Blast The Music Quotes

Hermes smiled. "I knew a boy once ... oh, younger than you by far. A mere baby, really." Here we go again, George said. Always talking about himself. Quiet! Martha snapped. Do you want to get set on vibrate? Hermes ignored them. "One night, when this boy's mother wasn't watching, he sneaked out of their cave and stole some cattle that belonged to Apollo." "Did he get blasted to tiny pieces?" I asked. "Hmm ... no. Actually, everything turned out quite well. To make up for his theft, the boy gave Apollo an instrument he'd invented-a lyre. Apollo was so enchanted with the music that he forgot all about being angry." So what's the moral?" "The moral?" Hermes asked. "Goodness, you act like it's a fable. It's a true story. Does truth have a moral?" "Um ..." "How about this: stealing is not always bad?" "I don't think my mom would like that moral." Rats are delicious, suggested George. What does that have to do with the story? Martha demanded. Nothing, George said. But I'm hungry. "I've got it," Hermes said. "Young people don't always do what they're told, but if they can pull it off and do something wonderful, sometimes they escape punishment. How's that?

The most unreal thing about the bar was Taylor Swift’s ‘Blank Space’ blasting from the speakers. ‘Dwarves like human music?’ I asked Blitzen. ‘You mean humans like our music.’ ‘But …’ I had a sudden image of Taylor Swift’s mom and Freya having a girls’ night out in Nidavellir. ‘Never mind.

Liam cleared his throat again and turned to fully face me. “So, it’s the summer and you’re in Salem, suffering through another boring, hot July, and working part-time at an ice cream parlor. Naturally, you’re completely oblivious to the fact that all of the boys from your high school who visit daily are more interested in you than the thirty-one flavors. You’re focused on school and all your dozens of clubs, because you want to go to a good college and save the world. And just when you think you’re going to die if you have to take another practice SAT, your dad asks if you want to go visit your grandmother in Virginia Beach.” “Yeah?” I leaned my forehead against his chest. “What about you?” “Me?” Liam said, tucking a strand of hair behind my ear. “I’m in Wilmington, suffering through another boring, hot summer, working one last time in Harry’s repair shop before going off to some fancy university—where, I might add, my roommate will be a stuck-up-know-it-all-with-a-heart-of-gold named Charles Carrington Meriwether IV—but he’s not part of this story, not yet.” His fingers curled around my hip, and I could feel him trembling, even as his voice was steady. “To celebrate, Mom decides to take us up to Virginia Beach for a week. We’re only there for a day when I start catching glimpses of this girl with dark hair walking around town, her nose stuck in a book, earbuds in and blasting music. But no matter how hard I try, I never get to talk to her. “Then, as our friend Fate would have it, on our very last day at the beach I spot her. You. I’m in the middle of playing a volleyball game with Harry, but it feels like everyone else disappears. You’re walking toward me, big sunglasses on, wearing this light green dress, and I somehow know that it matches your eyes. And then, because, let’s face it, I’m basically an Olympic god when it comes to sports, I manage to volley the ball right into your face.” “Ouch,” I said with a light laugh. “Sounds painful.” “Well, you can probably guess how I’d react to that situation. I offer to carry you to the lifeguard station, but you look like you want to murder me at just the suggestion. Eventually, thanks to my sparkling charm and wit—and because I’m so pathetic you take pity on me—you let me buy you ice cream. And then you start telling me how you work in an ice cream shop in Salem, and how frustrated you feel that you still have two years before college. And somehow, somehow, I get your e-mail or screen name or maybe, if I’m really lucky, your phone number. Then we talk. I go to college and you go back to Salem, but we talk all the time, about everything, and sometimes we do that stupid thing where we run out of things to say and just stop talking and listen to one another breathing until one of us falls asleep—” “—and Chubs makes fun of you for it,” I added. “Oh, ruthlessly,” he agreed. “And your dad hates me because he thinks I’m corrupting his beautiful, sweet daughter, but still lets me visit from time to time. That’s when you tell me about tutoring a girl named Suzume, who lives a few cities away—” “—but who’s the coolest little girl on the planet,” I manage to squeeze out.

