don't want anyone who doesn't know my saying anything about me. THe Natural Death Centre people will stay with you, but should also stay out of it. I want the people I love to get up and speak about me, and even if you cry it'll be OK. I want you to say honest things. Say I was a monster if you like, say how I made you all run around after me. If you can think of anything good, say that too! Write it down first, because apparently people often forget what they mean to say at funerals. Don't under any circumstances read that poem by Auden. It's been done to death (ha, ha) and it's too sad. Get someone to read Sonnet 12 by Shakespeare. Music- "Blackbird" by the Beatles. "Plainsong" by The Cure. "Live Like You Were Dying" by Tim McGraw. "All the Trees of the Field Will Clap Their Hands" by Sufian Stevens. There may not be time for all of them, but make sure you play the last one. Zoey helped me choose them and she's got them all on her iPod (it's got speakers if you need to borrow it). Afterwards, go to a pub for lunch. I've got £260 in my savings account and I really want you to use it for that. Really, I mean it-lunch is on me. Make sure you have pudding-sticky toffee, chocolate fudge cake, ice-cream sundae, something really bad for you. Get drunk too if you like (but don't scare Cal). Spend all the money. And after that, when days have gone by, keep an eye out for me. I might write on the steam in the mirror when you're having a bath, or play with the leaves on the apple tree when you're out in the garden. I might slip into a dream. Visit my grave when you can, but don't kick yourself if you can't, or if you move house and it's suddenly too far away. It looks pretty there in the summer (check out the website). You could bring a picnic and sit with me. I'd like that. OK. That's it. I love you. Tessa xxx

But reading is different, reading is something you do. With TV, and cinema for that matter, everything’s handed to you on a plate, nothing has to be worked at, they just spoon-feed you. The picture, the sound, the scenery, the atmospheric music in case you haven’t understood what the director’s on about… The creaking door that tells you to be stiff. You have to imagine it all when you’re reading.

I lived between my music and books, on the whole a rather unwholesome life for a boy to lead. I dwelt in a world of imagination, of dreams and air castles--the kind of atmosphere that sometimes nourishes a genius, more often men unfitted for the practical struggles of life.

It’s hard to remember what you fall in love with. Usually it is an expression in the eyes, an exchange, or a gesture or the sound of a voice, a word spoken. Those things can get blended with the atmosphere around you at the time — a fragrance in the air, a play of light, even music — so that they become almost one with each other and when you see or smell or hear the memories of a place you feel the love again, but as a pang of loss. Sometimes the feelings get connected so deeply to your body that even your own skin, your own eyes in the mirror remind you of what you no longer have. Sometimes it only takes a few things for someone to attach the way I did — enough hunger, enough loneliness, enough loss, someone who will feed you and touch you and listen. Sometimes attachment — call it love — is more complex than that. When you are in the state I was in, love can be tied up with other things, like excitement and danger, and the desire to know what really happened, what actually took place.

Don’t worry about saving these songs! And if one of our instruments breaks, it doesn’t matter. We have fallen into the place where everything is music. The strumming and the flute notes rise into the atmosphere, and even if the whole world’s harps should burn up, there will still be hidden instruments playing

Friend, what are you looking for in a church? Good music? A happening atmosphere? A traditional order of service? How about: a group of pardoned rebels . . . whom God wants to use to display his glory . . . before all the heavenly host . . . because they tell the truth about him . . . and look increasingly just like him - holy, loving, united?

She felt something similar, but worse in a way, about hundreds and hundreds of books she’d read, novels, biographies, occasional books, about music and art—she could remember nothing about them at all, so that it seemed rather pointless even to say that she had read them; such claims were things people set great store by but she hardly supposed they recalled any more than she did. Sometimes a book persisted as a coloured shadow at the edge of sight, as vague and unrecapturable as something seen in the rain from a passing vehicle; looked at directly it vanished altogether. Sometimes there were atmospheres, even the rudiments of a scene; a man in an office looking over Regent’s Park, rain in the street outside—a little blurred etching of a situation she would never, could never, trace back to its source in a novel she had read some time, she thought, in the past thirty years.

No one listened to the music, no one cared, drunk or sober; the noise was not meant for entertainment but for the sustaining of a certain psychological atmosphere, the pervasion of space, the dispersal of unseemly silences. So that a man without anything to say and unable to think could still imagine himself at the vortex of an activity, however meaningless.

Love and Art go together like baritone and alto, paint and canvas, like sunrise and a burning atmosphere.

I knew he was all about atmosphere: the lighting, the artwork on the walls, the spacing of tables, music. He loved the full experience.

Only an atmosphere of quiet hard work and dull, serious conversation were appropriate to him.

People string catgut over a hole, and send music pouring into the atmosphere. Maybe I can restring myself, and learn how to make music from my hollow place.

.... romance is so much bigger than just a love story. Romance has to do with making things lovely because of love. Romance means absorbing the beauty of life, conversation, atmosphere, places, and surroundings. It means increasing our awareness of the fragrance of pine trees, freshly ground coffee, and sheets drying on the line; hearing the music of waves, children's laughter, and he rain drumming on the roof: seeing the signature of God on His creation. It means drinking the gift of life to the dregs. All to be enjoyed, all to be taken in." p. 17

sombre, anxious, melancholic, atmospheric, surreal, cold, lonely, cryptic, abstract, apathetic, male vocals, mysterious, dark, nocturnal, complex, mechanical, progressive, lush, disturbing 'Descriptors' - Radiohead - Amnesiac

Cicero gave an account of a party attended by a certain Quintus Gallius, a friend of Catilina, which evokes the raffish atmosphere of his circle. There are shouts and screams, screeching females, there is deafening music. I thought I could make out some people entering and others leaving, some of them staggering from the effects of the wine, some of them still yawning from yesterday’s boozing. Among them was Gallius, perfumed and wreathed with flowers; the floor was filthy, soiled with wine and covered with withered garlands and fish bones.

When people really hate one another, the tension within them can sometimes make itself felt throughout a room, like atmospheric waves, first hot, then cold, wafted backwards and forwards, as if in an invisible process of air conditioning, creating a pervasive physical disturbance.

Life noise has become an atmospheric accompaniment that we have grown inured to, resulting in the outcome that all too often we are poor listeners, to speech or music. There are constant reminders in the workplace as to just how often most people are not paying particular attention to what is being said. People frequently simply don’t listen. They have lost the art of concentrated hearing—so fundamental to real human connection. Music alone restores the capacity to concentrate and liberate your brain to really listen and enjoy the process of engaged hearing.

depression was a successful adaptation to ceaseless pain and hardship [...] feeling bad all the time and expecting the worst had been natural ways of equilibrating themselves with the lousiness of their circumstances. Few things gratified depressives, after all, more than really bad news [...] Grim situations were Katz's niche the way murky water was a carp's [...] he might well have started making music again, had it not been for the accident of success. He flopped around on the ground, heavily carplike, his psychic gills straining futilely to extract dark sustenance from an atmosphere of approval and plenitude.

You also use ink to write lyrics that are so private that you smear them in all kinds of figurative ways so people can’t figure them out. You bury them in lush Beach Boys harmonies or under landslides of guitar atmospherics, or you stir them together with fragments of literalism and armchair mysticism until it’s hard to tell which is which.

The night was alive with thaw; it was so nearly warm that a breeze drifting low along the sidewalk brought to Anthony a vision of an unhoped-for hyacinthine spring. Above in the blue oblong of sky, around them in the caress of the drifting air, the illusion of a new season carried relief from the stiff and breathed-over atmosphere they had left, and for a hushed moment the traffic sounds and the murmur of water flowing in the gutters seemed an illusive and rarefied prolongation of that music to which they had lately danced. When Anthony spoke it was with surety that his words came from something breathless and desirous that the night had conceived in their two hearts. "Let's take a taxi and ride around a bit!" he suggested, without looking at her. Oh, Gloria, Gloria!

All my life I have wondered about the possibility of life elsewhere. What would it be like? Of what would it be made? All living things on our planet are constructed of organic molecules—complex microscopic architectures in which the carbon atom plays a central role. There was once a time before life, when the Earth was barren and utterly desolate. Our world is now overflowing with life. How did it come about? How, in the absence of life, were carbon-based organic molecules made? How did the first living things arise? How did life evolve to produce beings as elaborate and complex as we, able to explore the mystery of our own origins? And on the countless other planets that may circle other suns, is there life also? Is extraterrestrial life, if it exists, based on the same organic molecules as life on Earth? Do the beings of other worlds look much like life on Earth? Or are they stunningly different—other adaptations to other environments? What else is possible? The nature of life on Earth and the search for life elsewhere are two sides of the same question—the search for who we are. In the great dark between the stars there are clouds of gas and dust and organic matter. Dozens of different kinds of organic molecules have been found there by radio telescopes. The abundance of these molecules suggests that the stuff of life is everywhere. Perhaps the origin and evolution of life is, given enough time, a cosmic inevitability. On some of the billions of planets in the Milky Way Galaxy, life may never arise. On others, it may arise and die out, or never evolve beyond its simplest forms. And on some small fraction of worlds there may develop intelligences and civilizations more advanced than our own. Occasionally someone remarks on what a lucky coincidence it is that the Earth is perfectly suitable for life—moderate temperatures, liquid water, oxygen atmosphere, and so on. But this is, at least in part, a confusion of cause and effect. We earthlings are supremely well adapted to the environment of the Earth because we grew up here. Those earlier forms of life that were not well adapted died. We are descended from the organisms that did well. Organisms that evolve on a quite different world will doubtless sing its praises too. All life on Earth is closely related. We have a common organic chemistry and a common evolutionary heritage. As a result, our biologists are profoundly limited. They study only a single kind of biology, one lonely theme in the music of life. Is this faint and reedy tune the only voice for thousands of light-years? Or is there a kind of cosmic fugue, with themes and counterpoints, dissonances and harmonies, a billion different voices playing the life music of the Galaxy? Let

He sent out a large stream of smoke, still nodding, and held the cigarette up to share. I took it for the intimacy, for the moment when my fingers ran up along the backs of his. He turned up the volume until it felt like the whole porch was swallowed in the atmosphere of the song, teetering amid the shuffling brush-drumming and bending guitar notes. The lyrics were about music's almost supernatural power to make you feel, but only at the whims of memory and experience: a song never made the narrator happy until he danced to it with her, and now when he hears it, much later, it makes him lonely. I had the sense of my own memory packaging up this moment, absorbing and capturing its every element: the cold smoky air, the side of his leg against mine, the feel of his knuckles under my fingertips.

I'm distracted by the people. What they look like, if they’re judging me. Not to mention what the music sounds like, how the sermon is preached, etcetera. I'm so focused on what I can get.” I sat back, stunned by the revelation. “That makes sense. After all, most of us attend church to be fed. We want to be filled by the atmosphere, and we forget we're there to worship God, not the other way around.

The boldness and strength and happiness that were natural to me and to which I was denying their natural outlet refused to be denied and to be made sickly and fearful, and they poured through my veins then in an action of delight that was healthy and bold and strong. I forgot who or where I was and I made a sort of buzzing, humming noise like a top spinning or a bee. I felt a vibration like music all through me as if my blood were actually singing. And as though I were driven by that music which was formless yet felt as if it had the force of a dynamo. I crouched over my paper and held my pencil slavishly quick and intense, ready to serve this marvelous buzzing happiness at the moment when like surcharged atmosphere it should condense and form precious words that would drop onto my paper from the end of my pencil.

Finally Bill Mixter would lower his head, lay his bow upon the strings, and draw out the first notes of a tune, and the others would come in behind him. The music, while it lasted, brought a new world into being. They would play some tunes they had learned on the radio, but their knowledge was far older than that and they played too the music that was native to the place, or that the people of the place were native to. Just the names of the tunes were a kind of music; they cal l back the music to my mind still, after so many years: "Sand Riffle," "Last Gold Dollar," "Billy in the Low Ground," "Gate to Go Through," and a lot of others. "A fiddle, now, is an atmospheric thing," said Burley Coulter. The music was another element filling the room and pouring out through the cracks. When at last they'd had their fill and had gone away, the shop felt empty, the silence larger than before.

Headphones opened up a world of sonic colors, a palette of nuances and details that went far beyond the chords and melody, the lyrics, or a particular singer’s voice. The swampy Deep South ambience of “Green River” by Creedence, or the pastoral, open-space beauty of the Beatles’ “Mother Nature’s Son”; the oboes in Beethoven’s Sixth (conducted by Karajan), faint and drenched in the atmosphere of a large wood-and-stone church; the sound was an enveloping experience.

Music was already more than music. It was a door that opened for three minutes. Sometimes way longer. In the forbidden world there was no judgment. Only your own thoughts and secret desires, slashing through the atmosphere. And when the song was over, the door clanged shut again. There was no choice but to scramble back to the beginning. Sometimes I would listen to one song twenty or thirty times in a row. There had to be other people like me. I just hadn't met them yet.

The next morning, of course, Betsy made a list. Lists were always her comfort. For years she had made lists of books she must read, good habits she must acquire, things she must do to make herself prettier—like brushing her hair a hundred strokes at night, and manicuring her fingernails, and doing calisthenics before an open window in the morning. (That one hadn’t lasted long.) It was fun making this list, sitting in bed with her breakfast tray on her lap…hot chocolate, crisp hard rolls, and a pat of butter. Hanni had brought it to her after closing the windows and pushing back the velvet draperies. Betsy felt like a heroine in one of her own stories; their maids always awakened them that way. 1. Learn the darn money. 2. Study German. (You’ve forgotten all you knew.) 3. Buy a map and learn the city—from end to end, as you told Papa you would. 4. Read the history of Bavaria. You must have it for background. 5. Go to the opera. (You didn’t stay in Madeira because Munich is such a center for music and art???) 6. Go to the art galleries. (Same reason.) 7. Write! Full of enthusiasm, she planned a schedule. First, each morning, she would have her bath, and then write until noon. After the midday dinner she would go out and learn the city. She would go to the galleries, museums, and churches. She would have coffee out—for atmosphere. “Then I’ll come home and study German and read Bavarian history. And after supper…” she tried not to remember the look of that dining room…“I’ll write my diary-letter, except when I go to the opera or concerts.