Eve engaged her On Duty sign and stepped out of the car. Immediately her ears were assaulted with a blast of music. Christmas carols pumped, full blast, into the air. She decided that people ran inside, ready to buy anything, just to escape the noise.

There is music blasting from Ayoola's room, she's listening to Whitney Housten's I Wanna Dance With Somebody. It would be more appropriate to play Brymo or Lorde, something solemn or yearning, rather than the musical equivalent of a pack of M&Ms

This, then, is the ultimate, that is only, consolation: simply that someone shares some of your own feelings and has made of these a work of art which you have the insight, sensitivity, and — like it or not — peculiar set of experiences to appreciate. Amazing thing to say, the consolation of horror in art is that it actually intensifies our panic, loudens it on the sounding-board of our horror-hollowed hearts, turns terror up full blast, all the while reaching for that perfect and deafening amplitude at which we may dance to the bizarre music of our own misery.

I like the city late at night, the blasts of music and the splashes of light cast from bars that are still open, shoals of brightly-dressed clubber, the beeping taxis and the greasy, savoury smell of meat and onions from the burger vans.

The first time I started choreographing was in the dark, in my living room, with the lights completely out, to some popular music on the radio. I put the radio on full blast and I started moving. I didn't know what it looked like. I didn't want to see it... I had to start in the dark.

Goodbye, goodbye, may Bog forgive you for a ruined life." Then I got on to the sill, the music blasting away to my left, and I shut my glazzies and felt the cold wind on my listo, then I jumped.

How To Tell If Somebody Loves You: Somebody loves you if they pick an eyelash off of your face or wet a napkin and apply it to your dirty skin. You didn’t ask for these things, but this person went ahead and did it anyway. They don’t want to see you looking like a fool with eyelashes and crumbs on your face. They notice these things. They really look at you and are the first to notice if something is amiss with your beautiful visage! Somebody loves you if they assume the role of caretaker when you’re sick. Unsure if someone really gives a shit about you? Fake a case of food poisoning and text them being like, “Oh, my God, so sick. Need water.” Depending on their response, you’ll know whether or not they REALLY love you. “That’s terrible. Feel better!” earns you a stay in friendship jail; “Do you need anything? I can come over and bring you get well remedies!” gets you a cozy friendship suite. It’s easy to care about someone when they don’t need you. It’s easy to love them when they’re healthy and don’t ask you for anything beyond change for the parking meter. Being sick is different. Being sick means asking someone to hold your hair back when you vomit. Either love me with vomit in my hair or don’t love me at all. Somebody loves you if they call you out on your bullshit. They’re not passive, they don’t just let you get away with murder. They know you well enough and care about you enough to ask you to chill out, to bust your balls, to tell you to stop. They aren’t passive observers in your life, they are in the trenches. They have an opinion about your decisions and the things you say and do. They want to be a part of it; they want to be a part of you. Somebody loves you if they don’t mind the quiet. They don’t mind running errands with you or cleaning your apartment while blasting some annoying music. There’s no pressure, no need to fill the silences. You know how with some of your friends there needs to be some sort of activity for you to hang out? You don’t feel comfortable just shooting the shit and watching bad reality TV with them. You need something that will keep the both of you busy to ensure there won’t be a void. That’s not love. That’s “Hey, babe! I like you okay. Do you wanna grab lunch? I think we have enough to talk about to fill two hours!" It’s a damn dream when you find someone you can do nothing with. Whether you’re skydiving together or sitting at home and doing different things, it’s always comfortable. That is fucking love. Somebody loves you if they want you to be happy, even if that involves something that doesn’t benefit them. They realize the things you need to do in order to be content and come to terms with the fact that it might not include them. Never underestimate the gift of understanding. When there are so many people who are selfish and equate relationships as something that only must make them happy, having someone around who can take their needs out of any given situation if they need to. Somebody loves you if they can order you food without having to be told what you want. Somebody loves you if they rub your back at any given moment. Somebody loves you if they give you oral sex without expecting anything back. Somebody loves you if they don’t care about your job or how much money you make. It’s a relationship where no one is selling something to the other. No one is the prostitute. Somebody loves you if they’ll watch a movie starring Kate Hudson because you really really want to see it. Somebody loves you if they’re able to create their own separate world with you, away from the internet and your job and family and friends. Just you and them. Somebody will always love you. If you don’t think this is true, then you’re not paying close enough attention.