The resulting amalgam - an exotic mixture of European, Caribbean, African, and American elements - made Louisiana into perhaps the most seething ethnic melting pot that the nineteenth century world could produce. This cultural gumbo would serve as breeding ground for many of the great hybrid musics of modern times; not just jazz, but also cajun, zydeco, blues, and other new styles flourished as a result of this laissez-faire environment. In this warm, moist atmosphere, sharp delineations between cultures gradually softened and ultimately disappeared.

And had we invented the phonograph and the radio, how much more faithfully they would reproduce the special character of our voices and our music. Japanese music is above all a music of reticence, of atmosphere. When recorded, or amplified by a loudspeaker, the greater part of its charm is lost. In conversation, too, we prefer the soft voice, the understatement. Most important of all are the pauses. Yet the phonograph and radio render these moments of silence utterly lifeless. And so we distort the arts themselves to curry favor for them with the machines.

He hoped and feared,' continued Solon, in a low. mournful voice; 'but at times he was very miserable, because he did not think it possible that so much happiness was reserved for him as the love of this beautiful, innocent girl. At night, when he was in bed, and all the world was dreaming, he lay awake looking up at the old books against the walls, thinking how he could bring about the charming of her heart. One night, when he was thinking of this, he suddenly found himself in a beautiful country, where the light did not come from sun or moon or stars, but floated round and over and in everything like the atmosphere. On all sides he heard mysterious melodies sung by strangely musical voices. None of the features of the landscape was definite; yet when he looked on the vague harmonies of colour that melted one into another before his sight he was filled with a sense of inexplicable beauty. On every side of him fluttered radiant bodies, which darted to and fro through the illuminated space. They were not birds, yet they flew like birds; and as each one crossed the path of his vision he felt a strange delight flash through his brain, and straightaway an interior voice seemed to sing beneath the vaulted dome of his temples a verse containing some beautiful thought. Little fairies were all this time dancing and fluttering around him, perching on his head, on his shoulders, or balancing themselves on his fingertips. 'Where am I?' he asked. 'Ah, Solon?' he heard them whisper, in tones that sounded like the distant tinkling of silver bells, "this land is nameless; but those who tread its soil, and breathe its air, and gaze on its floating sparks of light, are poets forevermore.' Having said this, they vanished, and with them the beautiful indefinite land, and the flashing lights, and the illumined air; and the hunchback found himself again in bed, with the moonlight quivering on the floor, and the dusty books on their shelves, grim and mouldy as ever.' ("The Wondersmith")

For instance I do not want a cross to be interpreted as a symbol of redemption in Christian understanding, because I focus on atmosphere, music, mood. I perceive it very musically, every image. Perhaps others see it differently, or maybe their perception of music is different than mine... I definitely deny the term 'symbolic art', I don't define something for someone. A painted sea is not meant to be the collective unconsciousness of Carl Jung... I don't paint with a dictionary of Mircea Eliade in my other hand. When I create, simple associations appear. Associations of several objects collide with eachother, creating an apparent content. But the content is not intended by me.

A Party for New Year (for Lily and Maisie, the ladies what lunch.) Dear Lily, I have bought something frilly, to wear on New Year’s Eve. You may think it sounds rather silly, and, what I tell you, you will never believe. I met a woman in Primark, I know, not my normal shop. Just heard so much about it inside I had to pop. Well, the top I purchased, sparkles. The frills upon it abound. This woman I met in the changing room. On me, she said it looked sound. It's very, very silver you know. A little bit like Lametta. Oh Lily, I feel quite aglow. On no one could it look any better. Dear Maisie, Things are looking a bit hazy. A silver top, for New Year. Are you really, really that crazy? My word, you batty old dear. I'm wearing my old faithful. The black dress, with the gold trim. It's not like we’re doing anything special. In fact proceedings sound quite grim. Sitting on your old sofa With a Baileys, if I'm lucky. Watching the same old things on the box. I'm not excited Ducky. I want to be in the city and feel the atmosphere. It really is a pity that you want to stay right here. Dear Lily. Now you are being silly. What about your knees? Standing about, feeling chilly, and moaning you're going to freeze. Much better to stay indoors and watch a music show. We'll get the bongs at midnight. This you very well know. I don't have any Baileys. You drank it Christmas Day. But I found some cooking sherry. I want that out of the way. I even have some nibbles, so come on, what do you say? We'll have us a little party. Bring your nightie and then you can stay. Dear Maisie, Do you remember Daisy? Her with the wart on her ear. She thinks she'd like to join us to celebrate New Year. Do we really want her with us? She's quite a moaning Minnie. She always makes such a fuss. I'd hoped she'd celebrate with Winnie. I think I will come over Lil'. I'll even bring the wine. We really should start taking turns. Next year, you can come to mine. We'll have a great time, you and me. Go out in the cold? No fear. We'll be fine indoors, just you see. Friends together, celebrating New Year.

Her hands flew off the keyboard—she crouched as though she had been shot, saw yellow spots and then experienced a peaceful wave of oneness in which she entered pure communion. She was locked into the music, held there safely, entirely understood. Such was her innocence that she didn’t know she was experiencing a sexual climax, but believed rather that what she felt was the natural outcome of this particular nocturne played to the utmost of her skills—and so it came to be. Chopin’s spirit became her lover. His flats caressed her. His whole notes sank through her body like clear pebbles. His atmospheric trills were the flicker of a tongue. His pauses before the downward sweep of notes nearly drove her insane. The

Because a novel--these words--is a shared experience, a clumsy but sometimes funny conversation between two people in which one of them is doing all the talking, it will always be tighter and more luminous than that object called living. There is something so insipid about living that to do it at all requires heroism or stupidity, probably both. Living is all those days and years, the rushes; memory edits them; this page is the final print, music added. But for an instant imagine the process reversed, go with me back through the years, then be me, all alone as I submit to the weight, the atmospheric pressure of youth, for when I was young I was exhausted by always bumping up against this big lummox I didn't really know, myself. It was though I'd been forced into solitary confinement with a stranger who had unaccountable tastes, aversions, rhythms.

But as musically evocative as Fitzgerald’s diction is, it’s his luxurious syntax that choreographs the scene. Like the liquid movement of the partygoers, his sentences “swell with new arrivals, dissolve and form in the same breath.” Fitzgerald’s long, languid rhythms rise and fall seamlessly, then “with triumph glide on through the sea-change of faces and voices and color under the constantly changing light.” His language is as opulent as the women’s costumes and as free-flowing as the champagne, continuing breathlessly to the end of the passage. As readers, we may eventually forget Fitzgerald’s colorful and musical descriptions, but we probably won’t forget the atmosphere of his fictional dream. Long after the last guest has departed and we’ve closed the covers on the novel, something— a fragrance, a snatch of song, a feeling—will remain in the summer air. ATTITUDE

Natural examples of chaotic dynamical systems include the earth’s atmosphere and the vibrations of virtually all sources of musical sound, such as the scrape of a bow on the strings or the turbulent flow of air from the player’s lips over the fipple of a flute. Small differences in initial conditions can be amplified by such systems to such an extent that any error in measuring the initial conditions can render any long-range forecast of system behavior wildly inaccurate, even if there is no further disturbance to the system. The weather from day to day is never exactly the same. Notes played on a flute, though they may sound alike, are never exactly the same. Our ears gloss over these differences, hearing sound categorically. But if we wish to understand the precise mechanism of a dynamical system so as to accurately predict its behavior over time, the initial conditions must be known exactly.

If I had to choose one spot to enjoy the small-town charm of traditional Ireland, it would be Dingle and its history-laden scenic peninsula. But the Ring of Kerry—a much bigger, more famous, and more touristed peninsula just to its south—is also great to visit. If you go to Ireland and don’t see the famous Ring of Kerry, your uncle Pat will never forgive you. Here’s a comparison to help with your itinerary planning. Both peninsulas come with a scenic loop drive. Dingle’s is 30 miles. The Ring of Kerry is 120 miles. Both loops come with lots of megalithic wonder. Dingle’s prehistory is more intimate, with numerous evocative stony structures. The Ring of Kerry’s prehistory shows itself in three massive ring forts—far bigger than anything on Dingle. Dingle town is the perfect little Irish burg—alive with traditional music pubs, an active fishing harbor, and the sturdy cultural atmosphere of an Irish-speaking

Did dinosaurs sing? Was there a teeming, singing wilderness with all the species thumping around, tuning up for the next millennia? Of course, dinosaurs sang, I thought. They are the ancestors of the singing birds and cousins to the roaring crocodiles…turns out, no. Turns out the syrinx, the organ that produces birdsong and the larynx, the organ that produces operatic arias, didn’t evolve until after the dinosaur extinction event…Some dinosaurs blew air into their closed mouths and through nasal cavities into resonance chambers, which we see in fossils as bony crests. They made the forest echo with clear, ominous tones, eerily like a cello. I have heard it in recordings scientists made of the sound they produced when they blew air through crests constructed to mimic lambeosaurus’s. Some dinosaurs cooed to their mates like doves…turns out that even if dinosaurs didn’t sing, they danced. There is evidence in vigorous scrape marks found in 100-million year old Colorado sandstone. From the courting behavior of ostriches and grouse, scientists envision the dinosaur males coming together on courting grounds, bobbing and scratching, flaring their brilliant feathers and cooing. Imagine: huge animals, each weighing more than a dozen football teams, shaking the Earth for a chance at love. What the story of the dinosaurs tells me is that if the earth didn’t have music, it would waste no time inventing it. In birds, tantalizing evidence of birdsong is found in 67-million-year old fossils, marking the first know appearance of the syrinx. Now the whole Earth can chime, from deep in the sea to high in the atmosphere with the sounds of snapping shrimp, singing mice, roaring whales, moaning bears, clattering dragonflies, and a fish calling like a foghorn. Who could catalog the astonishing oeuvre of the Earth? And more songs are being created every year.

On one level, the poems after Verlaine in this new book are a selfish project. I wanted to try on a voice with which, despite sharing some stylistic and tonal sympathies, I seemed to have little in common. It served as a psychodramatic exercise, a walk in somebody else’s shoes. Writing each new poem while drawing on the raw material of Verlaine in translation has led me, in the always dramatised context of the individual poem, to think and say things I’d likely never have dreamed of otherwise. But just as importantly, I hope these poems paint a fresh portrait of Paul Verlaine, however partial and sketchy, that reveals him to be a more surprising, hard-thinking, and even revivifying poet than expected. Beyond his skilled conjuring of delicate and atmospheric allusiveness, at its best, his is also poetry of punchy musicality, philosophical edge, and candidness – both intellectual and emotional – which allows for genuine beauty, sensuality, and sadness.

No subject was more perfectly suited to the loosened formal framework and swift juxtaposition of disparate elements that marked his ‘totally chromatic’ style; and it is generally agreed that in this Representation of (mental) Chaos that style found its most impressive outlet. But a representation is not a transcription. The music itself is not chaotic. There is a willed unity of atmosphere, created through a myriad intensely visualized details, which could only be achieved under iron control. Paradoxically, this is probably the direct result of the spontaneity and intensity with which Schoenberg must have been composing in order to have created the work in such a short space of time. The monodrama possesses no clearly defined structure, ranging so freely and juxtaposing lyricism, violence, and Angstridden terror in such uncompromising combination that it attains an effect of continuous high-pressure improvisation; yet it combines this with a powerful sense of continuity and tragic inevitability. That

O Friend! we are near you in friendship, Wherever you set foot, we prostrate ourselves like earth. How is it permissible, in the religion of love, That we should see your Creation and neglect to see You? That Friend brought me up with great care and attention; He sewed me a garment from skin and veins. The body is like a cloak and my heart in it like a mystic, The world is like a monastery and He is my Guide. Seek knowledge which unravels mysteries Before your life comes to close Give up that non-existence which looks like existence, Seek that Existence which looks like non-existence! There is a world outside Islam and Disbelief, We are enamoured of the atmosphere therein. The mystic lays down his head when he reaches there. There is neither Islam nor Disbelief in this place. Whenever I prostrate my head He is the one to whom I bow; In six directions or outside the six, he is the one I worship. The garden, the rose, the nightingale, music and the beauteous maiden Are a mere excuse and He alone is the real object. From"Life and Work of

A lovely home atmosphere is one of the flowers of the world, than which there is nothing more tender, nothing more delicate, nothing more calculated to make strong and just the natures cradled and nourished within it. Those who have never experienced such a beneficent influence will not understand wherefore the tear springs glistening to the eyelids at some strange breath in lovely music. The mystic chords which bind and thrill the heart of the nation, they will never know. Hurstwood’s residence could scarcely be said to be infused with this home spirit. It lacked that toleration and regard without which the home is nothing. There was fine furniture, arranged as soothingly as the artistic perception of the occupants warranted. There were soft rugs, rich, upholstered chairs and divans, a grand piano, a marble carving of some unknown Venus by some unknown artist, and a number of small bronzes gathered from heaven knows where, but generally sold by the large furniture houses along with everything else which goes to make the “perfectly appointed house.

Days pass as I savor every word. Each minute I spend away from the book pretending to be interested in everyday life is a misery. How could I have waited so long to read this book? When can I get back to it? Halfway through, I return to New York to work, to finish a movie, and I sit in the mix studio unable to focus on anything but whether my favorite character in the book will survive. I will not be able to bear it if anything bad happens to my beloved Marian Halcombe. Every so often I look up from the book and see a roomful of people waiting for me to make a decision about whether the music is too soft or the thunder is too loud, and I can’t believe they don’t understand that what I’m doing is Much More Important. I’m reading the most wonderful book. There’s something called the rapture of the deep, and it refers to what happens when a deep-sea diver spends too much time at the bottom of the ocean and can’t tell which way is up. When he surfaces, he’s liable to have a condition called the bends, where the body can’t adapt to the oxygen levels in the atmosphere. All this happens to me when I surface from a great book.

That shifting, layered sensibility is also, in part, the world into which the King James Bible was born. The king’s instructions were perfectly explicit: they were to use ‘circumlocution’, in other words language in which meaning was to be ‘sett forth gorgeously’. There was no terror of richness in this. Richness, as King David had known when he decorated the temple for God, was one of the attributes of God. Majesty, honour and power were gorgeous in themselves and the Jacobean sense of the beautiful loved both pearls and diamonds, both openness and ceremony. Miles Smith referred in his Preface to ‘the Sun of righteousness, the Son of God’, and it was the beams of that sun which the King James Translators would bring to the people. But the sense of clarity and directness was sewn and fused to those other Jacobean virtues: a pattern of order and authority; the majestic substance, the ‘meat’ of the word of God; the great ceremonial atmosphere of its long, carefully organised, musical rhythms, a ceremony of the word; an atmosphere both godly and kingly; both rich and pure, both multiplicitous and plain. This Bible, in other words, would absorb the full aesthetics of the age. You only have to read the Translators at full flood, feeling behind them the sense of unstoppable divine authority, to hear the immense, gilded majesty of the translation. In describing God’s assembling of the armies of a vengeful justice, they reached their apogee:

One passes imperceptibly from one scene, one age, one life to another. Suddenly, walking down the street, be it real or be it a dream, one realizes for the first time that the years have flown, that all this has passed forever and will live on only in memory; and then the memory turns inward with a strange, clutching brilliance and one goes over these scenes and incidents perpetually, in dream and reverie, while walking a street, while lying with a woman, while reading a book, while talking to a stranger . . . suddenly, but always with terrific insistence and always with terrific accuracy, these memories intrude, rise up like ghosts and permeate every fiber of one's being. Hencefoward everything moves on shifting levels—our thoughts, our dreams, our actions, our whole life. A parallelogram in which we drom from one platform of our scaffold to another. Henceforward we walk split into myriad fragments, like an insect witha hundred feet, a centipede with soft-stirring feet that drinks in the atmosphere; we walk with sensitive filaments that drink avidly of past and future, and all things melt into music and sorrow; we walk against a united world, asserting our dividedness. All things, as we walk, splitting with us into a myriad iridiscent fragments. The great fragmentation of maturity. The great change. In youth we were whole and the terror and pain of the world penetrated us through and through. There was no sharp separation between joy and sorrow: the fused into one, as our waking life fuses with dream and sleep. We rose one being in the morning and at night we went down into an ocean, drowned out completely, clutching the stars and the fever of the day.

Sounds Is Love of All, the World Sounds create soulful existence, When the oceans tide, it is sound; When fervency of love creates sympathy of sobbing, sighing, jubilating, and tears drops, it’s a hymn of sound and presence. When rains, it creates symphonies that therapeutic the body and mind, it is sound. There is sound. When sharing a glass of wine while looking at your significant other swallow its taste, There is sound. When night becomes morning, noise of the birds tweak, the dogs bark, pancakes sizzling on the pan, bees gathering for honey, it is sound. There is sound. When listening to music for a moodily Spirit, moving rhythmically to the music, it is sound. When coitus makes quakes, it is sound. In durations of lovemaking; the breathing, the objects banging, the thrusting, and the instrumental tones from the mouth, the kisses, the clapping and rubbing of flesh, it all surrounds the atmosphere, it is sound. There is sound. When love cuddles in your significant other sleeps, and hear breathing, heart beats, maneuvering, it is sound. There is sound. During intensity of love at its silence and loudest, there is sound. As penetration of love goes deep and pulls out a sound of intensity opens and reactions follow, it is sound. There is sound. Beauty is the penetrating sound of the verses, the Psalms, the Proverbs, the Song of Solomon, the Gospels, and overall the Holy Scriptures spoken from a fervent tongue, power of thought, and sensible recovery from what aches, in all its sound. Sound surrounds all ways. It is sound. Sound is therapy to the love and Spirit, a sound mind, in all, the world is sound.

I keep a crumpled yellow note from that night; not all of the writing is decipherable, but some of it reads like this: "Pretty girl about 25 lying on wooden floor, two or three on her all the time, one kneeling between her legs, one sitting on her face and somebody else holding her feet...teeth and tongues and pubic hair, dim light in a wooden shack, sweat and semen gleaming on her thighs and stomach, red and white dress pushed up around her chest...people standing around yelling, wearing no pants, waiting first, second or third turns...girl jerking and moaning, not fighting, clinging, seems drunk, incoherent, not knowing, drowning..." It was not a particularly sexual scene. The impression I had at the time was one of vengeance. The atmosphere in the room was harsh and brittle, almost hysterical. Most people took a single turn, then either watched or wandered back to the party. But a hard core of eight or ten kept at her for several hours. /In all, she was penetrated in various ways no less than fifty times, and probably more. At one point, when the action slowed down, some of the Angels went out and got the girls's ex-husband, who was stumbling drunk. They led him into the shack and insisted he take his own turn. The room got nervous, for only a few of the outlaws were anxious to carry things that far. But the sight of her former old man brought the girl out of her daze just enough to break the silent tension. She leaned forward, resting on her elbows, and asked him to kiss her. He did, and then groggily took his turn while the others cheered. Afterward the girl rested for a while and then wandered around the party in a blank sort of way and danced with several people. Later she was taken back for another session. When she finally reappeared I saw her trying to dance with her ex-husband, but all she could do was hang on his neck and sway back and forth. She didn't even seem to heat the music. What would a jury make of that one?

The mood at the table is convivial throughout the meal. A dried-sausage and prosciutto plate gives way to briny sardines, which give way to truffle-covered gnocchi topped with a plethora of herbs. Richness cut with acidity, herbaceousness and cool breezes at every turn. A simple ricotta and lemon fettuccine topped with sharp pecorino is the perfect counterpoint. I am not driving, and apparently Anjana isn't, either, so we both order a Cynar and soda. "How can we digest all the pasta without another digestif?" we exclaim to the waiter, giddily. Meat, carbs, sunshine, and lingering music coming from across the plaza have stirred us up, and soon our dessert--- some sort of chocolate cake with walnuts--- arrives. It's dense in that fudgey way a flourless concoction can be, like it has molded itself into the perfection of pure chocolate. The crunch of the walnuts is a counterweight, drawing me deeper into the flavor. I haven't been inspired by food like this in a long time, despite spending so much time thinking about food. The atmosphere at work has sucked so much of the joy out of thinking about recipes, but I find myself taking little notes on my phone for recipe experimentation when I get home. The realization jolts me. I've always felt like I have the perfect job for a creative who happens to also be left-brained. Recipes are an intriguing puzzle every single time. Today's fettuccine is the perfect example. The tartness of the lemon paired with the smooth pasta and pillowy ricotta is the no-brainer part. But the trickier puzzle piece--- the one that is necessary to connect the rest of the puzzle to the whole--- is the light grating of the pecorino on top. That tang, that edge, that cutting spice works in tangent with the lemon to give the dish its power. Lemon alone wouldn't have been enough. Pecorino alone wouldn't have been enough. The dish is so simple, but it has to fit together perfectly to work. These little moments, these exciting eurekas, are the elation I normally get in my job.

Rather, I found through this experience that there is significant similarity between meditating under a waterfall and tidying. When you stand under a waterfall, the only audible sound is the roar of water. As the cascade pummels your body, the sensation of pain soon disappears and numbness spreads. Then a sensation of heat warms you from the inside out, and you enter a meditative trance. Although I had never tried this form of meditation before, the sensation it generated seemed extremely familiar. It closely resembled what I experience when I am tidying. While not exactly a meditative state, there are times when I am cleaning that I can quietly commune with myself. The work of carefully considering each object I own to see whether it sparks joy inside me is like conversing with myself through the medium of my possessions. For this reason, it is essential to create a quiet space in which to evaluate the things in your life. Ideally, you should not even be listening to music. Sometimes I hear of methods that recommend tidying in time to a catchy song, but personally, I don’t encourage this. I feel that noise makes it harder to hear the internal dialogue between the owner and his or her belongings. Listening to the TV is, of course, out of the question. If you need some background noise to relax, choose environmental or ambient music with no lyrics or well-defined melodies. If you want to add momentum to your tidying work, tap the power of the atmosphere in your room rather than relying on music. The best time to start is early morning. The fresh morning air keeps your mind clear and your power of discernment sharp. For this reason, most of my lessons commence in the morning. The earliest lesson I ever conducted began at six thirty, and we were able to clean at twice the usual speed. The clear, refreshed feeling gained after standing under a waterfall can be addictive. Similarly, when you finish putting your space in order, you will be overcome with the urge to do it again. And, unlike waterfall meditation, you don’t have to travel long distances over hard terrain to get there. You can enjoy the same effect in your own home. That’s pretty special, don’t you think?

Then I remembered something else from the 2112 liner notes. I pulled them up and scanned over them again. There was my answer, in the text that preceded Part III—“Discovery”: Behind my beloved waterfall, in the little room that was hidden beneath the cave, I found it. I brushed away the dust of the years, and picked it up, holding it reverently in my hands. I had no idea what it might be, but it was beautiful. I learned to lay my fingers across the wires, and to turn the keys to make them sound differently. As I struck the wires with my other hand, I produced my first harmonious sounds, and soon my own music! I found the waterfall near the southern edge of the city, just inside the curved wall of the atmospheric dome. As soon as I found it, I activated my jet boots and flew over the foaming river below the falls, then passed through the waterfall itself. My haptic suit did its best to simulate the sensation of torrents of falling water striking my body, but it felt more like someone pounding on my head, shoulders, and back with a bundle of sticks. Once I’d passed through the falls to the other side, I found the opening of a cave and went inside. The cave narrowed into a long tunnel, which terminated in a small, cavernous room. I searched the room and discovered that one of the stalagmites protruding from the floor was slightly worn around the tip. I grabbed the stalagmite and pulled it toward me, but it didn’t budge. I tried pushing, and it gave, bending as if on some hidden hinge, like a lever. I heard a rumble of grinding stone behind me, and I turned to see a trapdoor opening in the floor. A hole had also opened in the roof of the cave, casting a brilliant shaft of light down through the open trapdoor, into a tiny hidden chamber below. I took an item out of my inventory, a wand that could detect hidden traps, magical or otherwise. I used it to make sure the area was clear, then jumped down through the trapdoor and landed on the dusty floor of the hidden chamber. It was a tiny cube-shaped room with a large rough-hewn stone standing against the north wall. Embedded in the stone, neck first, was an electric guitar. I recognized its design from the 2112 concert footage I’d watched during the trip here. It was a 1974 Gibson Les Paul, the exact guitar used by Alex Lifeson during the 2112 tour.

My intellectual depravity kept me from completely enjoying what surrounded me. I am sure that, in what little I might have tried to say, I was going to ridicule, diminish and materialize everything. In that strange and almost indescribable scenery, so superior to what I was normally able to see, I imagined—obviously an effect of my blind rudeness—that I came across things that faintly resembled the most beautiful things I had contemplated on the sublunary globe. I believed I saw a flower: I beheld something like large woods whose trees were only flowers; nothing but petals, corollas and calyces, fragrant and cradled by a breeze that itself was plainly perfumed with floral breaths—and just as sweet. All the nuances of the rose adorned these gigantic fluttering bouquets. Some of the roses, brown-lipped roses, were so unbelievably arousing and voluptuous—if I can speak like this—that I felt like they rejuvenated my soul. A flower often stood alone, as big as a tree—and with such a divine form, such an embracing scent—that’s the only word that translates, a little ridiculously, what I felt—that the air wafting around it would kill a normal human being with excessive pleasure. Because I was disembodied, I could breath it in with no harm—and even blend myself, overcome by joy, with its intoxicating, incarnadine cloud. Large, flashy birds flew among the heights of the flower-trees where they sometimes alit like snuggling light. Their slow-noted songs evoked a magical past more enticing even than this splendid present. The sky was pink and gold. Pink fountains flowed there, flashing with gold—whose music could only be compared to harps that had —absurdly—crystal strings—and to go further in absurdity: living crystal. All this nature seemed enshrouded—and at the same time penetrated—with a tender cheerfulness. I floated in the pink perfumes of the woods, in the soothing radiance of the glades, in all that gentleness and beauty that felt like an infinite bounty manifested by transportive images and by an immaterial well being… And even though I desperately did not want to leave this atmosphere of delights—which I can give no real idea of—I felt unbalanced, brutal and out of place among the ethereal sweetness. A charitable, sorrowful force (I felt it) chased me away almost in spite of itself in order to cut me off from these joys I was unworthy of.