When she entered the sitting room she was not at first noticed. The music had changed now, to something slower, and the women were dancing; Harri’s dark head against the breast of Gwen’s white shirt, Gwen’s hand low on Harri’s back. Gwen’s eyes were closed and the look on her face, serene and blissful, sent a fright through Clem.

Davis is naturally a sweet-natured person.He's just been hanging around Nick and Gavin too long.Its a wonder they don't have him stealing candy from babies, or blasting rap music out of his car stereo in front of the retirement home.

In a feast of fame and talks, Scandal flashing, raising tongue and brows. In a blast of bombing and power play, Fear and death dig more revenge. In a forgotten continent, Famine and drought devour lives. In an unfortunate eye of a rebelling weather, Crashing homes, leaving many in devastation and desperation. In a country shaking with violence, Innocent victims cry for justice and peace. In a home shaking with turmoil, Humble patient, hiding voice wants to be heard. In a tick of a second, A new breathe of life beats! To belong in this world. Constantly changing, decaying or improving? In a snap of innovation: Life goes big leap! Regression somewhere unseen, But felt in a slow, long run.

I was always fishing for something on the radio. Just like trains and bells, it was part of the soundtrack of my life. I moved the dial up and down and Roy Orbison's voice came blasting out of the small speakers. His new song, "Running Scared," exploded into the room. Orbison, though, transcended all the genres - folk, country, rock and roll or just about anything. His stuff mixed all the styles and some that hadn't even been invented yet. He could sound mean and nasty on one line and then sing in a falsetto voice like Frankie Valli in the next. With Roy, you didn't know if you were listening to mariachi or opera. He kept you on your toes. With him, it was all about fat and blood. He sounded like he was singing from an Olympian mountaintop and he meant business. One of his previous songs, "Ooby Dooby" was deceptively simple, but Roy had progressed. He was now singing his compositions in three or four octaves that made you want to drive your car over a cliff. He sang like a professional criminal. Typically, he'd start out in some low, barely audible range, stay there a while and then astonishingly slip into histrionics. His voice could jar a corpse, always leave you muttring to yourself something like, "Man, I don't believe it." His songs had songs within songs. They shifted from major to minor key without any logic. Orbison was deadly serious - no pollywog and no fledgling juvenile. There wasn't anything else on the radio like him.

You can tell all of us are morphing into full-blown adults, wingtip adults, because all the time now the Big Question is, What are you going to do? After the summer, about your scholarship, about choosing a college, after graduation, with the rest of your life. When you are thirteen, the question is, Smooth or crunchy? That's it. Later, at the onset of full-blown adulthood, the Big Question changes a little bit - instead of, What are you going to do? it turns into, What do you do? I hear it all the time when my parents have parties, all the men standing around. After they talk sports, they always ask, What do you do? It's just part of the code that they mean "for a living" because no one ever answers it by saying, I go for walks and listen to music full-blast and don't care about my hearing thirty years from now, and I drink milk out of the carton, and I cough when someone lights up a cigarette, and I dig rainy days because they make me sad in a way I like, and I read books until I fall asleep holding them, and I put on sock-shoe, sock-shoe instead of sock-sock, shoe-shoe because I think it's better luck. Never that. People are always in something. I'm in advertising. I'm in real estate. I'm in sales and marketing.