The school is teeming with activity. The rooms are small and large, many are special-purpose rooms, like shops and labs, but most are furnished like rather shabby living or dining rooms in homes: lots of sofas, easy chairs, and tables. Lots of people sitting around talking, reading, and playing games. On an average rainy day—quite different from a beautiful suddenly snowy day, or a warm spring or fall day—most people are inside. But there will also be more than a few who are outside in the rain, and later will come in dripping and trying the patience of the few people inside who think the school should perhaps be a “dry zone.” There may be people in the photo lab developing or printing pictures they have taken. There may be a karate class, or just some people playing on mats in the dance room. Someone may be building a bookshelf or fashioning chain mail armor and discussing medieval history. There are almost certainly a few people, either together or separate, making music of one kind or another, and others listening to music of one kind or another. You will find adults in groups that include kids, or maybe just talking with one student. It would be most unusual if there were not people playing a computer game somewhere, or chess; a few people doing some of the school’s administrative work in the office—while others hang around just enjoying the atmosphere of an office where interesting people are always making things happen; there will be people engaged in role-playing games; other people may be rehearsing a play—it might be original, it might be a classic. They may intend production or just momentary amusement. People will be trading stickers and trading lunches. There will probably be people selling things. If you are lucky, someone will be selling cookies they baked at home and brought in to earn money. Sometimes groups of kids have cooked something to sell to raise money for an activity—perhaps they need to buy a new kiln, or want to go on a trip. An intense conversation will probably be in progress in the smoking area, and others in other places. A group in the kitchen may be cooking—maybe pizza or apple pie. Always, either in the art room or in any one of many other places, people will be drawing. In the art room they might also be sewing, or painting, and some are quite likely to be working with clay, either on the wheel or by hand. Always there are groups talking, and always there are people quietly reading here and there. One

My name,” he said, “is Marco Inaros, commander of the Free Navy. We are the legitimate military voice of the outer planets, and we are now in a position to explain both to the oppressors on Earth and Mars and also to the liberated people of the Belt the terms on which this new chapter of human liberty, dignity, and freedom are founded. We recognize the right of Earth and Mars to exist, but their sovereignty ends at their respective atmospheres. The vacuum is ours. All travel between the planets of the solar system are the right and privilege of the OPA and will be enforced by the Free Navy. All taxes and tariffs imposed by Earth and Mars are illegal, and will not be respected. Reparations for the damage done by the inner planets to the free citizens of the system will be assayed, and failure to repay them for the benefit of the full human race will be considered a criminal act.” A throbbing had come into the man’s voice without it ever seeming to make his words affected or musical. He leaned in toward the camera, and it felt both intimate and powerful. “With the opening of the alien gates, we are at a crossroads in human history. We have already seen how easy it would be to carry our legacies of exploitation, injustice, prejudice, and oppression to these new worlds. But there is an alternative. The Free Navy and the society and culture of the Belt are representatives of that new pathway. We will begin again and remake

The man was high yellow In public, afraid of himself, pretending his music Was material when in fact, it was the opposite: Like a breath that comes so quickly you know You’re breathing ether: either atmospheric And anonymous as the air against a window, Or indefinite & mute as a curtain of wind.

I’m sort of nervous you’ll find out Even though I want you to I’m sort of nervous you’ll be angry Even though I know that’s not you We’ve been through this all before And you never made me feel unsure But still A hush had fallen over the crowd as soon as she began to sing and Julie marveled at how different this atmosphere was from the raucous one the boys had described to her from their visit to the club. She wondered if Caleb would be satisfied with her slow and emotional song choice but if he was dissatisfied with her he didn’t show it on his face. He merely glanced around at the rapt expressions of the lifers and smirked. Julie allowed her eyes to slide over to her friends who were both watching her with knowing looks. She knew that the sadness in her lyrics was reflected in their eyes, that they felt sorry for her and that they ached for Luke too. She forced her gaze away from them, needing to focus on getting through the song and finding it almost impossible in the face of their pity. I’m sort of hopeful you’ll find out Even though that’s not fair I’m sort of hopeful you'll guess Even though I’m so scared I don’t know what the right choice is And part of me wants you to insist But still Despite all of the circumstances that made singing this particular song in this particular venue absolutely loaded down with baggage she found herself slipping into the zone she always occupied when performing. She could feel the heady rush of doing what she was meant to do in front of people hanging on her every word. She wished Luke was there to sing with her but she had also never been so glad that he wasn’t. She gripped the mic stand and raised her voice to new heights as she began the chorus. How do I tell you this isn’t where I belong? How do I tell you this was a tragedy all along? That we never had a chance At a happy ending at all Just a few brief stolen moments Between your heart and mine How do I tell you? How do I tell you? Goodbye She could hear emotion breaking through into her voice but she didn’t care. The ghost band once again seemed to sense what she had heard in her head and the music built and built before suddenly dropping to next to nothing. A few chords on the piano were all that accompanied the final verse as she gave it her all. I’m sort of happy we happened Even though I know the memories Will hurt I’m sort of happy we met here Even if it took a curse I know that I’ve made mistakes And some of them are hard to shake But still Julie allowed herself to truly see the audience for the first time. They were still watching her with awed expressions but something about the lighting in the club seemed different. There was a soft golden glow settling over the whole room. Julie blinked and the glow was gone. She barely had time to wonder if she had imagined it before the band came back in full force for the final chorus. How do I tell you this isn’t where I belong? How do I tell you this was a tragedy all along? That we never had a chance At a happy ending at all Just a few brief stolen moments Between your heart and mine How do I tell you? How do I tell you? Goodbye The band fell away again and Julie’s voice echoed through the ballroom alone on the final lines. How do I tell you? Goodbye

With the Allies on the advance nearly everywhere and invasion talk in the air, London was a welcoming place for young airmen who were taking the fight to Hitler’s doorstep. The first stop for American airmen was usually the nearest Red Cross Club, where helpful volunteers made bookings free of charge at commercial hotels or at one of the Red Cross’s own dormitory-like facilities. After checking in and dropping off their kits, most men headed straight for Rainbow Corner. Located on the corner of Shaftesbury Avenue and Piccadilly Circus, it was a place as close to home as a GI could find in all of England. Administered by the American Red Cross, Rainbow Corner had been designed “to create a strictly American atmosphere.” There was an exact replica of a small-town corner drugstore in the club’s basement, where ice-cold Cokes were sold for a nickel and grilled hamburgers for a dime. Upstairs, in the grand ballroom, servicemen danced with volunteer hostesses to the driving music of soldier bands—the Flying Forts, the Thunderbolts, the Sky Blazers. There was also a lounge with a jukebox and a small dance floor with tables and chairs around it. Lonely GIs dunking donuts in fresh coffee would loaf there, listening to the latest American hits. Rainbow Corner never closed its doors. The key had been symbolically thrown away the day of the grand opening in November 1942.

I would also say that poems are impressionistic, but that impressionism is a kind of truth. Poems shouldn’t be read for their evidence of rights and wrongs nor for their voyeurism into a person’s life, but for the ways they make atmospheres, music, and imagery communal with the reader for a brief moment. All writers struggle with this issue of being fair or not, presenting episodes or interactions in ways that are just or truthful. I guess I’d say that poems are not meant to be fair and that all artists should be allowed to present complexity and multidimensionality in ways that expand our humanness. A good poem doesn’t necessarily take sides, but offers layers to interpret. I think my poems about family really begin from a place of uncertainty and confusion, not necessarily from a place of authority. To me, this distinction matters. I’m figuring out something with the reader as the poem unfolds, I’m not going in there with an agenda.

No matter who you are or what you’ve accomplished, if you’re working for someone else, you must always have humility about your role. Try looking at it like this: When you’re hired to play background music, you’re essentially filling the same role as an ice sculpture. Sure, you’re playing music, but you’re meant to blend in as atmosphere. No one throws a party and thinks, “Man, I’d really like to bring in an ice sculpture that shows up late and half-sculpted, refuses to pose in place and keeps sliding around, and then demands to be compensated in full despite pulling a premature meltdown and leaving before the night’s over.” Similarly, no one throws a party and hopes that the hired musical performer arrives without a suit, refuses to turn down the volume after being asked twice, and then insists at the last second on being paid in cash instead of by check because rent is due. If you agree to be an ice sculpture, be the best damn ice sculpture you can be.

The Composition of Death Upon Your Breath" About the Song: The Composition of Death Upon Your Breath delves into the dark and haunting theme of a lover poisoned by a sinister concoction found in the medieval Grand Grimoire. The song narrates the tragic tale of love tainted by the cruel hand of death, where a forbidden potion is meticulously prepared with arcane ingredients. The song's lyrics evoke a gothic atmosphere, intertwining elements of medieval alchemy and romantic tragedy. The potion's ingredients—Red Copper, Nitric Acid, Verdigris, Arsenic, Oak Bark, Rose Water, and Black Soot—are transformed into metaphors for the slow, inevitable demise of the lover. This deadly recipe becomes a symbol of both the destructive power and the twisted beauty of forbidden love. The music captures the essence of gothic black metal with its somber melodies, eerie harmonies, and intense, brooding instrumentals. Each note and lyric serve to illustrate the dark journey of love poisoned by betrayal and malice. The song's atmosphere is thick with melancholy and dread, inviting listeners into a world where passion and death intertwine in a tragic dance. Copyright Notice: The Composition of Death Upon Your Breath © 2024 Umbrae Sortilegium. All rights reserved. Unauthorized copying, reproduction, or distribution of this song or its lyrics is prohibited. The Composition of Death Upon Your Breath. (Verse 1) In an ancient tome of shadowed lore, A secret poison to settle the score, A lover’s whisper, a deadly art, The composition to tear us apart. (Pre-Chorus) Red copper gleaming, nitric acid's burn, Verdigris and arsenic, from which there’s no return, Oak bark and rose water, a fatal serenade, Black soot to bind it, in darkness, it’s made. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Verse 2) A new, glazed pot, the spell's design, A potion brewed, in shadows confined, Your lips, a chalice of cold despair, In each embrace, a whispered prayer. (Pre-Chorus) Red copper gleaming, nitric acid's burn, Verdigris and arsenic, from which there’s no return, Oak bark and rose water, a fatal serenade, Black soot to bind it, in darkness, it’s made. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Bridge) In your gaze, the twilight's fall, A lover's kiss, the end of all, The Grand Grimoire, its secrets told, In every kiss, the poison’s cold. (Breakdown) A potion brewed from darkest sin, Your breath the gateway, let death begin, A recipe of doom, our fates entwined, In your arms, I lose my mind. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Outro) The final breath, a lover's sigh, In your arms, I’m doomed to die, The composition, a lover’s theft, Death upon your breath, my final bequest. Lyrics and ALL Vocals yours truly. Lead Guitar & Symphonics Raz Wolfgang Drums Alexander Novichkov Bass Auron Nightshade Guitarist Kael Thornfield

BayFestSD.com hosts the San Diego Bayfest and Mission Bayfest, premier music festivals in San Diego known for featuring top reggae and alternative rock artists. Held at scenic venues like Waterfront Park, these festivals showcase renowned acts such as Sublime, Atmosphere, and Goldfinger. Our mission is to create unforgettable experiences through well-organized events, VIP offerings, diverse food vendors, and exclusive merchandise, enriching San Diego’s cultural landscape with live music.

silence. — “It does not seem to me,” says Sebald’s Austerlitz, “that we understand the laws governing the return of the past, but I feel more and more as if time did not exist at all, only various spaces interlocking according to the rules of a higher form of stereometry, between which the living and the dead can move back and forth as they like, and the longer I think about it the more it seems to me that we who are still alive are unreal in the eyes of the dead, that only occasionally, in certain lights and atmospheric conditions, do we appear in their field of vision.

George Michael had a voice. That was his greatest asset. He sang like an angel. His pleasant voice was like a meteor which penetrates the atmosphere of your inner being, making you want to hug the air in the most frenetic of enchantments. His music fills your brain, leaving you with little or no room to muse over anything else but the pleasure of the moment. He was a great singer.

Elton John’s music is regal. With it comes the genial conflation of Rock ‘n’ Roll and funk, enough to rebuild depressing moods and turn pleasantly warm a once gelid atmosphere.

The atmosphere felt unexpectedly intense and the music was frantic. The beat made it both difficult to think straight and pleasant to move – like swimming almost.

Chapter FEEDING YOUR ATTENTION HOG I was once at a New Age party and wanted to get the attention of some particularly lovely sari-wearing, belly-dancing women who were floating in and out of the various rooms. I had discovered that I could move past some of my fear and make a connection with people through singing. So I pulled out my guitar and started playing a song I had worked particularly hard to polish, Fleetwood Mac’s “A Crystalline Knowledge of You.” I was able to make it through without too many mistakes and was starting to feel the relief that comes from surviving traumatic experiences. Then one of the belly-dancing goddesses called to me from across the room, “You are some kind of attention hog, aren’t you!” As soon as she said it, my life passed before me. The room started to swirl, as a typhoon of shame began to suck me down the toilet of my soul. “Embarrassment” is an inadequate word, when someone pins the tail on the jackass of what seems to be your most central core defect. I am usually scrupulous about checking with people when I make requests for attention. But this time I was caught with my hand in the cookie jar up to the elbow. I remember slinking away in silent humiliation, putting my guitar back in its case and making a beeline for my car. I just wanted to get back to my lair to lick my wounds, and try to hold my self-hate demons at bay with a little help from my friend Jack Daniels. After that incident I quit playing music in public at all. Several years later I was attending a very intense, emotional workshop with Dr. Marshall Rosenberg. Our group of about twenty people had been baring and healing our souls for several days. The atmosphere of trust, safety and connectedness had dissolved my defenses and left me with a innocent, childlike need to contribute. And then the words popped out of my mouth, “I’d like to share a song with you all.” These words were followed by the thought: “Now I’ve gone and done it. When everyone turns on me and confirms that I have an incurable narcissistic personality disorder, it will be fifty years before I sing in public again.” Dr. Rosenberg responded in a cheerful, inviting voice. “Sure, go get your guitar!” he said, as though he were unaware that I was about to commit hara-kiri. The others in the group nodded agreement. I ran to my car to get my guitar, which I kept well hidden in the trunk. I was also hoping that I would not just jump in my car and leave. I brought the guitar in, sat down, and played my song. Sweating and relieved that I made it through the song, my first public performance in years, I felt relief as I packed my guitar in its case. Then Dr. Rosenberg said, “And now I would like to hear from each group member how they felt about Kelly playing his song.” “Oh my God!” my inner jackals began to howl, “It was a setup! They made me expose my most vulnerable part and now they are going to crucify me, or maybe just take me out to the rock quarry for a well-deserved stoning!

In such an atmosphere discussion filled all of our time that was not spent over our books. The professors held open house at their homes for the students who attended their seminars, which were in themselves advanced classes for discussion; a topic would be announced and the talk would continue through a blue haze of tobacco smoke into the small hours––after which we would relax for supper and for music. These evenings provided almost our sole social diversion. We were not at the university to play but to learn, and after a lecture in the classroom we would form little groups, gathering on the grounds or hunting empty seminar rooms and arguing excitedly for hours. These gatherings had a name. They were called the Steh-Convent, which can be translated with approximate accuracy as the “standing convention,” and for them we always sought out acquaintances with whom we vigorously disagreed.

During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country, and at length found myself, as the shades of evening drew on, within view of the melancholy House of Usher. This one sentence could well serve as a crash course in how to create atmosphere. First the bare wires of where and when are suggested (a country road; an autumn day in a time period when men still road on horseback to reach their destinations). Then lights and sound are added: the scene is dark and shadowy; a palpable silence reigns. It’s not a peaceful quiet, the kind that might soothe a tired traveler. Rather, it’s a disturbing silence described only in terms of what it lacks : “soundless.” Other details add to the foreboding: clouds hanging low; a lone rider. And beneath it all a subliminal music plays. I imagine an oboe or a cello, its tones mournfully forlorn. Soon it’s joined by a chorus of deep vowels whose tones are split by harsh consonants and stopped rhythms striking like gongs foretelling doom: dull, dark, soundless, day. Each phrase of the description, like each step of the rider’s horse, draws us deeper toward the gloom that awaits us. Nothing

Intent on not worrying for the rest of the day, I jumped out of bed and plugged my iPack into the radio. I selected 'Save Yourself' and heard the guitar strumming from the speakers. The singer's voice drifted over waves in the atmosphere, swaying between air currents, and entered my mind producing a relaxing effect.

We come into a world with a history shaped by the subtle dichotomy of culture and ethos, the dynamic forces of ideas and philosophy, and the mesmerizing undercurrent and of science and religion. The relentless clicking of time binds generations of people together. Family, country, cultural trends, and shared historical precepts link people. How we act in our lifetimes will affect the continuum of history. Our deeds will construct the industry, companies, commerce, cities, and governmental intuitions that shape our children’s lives. Our economic choices and environmental policies will determine the quality of the water that our children drink and the air they breathe. Our collective consciousness as depicted through works of literature, poetry, music, films, personal charity, and political benevolence will affect the cultural atmosphere for generations to come.

America fell prey to a hysterical Red Scare, fanned by Senator Joe McCarthy, which sought to expose Communists and fellow travelers in every area of public life, including classical music. In this toxic atmosphere, anything Russian was beyond the pale. One producer at the Voice of America, the nation’s external broadcaster, asked the music library for a recording of a popular piece called “Song of India” and found that the Red baiters had banned it. “It’s by Rimsky-Korsakov,” the librarian explained, “and we’re not supposed to use anything by Russians.

The de-spiritualization of asceticisms is probably the event in the current intellectual history of mankind that is the most comprehensive and, because of its large scale, the hardest to perceive, yet at once the most palpable and atmospherically powerful. Its counterpart is the informalization of spirituality - accompanied by its commercialization in the corresponding subcultures. The threshold values for these two tendencies provide the intellectual landmarks for the twentieth century: the first tendency is represented by sport, which has become a metaphor for achievement as such, and the second by popular music, that devotio postmoderna which covers the lives of contemporary individuals with unpredictable flashes of inner emergency.

Sexual Immorality provides a very pleasurable ride to the grave. Her vehicles are all luxury, but they cannot seat many passengers. She parks her employees nearly everywhere, and makes you feel incredibly good. The temperatures are elating, and no body part is exempted from her stimulation. If you like to ride along public places, she will drive you, but if you prefer to ride along back streets, she will also take you there. She is very discerning of how to set atmospheres for the married, single, or whatever was your relationship status. I am the songstress so there is always music suitable to her deeds. Riding in her vehicles distracts most of her passengers from every covenant and promise they ever signed their name to. She is persistent, so if you do not ride with her when she first attempted to get you, she will ensure that you ride with her eventually. She welcomes her passengers to be accompanied by their toys, animals, family members, and whoever else will allow them the best thrill along their ride. However, the more the passengers she transports, the more likely to be left at the grave.

Ambient music” is the term used today for “atmospheric” background music usually intended for relaxation or meditation.

Realizing I ought to be circulating as well, I turned--and found myself confronted by the Marquis of Shevraeth. “My dear Countess,” he said with a grand bow. “Please bolster my declining prestige by joining me in this dance.” Declining prestige? I thought, then out loud I said, “It’s a tartelande. From back then.” “Which I studied up on all last week,” he said, offering his arm. I took it and flushed right up to my pearl-lined headdress. Though we had spoken often, of late, at various parties, this was the first time we had danced together since Savona’s ball, my second night at Athanarel. As we joined the circle I sneaked a glance at Elenet. She was dancing with one of the ambassadors. A snap of drums and a lilting tweet caused everyone to take position, hands high, right foot pointed. The musicians reeled out a merry tune to which we dipped and turned and stepped in patterns round one another and those behind and beside us. In between measures I stole looks at my partner, bracing for some annihilating comment about my red face, but he seemed preoccupied as we paced our way through the dance. The Renselaeuses, completely separate from Remalna five hundred years before, had dressed differently, just as they had spoken a different language. In keeping, Shevraeth wore a long tunic that was more like a robe, colored a sky blue, with black and white embroidery down the front and along the wide sleeves. It was flattering to his tall, slender form. His hair was tied back with a diamond-and-nightstar clasp, and a bluefire gem glittered in his ear. We turned and touched hands, and I realized he had broken his reverie and was looking at me somewhat quizzically. I had been caught staring. I said with as careless a smile as I could muster, “I’ll wager you’re the most comfortable of the men here tonight.” “Those tight waistcoats do look uncomfortable, but I rather like the baldrics,” he said, surveying my brother, whom the movement of the dance had placed just across from us. At that moment Bran made a wrong turn in the dance, paused to laugh at himself, then hopped back into position and went on. Perhaps emboldened by his heedless example, or inspired by the unusual yet pleasing music, more of the people on the periphery who had obviously not had the time, or the money, or the notion of learning the dances that went along with the personas and the clothes, were moving out to join. At first tentative, with nervously gripped fans and tense shoulders here and there betraying how little accustomed to making public mistakes they were, the courtiers slowly relaxed. After six or seven dances, when faces were flushed and fans plied in earnest, the first of my mime groups came out to enact an old folktale. The guests willingly became an audience, dropping onto waiting cushions. And so the evening went. There was an atmosphere of expectation, of pleasure, of relaxed rules as the past joined the present, rendering both slightly unreal. I did not dance again but once, and that with Savona, who insisted that I join Shevraeth and Elenet in a set. Despite his joking remarks from time to time, the Marquis seemed more absent than merry, and Elenet moved, as always, with impervious serenity and reserve. Afterward the four of us went our ways, for Shevraeth did not dance again with Elenet. I know, because I watched.

you want to add momentum to your tidying work, tap the power of the atmosphere in your room rather than relying on music. The

I believe you write the book you want to read. As a reader what I craved was some recognition, however refracted, of the tumult of lived experience, of the pain and absurdity of trying to reach other human beings with some modicum of honesty and openness. And so without quite realizing what I was doing, over the course of the next few years, I wrote a series of stories that eventually became my first book, each of which dramatized in one way or another this struggle: how to find intimacy in a culture that has hollowed out the very language we use to describe it. How to capture the experience of grief when our terms for it have been overrun by the commercialization of confession. The enemy wasn’t New Criticism. It was cliché. I was trying to write prose whose rhythm created an atmosphere, a music, that allowed the nuances of human isolation, the desire to overcome it, and what it felt like to fail or sometimes briefly succeed in defying that isolation rise into the consciousness of a reader. What I believed then, and still do, is that in a violent, distracted, media-saturated world the most needed artistic resource is no longer a critique of the possibility of meaning—mass culture itself has become that critique. What is needed, rather, is the production of meaning that resists distraction. Consumer capitalism thrives by simultaneously creating human loneliness and commodifying a thousand cures for it. One form of resistance to it is the experience in art and life of a human intimacy achieved through sustained attention to what lies beyond and outside the sphere of the market.

ave you noticed the focus these days is back on the simple things of life? What's the first thing you do when you pick a rose? You smell the fragrance. Maybe it brings back a memory of the time you picked flowers for your mom. Perhaps it's time to recapture some of that girlhood simplicity. A lavender sachet in your drawer can be an unexpected and simple pleasure. Spray a little cologne on your notepaper or even on the bathroom throw rug. Or better yet, boil a little pot of cinnamon and enjoy the aroma. Put on lively music while you do your housework. Light candles for a quiet yet festive atmosphere. When we find satisfaction in the little things in life, we are happier and more willing to look for the positive in bigger things. olor in your home can make a world of difference. It can help you redefine spaces. If an area is too large, add a throw rug in a complementary color and create a "get together" spot. Add some soft colored curtains for a change of seasons. The idea is to create intimacy, a place that's inviting on a chilly evening or a warm spring afternoon. The richer the colors, the more welcoming the space. Red is great for warmth. Go for it! And shades of cranberry and plum work well. Experiment and step out of your comfort zone. Your home can be a place that gives you a feeling of quiet for thinking about what really counts in life and also be a festive atmosphere for celebrating. on't put all your emotional eggs in one basket. Our work consumes much of our time, and that's natural. And for some of you, that's 95 percent of your awake hours. Is it time to change your focus-to make life a little easier and less stressful for

Myriads of sounds so filled my mind and heart that it’s difficult to explain them. The most amazing one, however, was the angels’ wings. I didn’t see them, but the sound was a beautiful, holy melody with a cadence that seemed never to stop. The swishing resounded as if it was a form of never-ending praise. As I listened I simply knew what it was. A second sound remains, even today, the single, most vivid memory I have of my entire heavenly experience. I call it music, but it differed from anything I had ever heard or ever expect to hear on the earth. The melodies of praise filled the atmosphere. The nonstop intensity and endless variety overwhelmed me. The praise was unending, but the most remarkable thing to me was that hundreds of songs were being sung at the same time—all of them worshiping God. As I approached the large, magnificent gate, I heard them from every direction and realized that each voice praised God.

Morning, September 30 "Sing forth the honour of his name, make his praise glorious." Psalm 66:2 It is not left to our own option whether we shall praise God or not. Praise is God's most righteous due, and every Christian, as the recipient of his grace, is bound to praise God from day to day. It is true we have no authoritative rubric for daily praise; we have no commandment prescribing certain hours of song and thanksgiving: but the law written upon the heart teaches us that it is right to praise God; and the unwritten mandate comes to us with as much force as if it had been recorded on the tables of stone, or handed to us from the top of thundering Sinai. Yes, it is the Christian's duty to praise God. It is not only a pleasurable exercise, but it is the absolute obligation of his life. Think not ye who are always mourning, that ye are guiltless in this respect, or imagine that ye can discharge your duty to your God without songs of praise. You are bound by the bonds of his love to bless his name so long as you live, and his praise should continually be in your mouth, for you are blessed, in order that you may bless him; "this people have I formed for myself, they shall show forth my praise"; and if you do not praise God, you are not bringing forth the fruit which he, as the Divine Husbandman, has a right to expect at your hands. Let not your harp then hang upon the willows, but take it down, and strive, with a grateful heart, to bring forth its loudest music. Arise and chant his praise. With every morning's dawn, lift up your notes of thanksgiving, and let every setting sun be followed with your song. Girdle the earth with your praises; surround it with an atmosphere of melody, and God himself will hearken from heaven and accept your music.

Kids are one of natural most perfect learning devices. With just a little knowing, a kid can be activated and kept content. Starting early in your kid's growth can do wonderful factors for their psychological growth in later years, and provides them a large boost over other kids their age. Comprehend youngsters are designed to comprehend. Regular actions, such as offering, diapering, enjoying, executing, going for a generate in the child baby stroller, and getting bears from Grandpa are all "educational". You do not need to do synthetic actions or extremely concentrate on "educational activities" for a kid to succeed. Care for the kid. A kid needs a full belly, a dry diaper, a comfortable atmosphere, and really like for the best possible growth. Discuss to the kid. Provide a "play by play" of what you're doing (making a cup of tea, modifying a diaper, confirming the email box. Take part in kid talk; it's designed to stimulate a kid. Read a book together. Increase and massage. Kids really like to move their systems. Learn kid massage and kid yoga exercise exercises, which help comfortable, revitalize, and stimulate. But simply shifting the kid in a way he or she likes (like clapping arms, wearing coming back and forth, "So Big!") is outstanding work out, and properly rubbing kid down with kid massage oil is outstanding for sensitive growth. Acquire a execute gym or action gym. These are generally a company recommended with children from child up to about 12 months. They mostly come in the form of comfortable, quilted or properly cushioning execute shields, sometimes raised at the edges with a space in the center for kid. They can include detachable, holding locations for small children to try to comprehend. They usually have locations that are crinkle, smooth, scrunchy styles for kid to touch, media and action. Some come with bright dazzling illumination and alarm systems and others make insane seems to be, or musical show show seems to be, and some even do both. Look around. Kids are fascinated by factors grownups take for granted: Automobiles visiting outside the screen, tanks, vegetation provided by the wind, failing outfits in the outfits clothing dryer. Go outside A child baby stroller generate can be very interesting, going to uncommon new locations like the mailing service, bakery, recreation area, and so on.Drive your car, which has best car accessories, and go for a have a eat outside. Perform to the kid. Perform child's room music, TV jingles, your popular.Play with the kid. Conventional activities like "Peek-A-Boo" or cheap baby toys, the hug the kid's belly, shifting a football coming back and forth on are outstanding kid actions. Dance with the kid in your arms.