Music was a kind of penetration. Perhaps absorption is a less freighted word. The penetration or absorption of everything into itself. I don't know if you have ever taken LSD, but when you do so the doors of perception, as Aldous Huxley, Jim Morrison and their adherents ceaselessly remind us, swing wide open. That is actually the sort of phrase, unless you are William Blake, that only makes sense when there is some LSD actually swimming about inside you. In the cold light of the cup of coffee and banana sandwich that are beside me now it appears to be nonsense, but I expect you to know what it is taken to mean. LSD reveals the whatness of things, their quiddity, their essence. The wateriness of water is suddenly revealed to you, the carpetness of carpets, the woodness of wood, the yellowness of yellow, the fingernailness of fingernails, the allness of all, the nothingness of all, the allness of nothing. For me music gives access to everyone of these essences, but at a fraction of the social or financial cost of a drug and without the need to cry 'Wow!' all the time, which is LSD's most distressing and least endearing side effects. ...Music in the precision of its form and the mathematical tyranny of its laws, escapes into an eternity of abstraction and an absurd sublime that is everywhere and nowhere at once. The grunt of rosin-rubbed catgut, the saliva-bubble blast of a brass tube, the sweaty-fingered squeak on a guitar fret, all that physicality, all that clumsy 'music making', all that grain of human performance...transcends itself at the moment of its happening, that moment when music actually becomes, as it makes the journey from the vibrating instrument, the vibrating hi-fi speaker, as it sends those vibrations across to the human tympanum and through to the inner ear and into the brain, where the mind is set to vibrate to frequencies of its own making. The nothingness of music can be moulded by the mood of the listener into the most precise shapes or allowed to float as free as thought; music can follow the academic and theoretical pattern of its own modality or adhere to some narrative or dialectical programme imposed by a friend, a scholar or the composer himself. Music is everything and nothing. It is useless and no limit can be set to its use. Music takes me to places of illimitable sensual and insensate joy, accessing points of ecstasy that no angelic lover could ever locate, or plunging me into gibbering weeping hells of pain that no torturer could ever devise. Music makes me write this sort of maundering adolescent nonsense without embarrassment. Music is in fact the dog's bollocks. Nothing else comes close.

What’s your favorite word?” Startled, I looked up at him, unsure I’d heard him right. “My favorite word?” He nodded, slipping his glasses up his nose with a quick, practiced scrunch of his face that made him look angry and then surprised within a single second. “You have seven boxes of books up here. A wild guess tells me you like words.” I suppose I had never thought about having a favorite word, but now that he asked, I kind of liked the idea. I let my eyes lose focus as I thought. “Ranunculus,” I said after a moment. “What?” “Ranunculus. It’s a kind of flower. It’s such a weird word but the flowers are so pretty, I like how unexpected that is.” They were my Mom’s favorite, I didn’t say. “That’s a pretty girly answer.” “Well, I am a girl.” He kept his eyes on his feet but I knew I wasn’t imagining the gleam of interest I’d seen when I said ranunculus. I bet he had expected me to say unicorn or daisy or vampire. “What about you? What’s your favorite word? I bet it’s tungsten. Or, like, amphibian.” He quirked a smile, answering, “Regurgitate.” Scrunching my nose, I stared at him. “That is a gross word.” This made him smile even wider. “I like the hard consonant sounds in it. It kinda sounds like exactly what it means.” “An onomatopoeia?” I half expected trumpets to blast revelatory music from an invisible speaker in the wall from the way Elliot stared at me, lips parted and glasses slowly sliding down his nose. “Yeah,” he said. “I’m not a complete idiot, you know. You don’t have to look so surprised that I know some big words.” “I never thought you were an idiot,” he said quietly, looking toward the box and pulling out another book to hand to me. For a long time after we returned to our slow, inefficient method of unpacking the books, I could feel him looking up and watching me, tiny flashes of stolen glances. I pretended I didn’t notice.

The feedback from the speakers changes and begins blasting death metal music so loudly into the sky that I swear the bridge suspensions are vibrating. The twins were in charge of the music selection. I catch sight of them on the side of the bridge, each with an arm raised, holding up their forefingers and pinkies in a devil sign, head-banging to the beat. They’re mouthing the words to the garbled voice screaming over the intense electric guitar and drums blasting out of the speakers. They might look pretty badass if it weren’t for their hobo clown outfits. It’s the loudest party the Bay Area has ever heard.