As a child, she attended classes at Juilliard, whose pre-college program invites students “who exhibit the talent, potential, and accomplishment to pursue a career in music” to experience “an atmosphere where artistic gifts and technical skills can flourish.

The Temple of Righteousness is built and its four walls are the four Principles— Purity, Wisdom, Compassion, Love. Peace is its roof; its floor Steadfastness, its entrance-door is Selfless Duty, its atmosphere is Inspiration, and its music is the Joy of the perfect.

It was a memorable night of riotous jollity. Princess Margaret attached a balloon to her tiara, Prince Andrew tied another to the tails of his dinner jacket while royal bar staff dispensed a cocktail called “A Long Slow Comfortable Screw up against the Throne.” Rory Scott recalls dancing with Diana in front of the then Prime Minister, Margaret Thatcher, and embarrassing himself by continually standing on Diana’s toes. The comedian Spike Milligan held forth about God, Diana gave a priceless diamond and pearl necklace to a friend to look after while she danced; while the Queen was observed looking through the programme and saying in bemused tones: “It says here they have live music”, as though it had just been invented. Diana’s brother, Charles, just down from Eton, vividly remembers bowing to one of the waiters. “He was absolutely weighed down with medals,” he recalls, “and by that stage, with so many royal people there, I was in automatic bowing mode. I bowed and he looked surprised. Then he asked me if I wanted a drink.” For most of the guests the evening passed in a haze of euphoria. “It was an intoxicatingly happy atmosphere,” recalls Adam Russell. “Everyone horribly drunk and then catching taxis in the early hours, it was a blur, a glorious, happy blur.

In pure mime, the artist has to depend entirely on his body on an empty stage to create an atmosphere around him, plus the characters he depicts, to tell the story without any dialogues, music, or songs, and without any external aids like props and decorations. He has to fill the stage like a painter fills his canvas.

When I opened my eyes I saw Tchaikovsky with his baton, seemingly pulling the music right out of the air, as if music was something already in the atmosphere.

It was a pity that before I’d even started work on The Final Cut, Roger felt it necessary to announce aggressively that since whatever I did ‘was drumming’, I couldn’t claim either extra royalties or credit for any of this work. This really did seem like behaviour beginning to border on the megalomaniac, particularly since I posed no threat to his plans. I decided to look on the bright side: at least it was a way of escaping from the fraught atmosphere in the studio.

Please listen to the hi-hat on the recorded version of Led Zeppelin’s “When the Levee Breaks.” Listen through once. Allow yourself to be trans- ported back to the time or place when you first fell deeply into that trance of sound, so wide and powerful it gave a new depth to your life, a depth you had not known to search for. Or maybe this is the first time you are hearing the song. In that case, I imagine you prefer different music altogether. Maybe you discount rock and roll as ego-driven, disconnected from that channeled light of Bach or Satie or Django or Monk. No matter. Allow the resistance to rise here as well, then wait for the moment the song breaks through, rings that same truth, that same transportive bell of beauty, that hyp notic atmosphere music offers. How beautiful to find lessons in our resistance. This may be a foundation of spiritual practice, to dive into the center of no and investigate. All those pronouncements and walls dis- solve like so much dust under the microscope of mind. The trance of song—loud, immense, gorgeous—does the same.

At first the art of music sought purity, limpidity and sweetness of sound. Then different sounds were amalgamated, care being taken, however, to caress the ear with gentle harmonies. Today music, as it becomes continually more complicated, strives to amalgamate the most dissonant, strange and harsh sounds. In this way we come ever closer to noise-sound. This musical evolution is paralleled by the multipication of machines, which collaborate with man on every front. Not only in the roaring atmosphere of major cities, but in the country too, which until yesterday was totally silent, the machine today has created such a variety and rivalry of noises that pure sound, in its exiguity and monotony, no longer arouses any feeling. To excite and exalt our sensibilities, music developed towards the most complex polyphony and the maximum variety, seeking the most complicated successions of dissonant chords and vaguely preparing the creation of musical noise.

In the German and French pensions, which twenty-five years ago were crowded with American mothers and their daughters who had crossed the seas in search of culture, one often found the mother making real connection with the life about her, using her inadequate German with great fluency, gaily measuring the enormous sheets or exchanging recipes with the German Hausfrau, visiting impartially the nearest kindergarten and market, making an atmosphere of her own, hearty and genuine as far as it went, in the house and on the street. On the other hand, her daughter was critical and uncertain of her linguistic acquirements, and only at ease when in the familiar receptive attitude afforded by the art gallery and opera house. In the latter she was swayed and moved, appreciative of the power and charm of the music, intelligent as to the legend and poetry of the plot, finding use for her trained and developed powers as she sat "being cultivated" in the familiar atmosphere of the classroom which had, as it were, become sublimated and romanticized. I remember a happy busy mother who, complacent with the knowledge that her daughter daily devoted four hours to her music, looked up from her knitting to say, "If I had had your opportunities when I was young, my dear, I should have been a very happy girl. I always had musical talent, but such training as I had, foolish little songs and waltzes and not time for half an hour's practice a day." The mother did not dream of the sting her words left and that the sensitive girl appreciated only too well that her opportunities were fine and unusual, but she also knew that in spite of some facility and much good teaching she had no genuine talent and never would fulfill the expectations of her friends. She looked back upon her mother's girlhood with positive envy because it was so full of happy industry and extenuating obstacles, with undisturbed opportunity to believe that her talents were unusual. The girl looked wistfully at her mother, but had not the courage to cry out what was in her heart: "I might believe I had unusual talent if I did not know what good music was; I might enjoy half an hour's practice a day if I were busy and happy the rest of the time. You do not know what life means when all the difficulties are removed! I am simply smothered and sickened with advantages. It is like eating a sweet dessert the first thing in the morning.

Perfume is to smells what eroticism is to sex: an aesthetic, cultural, emotional elaboration of the raw materials provided by nature. The ladies of the court, led by Marie-Antoinette, resorted to the only thing that could keep them one step ahead of the commoners, however wealthy they were: fashion. In fact, this is how fashion as we know it came into existence: the latest trend adopted by a happy few for a season before trickling down to the middle classes. Just a touch of the negligence etudiee that distinguishes chic Parisian women from their fiercely put-together New Yorker or Milanese counterparts. Perfume needs to be supported by image. You're not just doing it to smell good: you're perpetuating a ritual of erotic magic that's been scaring and enticing men in equal measure for millennia. Perfumes are our subconscious. They read us more revealingly than any other choice of adornment, perhaps because their very invisibility deludes us into thinking we can get away with the message they carry. These scents severed fragrance from its function as an extension of a female or male persona - the rugged guy, the innocent waif or the femme fatale - to turn it into a thing that was beautiful, interesting and evocative in and of itself. Perfume's advertising relies on the 3 aspiration S: stars, sex and seduction, with a side helping of dreams or exoticism. Descriptions, impressions, analogies, short stories, snippets or real-life testing, bits of history, parallels with music or literature. Connecting a scent with emotions, impressions, atmospheres, isn't that why we wear it? Isn't it all subjective? Just because you don't want it in your life doesn't make it bad. And it's not entirely impossible to consider perfumes beyond their "like/don't like" status. What intent does t set out to fulfill? How does it achieve its effects? How does it fit in with the history of the brand or its identity? How does it compare to the current season's offerings? Does it bring something new? The story told by the perfumer blends with the ones we tell ourselves about it; with our feelings, our moods, our references, our understanding of it. Once it is released from the bottle, it becomes a new entity. We make it ours: we are the performers of our perfume. Both lust and luxury are coupled in the same Latin word: luxuria is one of the 7 deadly sins. The age-old fear of female sexuality. The lure of beauty, set off by costly and deceitful adornments, could lead men to material and moral ruin but, more frighteningly, suck them into a vortex of erotic voracity. A man's desire waxes and wanes. But how can a woman, whose pleasure is never certain and whose receptive capacity is potentially infinite, ever be controlled?

Missing’s success came about in part because it brought a moment of melancholy and heartbreak back to the dancefloor, a combination many people had always loved but perhaps forgotten. (…) electronic music with beats. It could be melodic and heartfelt, as well as experimental. Slow and moody. Atmospheric.

Music to heal: To heal problems related to children, honour, getting a position in life, relationships with father and government - Raag Tanpura, Raag Shadbhinna, Raag Darbari To heal mental peace, relations with mother, happiness, calmness, family atmosphere, emotional trauma and pain - Raag Sudh, Raag Komal, Raag Yaman, Hansdhawani To heal property realated issues, blood related problems, violence and accidents - Bhairvai, Asavi, Thodi To heal education related troubles, fights with siblings, throid and hormonal imbalance, communication, business, friends - Gandharva, Kalyan, Poorvi To heal relationship issues, money related troubles - Nat Bhairav, Brindabani Sarang Lack of happiness, motivation, purpose, intagible happiness missing - Raag Shudha Profession problems, long term diseases, chronic troubles - Jaunpuri, Kirwani, Neelambri

When I opened my eyes I saw Tchaikovsky with his baton, seemingly pulling the music right out of the air, as if music was something already in the atmosphere.

Similar to the Rodrigo in form, “La Catedral” has a slow, atmospheric introduction, followed by an episodic, rhythmic dance. It is constructed around a simple figure, an arpeggio that Barrios pushes through a series of chord changes: a small gesture, undistinguished in itself, yet full of musical possibilities. I set the music stand aside and play it from memory. The first finger of my left hand holds a bass note while above the theme sways with a tentative rise and fall. My left hand feels secure and steady, the ground on which the music builds. My fingers make swift, pulsing motions that gain weight and mass when the sound is larger, louder. The arpeggio grows increasingly insistent and agitated. I feel every note, not just in my fingers but along my arms to the elbows, where the fingers’ motions begin, and into my shoulders, neck, chest, and back. Everything is connected. My ear, my muscles, my flesh, these notes, and this wood and string—all are parts of a single vibrating structure, communicating their movement to each other. Playing feels different now. For the first time this cathedral is really dancing. It's built on a questioning anxiety. But the structure develops a kind of reassurance, like pleading that becomes a prayer. This feeling is not notated on the page. It is something that takes place within the notes, or between them, and within my body, within the guitar's body. I first played this piece in my third year at the Conservatory, just about the time I bought my church door guitar. With so fine an instrument in my hands, I suddenly heard an unexplored dimension latent in everything I played, as if the guitar knew things I had never dreamed of. It was a moment of great promise for me. The guitar offered a quality of vibration beyond anything I had imagined before, bringing greater forces into motion than just the strings. But in those days I couldn't play it. I was braced too tightly. Playing now feels somehow simpler. I'm not practicing a fantasy of the guitar or of myself, but this instrument, this wood, these strings; I'm playing this music, letting these notes dance. It's easy to forget how simple music is. I'm like a soundboard, whose job is to communicate excitement, to balance tension. Building the instrument and learning to play it involve complicated physics. But music is about vibration, about allowing myself to be moved.

On one level, the poems after Verlaine in this collection are a selfish project. I wanted to try on a voice with which, despite sharing some stylistic and tonal sympathies, I seemed to have little in common. It served as a psychodramatic exercise, a walk in somebody else’s shoes. Writing each new poem while drawing on the raw material of Verlaine in translation has led me, in the always dramatised context of the individual poem, to think and say things I’d likely never have dreamed of otherwise. But just as importantly, I hope these poems paint a fresh portrait of Paul Verlaine, however partial and sketchy, that reveals him to be a more surprising, hard-thinking, and even revivifying poet than expected. Beyond his skilled conjuring of delicate and atmospheric allusiveness, at its best, his is also poetry of punchy musicality, philosophical edge, and candidness – both intellectual and emotional – which allows for genuine beauty, sensuality, and sadness.

He would buy me a pair of headphones if I would promise to use them when he was home. Those headphones forever changed the way I listened to music. The new artists that I was listening to were all exploring stereo mixing for the first time. Because the speakers that came with my hundred-dollar all-in-one stereo system weren’t very good, I had never before heard the depth that I could hear in the headphones—the placement of instruments both in the left-right field and in the front-back (reverberant) space. To me, records were no longer just about the songs anymore, but about the sound. Headphones opened up a world of sonic colors, a palette of nuances and details that went far beyond the chords and melody, the lyrics, or a particular singer’s voice. The swampy Deep South ambience of “Green River” by Creedence, or the pastoral, open-space beauty of the Beatles’ “Mother Nature’s Son”; the oboes in Beethoven’s Sixth (conducted by Karajan), faint and drenched in the atmosphere of a large wood-and-stone church; the sound was an enveloping experience. Headphones also made the music more personal for me; it was suddenly coming from inside my head, not out there in the world. This personal connection is ultimately what drove me to become a recording engineer and producer. Many years later, Paul Simon told me that the sound is always what he was after too.