He had no document but his memory; the training he had acquired with each added hexameter gave him a discipline unsuspected by those who set down and forget temporary, incomplete paragraphs. He was not working for posterity or even for God, whose literary tastes were unknown to him. Meticulously, motionlessly, secretly, he wrought in time his lofty, invisible labyrinth. He worked the third act over twice. He eliminated certain symbols as over-obvious, such as the repeated striking of the clock, the music. Nothing hurried him. He omitted, he condensed, he amplified. In certain instances he came back to the original version. He came to feel affection for the courtyard, the barracks; one of the faces before him modified his conception of Roemerstadt's character. He discovered that the wearying cacophonies that bothered Flaubert so much are mere visual superstitions, weakness and limitation of the written word, not the spoken...He concluded his drama. He had only the problem of a single phrase. He found it. The drop of water slid down his cheek. He opened his mouth in a maddened cry, moved his face, dropped under the quadruple blast.

Hannah leaned forward and reached for the dial. The radio hissed, shrieked and blasted a few bars of Mozart before finally settling on Radiohead’s Exit Music (for a Film). Hannah, delighted with her discovery, smiled and slumped back in her seat. She listened to Thom Yorke’s nasally vocals in silence for a couple of verses before joining in. Singing heartily and drumming away on her knees, she was like a ball of energy, and already I felt this energy permeating my own body. I felt as fresh and as happy as I’d been in months. Radiohead ended and became The Stone Roses, who in turn became The Killers. Finally, when they became the hourly news, Hannah rolled her eyes and turned off the radio.

So you have chosen aloneness. You have chosen the security and the relative freedom of solitude, because there is no risk involved. You can stay up every night and watch your TV shows and eat ice cream out of the box and scroll through your Tumblr and never let your brain sit still, not even for a moment. You can fill your days up with books and coffees and trips to the store where you forget what you wanted the second you walk in the automatic sliding door. You can do so many little, pointless things throughout the day that all you can think of is how badly you want to sleep, how heavy your whole body is, how much your feet hurt. You can wear yourself out again and again on the pavement, and you do, and it feels good. No one will ever bridge that gap and point to your stomach or your hair or your eyes in the mirror and magically make you see the wonderful things about getting to be next to you. And maybe that’s it, after all, this fear that no one will ever truly feel about you the way you want to be felt about. Maybe what you want is someone to make you love yourself, to put sense into all that positive rhetoric, to make it so the aloneness of TV and blasting music in your ears at all times isn’t the most happy place you can think of. Maybe you want someone who makes you so sure of how wonderful things are that you cannot help but to tell them your feelings first, even at the risk of being humiliated. Because you will know that, when you’re telling them you love them, what you’re really saying is “I love who I become when I am with you.

The bells gave tongue: Gaude, Sabaoth, John, Jericho, Jubilee, Dimity, Batty Thomas and Tailor Paul, rioting and exulting high up in the dark tower, wide mouths rising and falling, brazen tongues clamouring, huge wheels turning to the dance of the leaping ropes. Tin tan din dan bim bam bom bo--tan tin din dan bam bim bo bom--tan dan tin bam din bo bim bom--every bell in her place striking tuneably, hunting up, hunting down, dodging, snapping, laying her blows behind, making her thirds and fourths, working down to lead the dance again. Out over the flat, white wastes of fen, over the spear-straight, steel-dark dykes and the wind-bent, groaning poplar trees, bursting from the snow-choked louvres of the belfry, whirled away southward and westward in gusty blasts of clamour to the sleeping counties went the music of the bells--little Gaude, silver Sabaoth, strong John and Jericho, glad Jubilee, sweet Dimity and old Batty Thomas, with great Tailor Paul bawling and striding like a giant in the midst of them. Up and down went the shadows of the ringers upon the walls, up and down went the scarlet sallies flickering roofwards and floorwards, and up and down, hunting in their courses, went the bells of Fenchurch St. Paul.

Janie sped away in her convertible. Her car’s speakers blasted AC/DC’s Highway to Hell for good measure. She smiled as she mouthed the lyrics, ironically feeling like she was escaping hell.

The trouble with modern music is that it's somewhat too intellectual...the brain has been working a little more than the bigger muscle underneath (what you may call it, spirit, inner blast, soul?).