Your life is your work of art, it's an expression of your uniqueness. Sensuality enables artists to explore the depths of human experience, translating their internal landscapes into creative expressions that resonate with others. Each form of art captures the essence of emotion in unique ways, inviting audiences to engage with the artist's vision. In painting, colors and textures evoke feelings that can range from joy to despair. The choice of hues can create warmth or coldness, while the brushstrokes convey movement and energy, allowing viewers to feel the artist's heartbeat on the canvas. Each artwork becomes a window into the artist’s soul, reflecting their innermost thoughts and feelings. Music, too, is a deeply emotional medium. A melody can evoke nostalgia, while a rhythm can ignite a sense of urgency or joy. The interplay of notes and silence creates a dynamic landscape where emotions can flow freely. Lyrics can tell stories of love, loss, and hope, forging a connection that often feels personal and intimate. Writing gives voice to the complexities of emotion. Through prose and poetry, writers can articulate thoughts and feelings that may be difficult to express otherwise. Each word is carefully chosen to resonate with the reader, drawing them into a world where they can empathize with the characters and situations presented. The written word has the power to heal, inspire, and provoke thought, making it a vital form of artistic expression. Photography captures fleeting moments, freezing them in time while conveying emotions that may otherwise be lost. A single image can tell a powerful story, eliciting joy, sadness, or contemplation. The photographer's perspective shapes how we see the world, inviting us to experience beauty, vulnerability, and the raw essence of life through their lens. Dance is perhaps the most physical manifestation of sensuality in art. It encompasses a language of movement that transcends spoken words, allowing dancers to express emotions through their bodies. Each movement tells a story, whether it’s a graceful ballet or an energetic street dance, and the connection between performers and audience can be electric, creating an atmosphere of shared emotion and energy. In all these forms, the artist's sensuality serves as a conduit for emotional exploration and expression. It is through their vulnerability and authenticity that they invite others to feel, reflect, and connect, reminding us of the richness of the human experience. Art becomes a celebration of life, an exploration of emotions that binds us together in our shared humanity. Being an artist is immersing oneself completely in the experience of life...

An Outrageous Farmyard Challenge If you're looking for a chaotic, hilarious, and action-packed arcade experience, Crazy Cattle is the game for you. Set in a rural farmyard turned battleground, this quirky game throws you into the middle of a full-blown cow stampede, where you must run, dodge, and survive as long as possible. With fast-paced gameplay, unpredictable cow behavior, and comic visuals, Crazy Cattle offers an addictive experience that keeps you on your toes from the very first second. This isn’t your average farm simulator—this is a high-speed test of reflexes and survival instincts where only the quickest players will come out on top. Gameplay Overview In Crazy Cattle, your main objective is simple: stay alive. The game starts calmly, but quickly turns into mayhem as angry, confused, and chaotic cows begin charging across the field. Your task is to maneuver through waves of stampeding cattle without getting trampled. The gameplay features: Simple tap or arrow controls to move and dodge Increasing difficulty with each wave of cows Dynamic movement patterns from the cattle Power-ups like speed boosts and shields Random obstacles such as hay bales, fences, and water troughs The longer you survive, the faster and wilder things get. Timing and reaction speed are critical to avoiding getting flattened. Fun and Accessible Design One of Crazy Cattle’s biggest strengths is its accessible design. Whether you're playing on desktop or mobile, the game runs smoothly with intuitive controls and quick restarts. The visual style is lighthearted and cartoonish, making it appealing to players of all ages. The cows are the real stars of the show—animated with exaggerated expressions and unpredictable movements. Some sprint, others zigzag, and a few even jump. Their erratic behavior adds humor and challenge to every run. Combined with upbeat country-style background music and goofy sound effects (moo!), Crazy Cattle creates a playful atmosphere that encourages players to keep coming back for “just one more try.” What Makes Crazy Cattle Addictive? Fast-paced action with no loading delays Funny animations and unpredictable cows Randomly generated patterns for unique runs every time No complex rules or menus—just press play and start dodging Great for quick sessions or long play streaks Unlike many arcade games that rely on high scores alone, Crazy Cattle adds layers of strategy through its item system. For example, grabbing a magnet may attract useful coins, while a shield gives you a brief period of invincibility to plow through danger. Tips to Stay Alive Longer Want to last more than 30 seconds? Here are a few survival tips: Stay near the center to give yourself room to dodge Watch for patterns in cow movement before committing to a direction Use power-ups wisely—especially shields during dense waves Don’t panic! Stay calm when things get hectic Practice makes perfect: every failed run helps you improve reflexes Perfect for All Ages and Devices Crazy Cattle is a browser-based game, so there’s no need to download or install anything. It runs directly on both mobile and desktop platforms, making it a great pick for casual players, kids, and anyone who loves quick and silly games. It’s also an excellent choice for short breaks, since matches are typically under a minute—unless you’re a dodging master, of course. Conclusion Crazy Cattle is a refreshingly fun and chaotic arcade game that blends fast reflex gameplay with comedic charm. With simple mechanics, humorous visuals, and endless replay value, it stands out as a must-try for fans of action-packed casual games. Whether you’re dodging for dear life or laughing as cows fly past, Crazy Cattle delivers pure entertainment in every round. Jump in now and prove that you can survive the stampede! From slope-ball.io

During the Second World War, conscription had brought together gay men and lesbians from all over America. Many had found freedom away from their home environments and, realising that there were many others like them, togetherness in these new possibilities for association. The carpe diem atmosphere of wartime also loosened sexual constraints. This in turn fostered the basic building blocks of the post-war gay world: sympathetic venues, insider code language – the Second World War saw the term ‘gay’ begin to replace ‘homosexual’ – and ideas of equality and freedom

While they didn’t talk much, the atmosphere wasn’t strained. Tense a bit, alive with the electrical attraction humming between them, but it was a good tense. Leo put some music on the radio, and when Foreigner came on, she couldn’t resist singing, and to her delight, Leo joined her, his deep baritone wrapping her in a sensual velvet glove. At the end of the song, she laughed. “I can’t believe it. You sing.” “No I don’t.” “You do too! I heard you.” Again, he shot the most deadly smile her way. “But I will deny it if ever asked. Think of it as my deep dark secret. I like to do karaoke, usually in the shower where no one can hear.” “Why hide when you have a great voice?” “I also have a membership in the no-pussy club. If I don’t want my status as a badass revoked, then singing is out. As is ballroom dancing, buying feminine products, and wearing pastels.” “Sounds chauvinistic.” “Totally, which is what makes it fun.” “Fun how?” “Because it drives the lionesses nuts.” “I thought you were all about keeping the peace.” A massive shoulder rolled as he shrugged. “Yeah, but that doesn’t mean I don’t like to have a little fun.” The wink he tossed her had her giggling again.

For this reason, it is essential to create a quiet space in which to evaluate the things in your life. Ideally, you should not even be listening to music. Sometimes I hear of methods that recommend tidying in time to a catchy song, but personally, I don’t encourage this. I feel that noise makes it harder to hear the internal dialogue between the owner and his or her belongings. Listening to the TV is, of course, out of the question. If you need some background noise to relax, choose environmental or ambient music with no lyrics or well-defined melodies. If you want to add momentum to your tidying work, tap the power of the atmosphere in your room rather than relying on music.

Holst’s astringent orchestral piece Egdon Heath, completed shortly after visiting Hardy, captures the novelist’s eerie atmospheres and weight of foreclosing tragedy.

Much like being in a fantastic new band, surely, having a favourite new band is one of life’s most intoxicating thrills, a prismatic explosion of hitherto dormant energy channelled from the atmosphere directly into your soul; an atomic collision promising unknowable new possibilities of sonic beguilement, lyrical connection, dancing upside down on a dance floor with your greatest friends and talking synapse-shredded cobblers ’til three days hence at dawn. All of these things, at least, were the touchstones of Oasis fandom. It’s not so very different from falling in love (even if it is in the worst possible, all-obsessional, one-directional way). One

Like alcohol and coffee, song had been cast as the faithful servant of political opposition when Louis-Napoleon came to power. Singing in cafés was consequently one of the first forms of expression outlawed under his regime. However, when a series of decrees in the 1860s had lifted many of the restrictions imposed on entertainment venues (notably by permitting the use of props, costumes and music), café-concerts had begun to flourish. By the 1880s, there were over 200 such venues belting out hearty songs about working-class life across Paris. Along with the usual facilities of a café, café-concerts also offered a small indoor stage or a covered pavilion outside where singers, and sometimes acrobats and comedians, performed for an often raucous audience. Patrons paid more than they would in a standard café, either in the form of an entrance fee or through elevated drinks prices. But many judged the supplement worthwhile; the atmosphere was relaxed, the singers, though not first rate, were undeniably ‘of the people’, and unlike theatre-goers, audience members could also smoke. And as one guidebook writer exclaimed with surprise, ‘sometimes, one can actually hear quite good music.

And they help us understand why one environment makes people anxious and competitive, while another brims with sociability and tolerance. Think about the way people act in the sterile cabin of an airplane, breaking into fights over three degrees of seat recline and jostling elbows for control of an armrest. Now contrast this with how people behave in the convivial atmosphere of a music festival. Surrounded by vibrant decorations and music, people share food and drink, make space on the crowded lawn for newcomers, and dance with strangers. The power of the aesthetics of joy is that they speak directly to our unconscious minds, bringing out the best in us without our even being aware of it.

The noise of the blaring music and the champagne she had consumed caused a dull headache that seemed to increase the longer she spent in that electrifying atmosphere. Natalie excused herself and reached her apartment in seconds only to collapse on the bed and drifted off to a deep sleep.

We didn’t believe when we first heard because you know how church folk can gossip. Like the time we all thought First John, our head usher, was messing around on his wife because Betty, the pastor’s secretary, caught him cozying up at brunch with another woman. A young, fashionable woman at that, one who switched her hips when she walked even though she had no business switching anything in front of a man married forty years. You could forgive a man for stepping out on his wife once, but to romance that young woman over buttered croissants at a sidewalk café? Now, that was a whole other thing. But before we could correct First John, he showed up at Upper Room Chapel that Sunday with his wife and the young, hip-switching woman—a great-niece visiting from Fort Worth—and that was that. When we first heard, we thought it might be that type of secret, although, we have to admit, it had felt different. Tasted different too. All good secrets have a taste before you tell them, and if we’d taken a moment to swish this one around our mouths, we might have noticed the sourness of an unripe secret, plucked too soon, stolen and passed around before its season. But we didn’t. We shared this sour secret, a secret that began the spring Nadia Turner got knocked up by the pastor’s son and went to the abortion clinic downtown to take care of it. She was seventeen then. She lived with her father, a Marine, and without her mother, who had killed herself six months earlier. Since then, the girl had earned a wild reputation—she was young and scared and trying to hide her scared in her prettiness. And she was pretty, beautiful even, with amber skin, silky long hair, and eyes swirled brown and gray and gold. Like most girls, she’d already learned that pretty exposes you and pretty hides you and like most girls, she hadn’t yet learned how to navigate the difference. So we heard all about her sojourns across the border to dance clubs in Tijuana, the water bottle she carried around Oceanside High filled with vodka, the Saturdays she spent on base playing pool with Marines, nights that ended with her heels pressed against some man’s foggy window. Just tales, maybe, except for one we now know is true: she spent her senior year of high school rolling around in bed with Luke Sheppard and come springtime, his baby was growing inside her. — LUKE SHEPPARD WAITED TABLES at Fat Charlie’s Seafood Shack, a restaurant off the pier known for its fresh food, live music, and family-friendly atmosphere. At least that’s what the ad in the San Diego Union-Tribune said, if you were fool enough to believe it. If you’d been around Oceanside long enough, you’d know that the promised fresh food was day-old fish and chips stewing under heat lamps, and the live music, when delivered, usually consisted of ragtag teenagers in ripped jeans with safety pins poking through their lips.

In the German and French pensions, which twenty-five years ago were crowded with American mothers and their daughters who had crossed the seas in search of culture, one often found the mother making real connection with the life about her, using her inadequate German with great fluency, gaily measuring the enormous sheets or exchanging recipes with the German Hausfrau, visiting impartially the nearest kindergarten and market, making an atmosphere of her own, hearty and genuine as far as it went, in the house and on the street. On the other hand, her daughter was critical and uncertain of her linguistic acquirements, and only at ease when in the familiar receptive attitude afforded by the art gallery and the opera house. In the latter she was swayed and moved, appreciative of the power and charm of the music, intelligent as to the legend and poetry of the plot, finding use for her trained and developed powers as she sat "being cultivated" in the familiar atmosphere of he classroom which had, as it were, become sublimated and romanticized.

Music is in the atmosphere swaying emotions on your reminiscing teeter totter where children remained children until the bell of reality sounded.

Along with the figure of Liberty and the tricolored flag, the third revolutionary symbol to return with the Revolution of 1830 was the “Marseillaise,” the forty-year-old song that had been France’s national anthem before the restoration of the Bourbons in 1815. “And the music that was there then,” recalled the composer Hector Berlioz in his memoirs about the atmosphere in Paris in the aftermath of the July Days, “the songs, the harsh voices resounding through the streets—nobody who did not hear it can have an idea what it was like.” Each night crowds gathered under the windows of the Palais Royal to sing the “Marseillaise,” and Louis Philippe would go out on his balcony and beat time for the citizens’ chorus.

music plays a significant, key role in cultivating an atmosphere for the presence of the Lord. It has the ability to open and prepare a person's heart.

The dust of the sunshine was borne along and breathed, steeped in flower and pollen to the music of bees and birds, the stream of the atmosphere became a living thing. It was life to breathe it, for the air itself was life. The strength of the earth went up through the leaves into the wind. Fed thus on the food of the Immortals, the heart opened to the width and depth of the summer—to the broad horizon afar, down to the minutest creature in the grass, up to the highest swallow.

I understand you, Marco Antonio Guerra said to him. I mean, if I’m right, I think I understand you. You’re like me and I’m like you. We aren’t happy. The atmosphere around us is stifling. We pretend there’s nothing wrong, but there is. What’s wrong? We’re being fucking stifled. You let off steam your own way. I beat the shit out of people or let them beat the shit out of me. But the fights I get into aren’t just any fights, they’re fucking apocalyptic mayhem. I’m going to tell you a secret. Sometimes I go out at night, to bars you can’t even imagine. And I pretend to be a faggot. But not just any kind of faggot: smooth, stuck-up, sarcastic, a daisy in the filthiest pigsty in Sonora. Of course, I don’t have a gay bone in me, I can swear that on the grave of my dead mother. But I pretend that’s what I am. An arrogant little faggot with money who looks down on everyone. And then the inevitable happens. Two or three vultures ask me to step outside. And then the shit kicking begins. I know it and I don’t care. Sometimes they’re the ones who get the worst of it, especially when I have my gun. Other times it’s me. I don’t give a fuck. I need the fucking release. Sometimes my friends, the few friends I have, guys my age who are lawyers now, tell me I should be careful, I’m a time bomb, I’m a masochist. One of them, someone I was really close to, told me that only somebody like me could get away with what I did because I had my father to bail me out. Pure coincidence, that’s all. I’ve never asked my father for a thing. The truth is, I don’t have friends. I don’t want any. At least, I’d rather not have friends who’re Mexicans. Mexicans are rotten inside, did you know? Every last one of them. No one escapes. From the president of the republic to that clown Subcomandante Marcos. If I were Subcomandante Marcos, you know what I’d do? I’d launch an attack with my whole army on any city in Chiapas, so long as it had a strong military garrison. And there I’d sacrifice my poor Indians. And then I’d probably go live in Miami. What kind of music do you like? asked Amalfitano. Classical music, Professor, Vivaldi, Cimarosa, Bach. And what books do you read? I used to read everything, Professor, I read all the time. Now all I read is poetry. Poetry is the one thing that isn’t contaminated, the one thing that isn’t part of the game. I don’t know if you follow me, Professor. Only poetry—and let me be clear, only some of it—is good for you, only poetry isn’t shit.

Retro Tapes by Push Gaming is a colorful slot with a musical theme and a retro 80s atmosphere. The game is built on cluster payouts and offers a large game grid. The neon graphics create a fun mood, while unique bonus features including jackpots and cascading wins make the experience even more exciting. The slot can be tried out for free and enjoy the stylish design and unconventional gameplay.

ZAFER'S VİCTORY Chapter 25: The Art of Death: Bloody Secrets in the Paintings" "The shadow of escape dragged us to this town. An unknown refuge, a scene where innocence flirts with darkness. Zafer and Ayda, two pawns in fate's cruel game, with death's cold breath on their heels. Zafer whispered to Ayda: 'You know I'm not a coward, I'm forced to flee because you are with me.' Ayda's eyes penetrated the depths of Zafer's soul: 'I know you, Zafer, I also know you're not afraid of Can. I'm not afraid either.' Zafer's voice, as sharp as death's cold breath: 'Let's lose him first, then I'll kill him. If I don't kill him, he'll never stop.' Ayda's eyes lit up with a glimmer of hope: 'Look, a small town appeared opposite. Let's go there.' As the boat reached the shore, Zafer and Ayda began to run through the ominous streets of this town whose name they didn't even know. They ran until they were tired, then stopped in front of an antique shop. Zafer's eyes fixed on the shop's dark display window: 'Look, an antique shop, let's go.' As they entered, the shop's silence was as terrifying as death's cold breath. Ayda's voice, as faint as a whisper: 'Is anyone here?' Zafer's eyes roamed the dark corners of the shop: 'I don't think anyone is here.' Headless silhouettes, tortured figures, skeletons hung upside down in bottles... The shop was a nightmare where death met art. Ayda's voice, trembling as a whisper of fear: 'Zafer! What a strange place this is, so frightening.' As they looked at the strange antique items, a music box began to play, further increasing the tense atmosphere. Zafer and Ayda's eyes delved into the depths of each other's souls. As they moved forward, a door appeared. Ayda's voice, as faint as a whisper of hesitation: 'Should we wait?' Zafer's hand reached for the doorknob: 'I don't think you'd want to see what's in there.' Ayda's eyes searched for the darkness in Zafer's soul. When he opened the door, they were confronted with the reality of the brutality in the paintings: tortured corpses, figures enveloped by death's cold breath. A tortured man on a stool, hung upside down by his feet, his blood dripping into a bucket. A woman whose skin had been flayed on a table, enveloped by death's cold breath. People whose bodies were riddled with holes and putrefied, hidden in the dark corners of the shop. Ayda's voice, as hushed as a whisper of terror: 'Zafer! This is hell.' A sound from outside ripped through the shop's silence. Ayda hid under the corpse sitting on the stool. Zafer opened the door of an old, yellowed cabinet and encountered a corpse. He hid in the cabinet to avoid being caught.

Discover the Thrill of Slope Game: A High-Speed 3D Experience An Introduction to Slope Game If you’re searching for a fast-paced browser game that keeps your adrenaline pumping, Slope Game is the perfect choice. This endless 3D runner challenges players to control a glowing ball that races down a steep, neon-lit track filled with twists, turns, and deadly obstacles. The goal? Stay alive as long as you can while the speed increases and the difficulty intensifies. With its sleek design and addictive mechanics, Slope has become a favorite for gamers who enjoy quick reflex challenges and smooth, dynamic gameplay. How Slope Game Works The gameplay is straightforward yet incredibly engaging. Players use their keyboard to steer a ball left and right, navigating a track that constantly shifts and changes. The slope is filled with gaps, red blocks, and sharp turns that test your timing and reaction speed. Unlike many other games, Slope doesn’t slow down—it only gets faster, pushing players to sharpen their focus and make split-second decisions. One wrong move, and it’s game over. This combination of simplicity and intensity is what makes the game so addicting. What Makes Slope Game Stand Out? Slope Game isn’t just another online runner. Its standout feature is its fluid 3D graphics and seamless controls. The glowing visual style and electronic music create an immersive, futuristic atmosphere. Additionally, every playthrough is different thanks to the randomly generated tracks. This means no two games are the same, adding endless replay value. It’s easy to jump into, but hard to master—perfect for both beginners and competitive players trying to beat their own high scores. Benefits of Playing Slope Game Beyond entertainment, Slope Game can help improve your cognitive skills. Players often experience better hand-eye coordination, enhanced concentration, and quicker decision-making abilities after regularly playing. Since the game demands intense focus and fast reflexes, it exercises your brain in a way that’s fun and engaging. It's a great example of how gaming can be both exciting and mentally stimulating at the same time. Final Thoughts on Slope Game Slope Game offers a unique blend of speed, simplicity, and skill that makes it one of the most entertaining browser games available today. Whether you’re competing with friends for the highest score or just looking to kill a few minutes, Slope delivers non-stop action that’s easy to pick up and hard to put down. Its polished visuals, reactive gameplay, and endless variation make it a standout in the world of free online games. So go ahead—launch the game, grip your keys, and see how long you can survive the slope!

The influence of the mid-to-late-Sixties English counterculture is clearer in The Beatles’ music than in that of any of their rivals. This arose from a conflux of links, beginning with their introduction by Brian Epstein to the film director Richard Lester, continuing with McCartney’s friendships with Miles and John Dunbar, and culminating in the meeting of Lennon and Yoko Ono. Through Lester and his associates - who included The Beatles’ comedy heroes Spike Milligan and Peter Sellers - the group’s consciousness around the time of Sgt. Pepper was permeated by the anarchic English fringe theatre, with its penchant for Empire burlesque (e.g., The Alberts, Ivor Cutler, Milligan and Antrobus’s The Bed Sitting Room). This atmosphere mingled with contemporary strains from English Pop Art and Beat poetry; the ‘happenings’ and experimental drama of The People Show, Peter Brook’s company, and Julian Beck’s Living Theatre; the improvised performances of AMM and what later became the Scratch Orchestra; the avant-garde Euro-cinema of Fellini and Antonioni; and the satire at Peter Cook’s Establishment club and in his TV show with Dudley Moore, Not Only . . . But Also (in which Lennon twice appeared). From the cultural watershed of 1965-6 onwards, The Beatles’ American heroes of the rock-and-roll Fifties gave way to a kaleidoscopic mélange of local influences from the English fringe arts and the Anglo-European counterculture as well as from English folk music and music-hall.

Burroughs inspired McCartney to cut in found sounds on Beatles recordings, including alarm clocks, automobile horns, and circus atmospherics. This, in turn, gave Brian Wilson—whose Beach Boys were locked in a kind of cross-continental musical arms race with the Fab Four—the gumption to add barking dogs and bicycle horns to his own masterpiece, Pet Sounds. The formal name for such experimental composition is musique concreté.

I do envy these Europeans the comfort they take. When the work of the day is done, they forget it. Some of them go, with wife and children, to a beer hall and sit quietly and genteelly drinking a mug or two of ale and listening to music; others walk the streets, others drive in the avenues; others assemble in the great ornamental squares in the early evening to enjoy the sight and the fragrance of flowers and to hear the military bands play—no European city being without its fine military music at eventide; and yet others of the populace sit in the open air in front of the refreshment houses and eat ices and drink mild beverages that could not harm a child. They go to bed moderately early, and sleep well. They are always quiet, always orderly, always cheerful, comfortable, and appreciative of life and its manifold blessings. One never sees a drunken man among them. The change that has come over our little party is surprising. Day by day we lose some of our restlessness and absorb some of the spirit of quietude and ease that is in the tranquil atmosphere about us and in the demeanor of the people. We grow wise apace. We begin to comprehend what life is for.

How to Play Sigma Boy: Musical Clicker – A Complete Beginner’s Guide Sigma Boy: Musical Clicker is more than just another idle tapping game. It’s a creative and rewarding journey that lets you guide an ambitious artist from unknown street performer to global music icon. Whether you’re new to clicker games or a longtime fan of idle titles, this guide will walk you through how to play, progress, and enjoy the game to the fullest. Starting Out: The Basics When you first enter the game, you’ll be introduced to Sigma Boy—a young musician with big dreams but no resources. Your job is to help him rise to fame by tapping the screen. Each tap earns coins, which serve as the main currency in the game. Coins are used to improve Sigma Boy’s singing skills, unlock auto-clicking features, and purchase a wide range of upgrades. The more you click, the faster you earn, and the faster you can level up your character. The Role of Clicking and Auto-Clickers In the early game, tapping manually is the main way to earn coins. However, Sigma Boy: Musical Clicker doesn’t stop there. As you progress, you can unlock auto-clickers that generate income automatically, even when you’re not actively playing. These features make the game more enjoyable by allowing you to grow your empire without constant tapping. Auto-clickers can also be upgraded to increase their speed and output, making them essential for long-term progress. Upgrades and Progression Upgrading is the heart of Sigma Boy: Musical Clicker. With the coins you earn, you can purchase various upgrades, such as: Vocal improvements to make Sigma Boy sing better and earn more per click Visual upgrades like costumes, stage lights, and instruments Lifestyle items including luxury phones, cars, houses, and brand franchises Each upgrade not only boosts your income but also changes how your character and performance space look. These visual transformations make the game feel dynamic and rewarding. Unlocking New Locations As Sigma Boy’s fame grows, new performance locations become available. These range from local street corners to large stadiums, and even futuristic or space-themed stages. Each location offers higher income potential and brings a new atmosphere to your musical journey. To unlock these stages, you’ll need to meet specific coin or upgrade milestones. Reaching new stages gives a strong sense of progression and keeps the gameplay experience fresh. Offline Earnings One of the game’s most attractive features is the ability to earn coins even when you’re offline. Once you’ve unlocked and upgraded your auto-clickers, Sigma Boy will continue performing and making money while you’re away. This idle mechanic makes it easy to check in for a few minutes, collect rewards, upgrade, and return later without losing progress. Final Tips for New Players Focus on upgrading auto-clickers early to maximize passive income Prioritize voice upgrades to increase income per click Save for key items like phones and cars, as they provide big boosts Reinvest your earnings smartly to unlock new stages faster Sigma Boy: Musical Clicker is simple to pick up, but with strategic upgrades and long-term goals, it offers satisfying depth for anyone looking to build a virtual music empire. Whether you’re playing for five minutes or an hour, there’s always progress to be made.

Music industry defenders of streaming muzak like to point out that artists themselves have been making functional music for decades. The argument usually begins by pointing to Brian Eno’s 1978 Ambient 1: Music for Airports, widely considered the first ambient record, which came with a manifesto outlining how ambient “must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.” For example, the cofounder of Endel, a German app that builds on the logic of the functional playlist boom by generating “personalized functional soundscapes,” cites Eno as his biggest influence.10 Today’s functional music front-runners seem to miss something essential about the history of ambient, though, and the traditions it draws from and helped shape. For his part, Eno claims to have conceptualized ambient as a direct response to the cultural pervasiveness of Muzak, rather than a recreation of it. He called ambient music “an atmosphere or a surrounding influence: a tint,” which he created to suit “a wide variety of moods and atmospheres.” In Eno’s explanation of it, consummate artists were not supposed to make background music, and he asked, why not? “I use it to make the space that I want to live in.”11

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