However much one hears about individuals, the picture formed in the mind rarely approximates to the reality. So it was with Mrs Maclintick. I was not prepared for her in the flesh. When she opened the door to us, her formidable discontent with life swept across the threshold in scorching, blasting waves.

A blast of music echoing down the corridors was his only reply. Alec and Raphael both winced. Raphael glanced up at him. “This is the worst party I’ve ever been to,” he said. “And I hate parties. People keep asking me whether I have extra superpowers, and I tell them they are thinking of Simon, whom I dislike.” “That’s a little harsh,” said Alec. “You have to be harsh with fledglings or they do not learn,” said Raphael sternly. “Besides, his jokes are stupid.” “They’re not all gold,” Alec admitted. “How do you know him?” Raphael snapped his fingers. “Wait, I remember. He’s friends with your annoying blond parabatai, right?” He was, though Simon would probably be surprised to hear it. Alec was very familiar with how Jace behaved when he wanted to be your friend. He didn’t act friendly, which would have been too easy. Instead he just spent a lot of time in your presence until you got used to him being there, which he was clearly now doing with regard to Simon. When Jace and Alec were little, Jace had done a lot of hostile hanging around him, hoping to be noticed and loved. Alec honestly preferred it to awkward getting-to-know-you conversations. “Right. Plus, Simon is sort of dating my sister, Isabelle,” said Alec. “That can’t be,” said Raphael. “Isabelle can do better.” “Er, do you know my sister?” Alec asked. “She threatened me with a candelabra once, but we don’t really chat,” said Raphael. “Which means we have my ideal relationship.” He gave Alec a cold glare. “It’s the relationship I wish I had with all Shadowhunters.” Alec was about to give up and walk away.

Because your heart accelerates with the thrumming of the tympani and the brassy blast of the horn section; it keeps tempo, marks time, this junior-sized metronome in your chest, and your entire body pulsates with the rhythm of the music; you can't help but be carried away by it as you listen and take it all in. You are mesmerized, you are utterly fascinated.

The familiar (if loud) churn of the engine made it hard to talk, especially with the windows open (the air-conditioning didn’t work), but the day was warm and they blasted the music and sang along. Nessa loved singing at full volume. She couldn’t carry a tune, but with Bree it didn’t matter.

At that sound the bent shape of the king sprang suddenly erect. Tall and proud he seemed again; and rising in his stirrups he cried in a loud voice, more clear than any there had ever heard a mortal man achieve before: Arise, arise, Riders of Theoden! Fell deeds awake: fire and slaughter! spear shall be shaken, shield be splintered, a sword-day, a red day, ere the sun rises! Ride now, ride now! Ride to Gondor! With that he seized a great horn from Guthlaf his banner-bearer, and he blew such a blast upon it that it burst asunder. And straightway all the horns in the host were lifted up in music, and the blowing of the horns of Rohan in that hour was like a storm upon the plain and a thunder in the mountains. Ride now, ride now! Ride to Gondor! Suddenly the king cried to Snowmane and the horse sprang away. Behind him his banner blew in the wind, white horse upon a field of green, but he outpaced it. After him thundered the knights of his house, but he was ever before them. Eomer rode there, the white horsetail on his helm floating in his speed, and the front of the first eored roared like a breaker foaming to the shore, but Theoden could not be overtaken. Fey he seemed, or the battle-fury of his fathers ran like new fire in his veins, and he was borne up on Snowmane like a god of old, even as Orome the Great in the battle of the Valar when the world was young. his golden shield was uncovered, and lo! it shone like an image of the Sun, and the grass flamed into green about the white feet of his steed. For morning came, morning and a wind from the sea; and darkness was removed, and the hosts of Mordor wailed, and terror took them, and they fled, and died, and the hoofs of wrath rode over them. And then all the host of Rohan burst into song, and they sang as they slew, for the joy of battle was on them, and the sound of their singing that was fair and terrible came even to the City.

The top landing of any Bedford Park building’s stairwell felt so much safer. Lying there, flat on a bed of marble, using my backpack for a pillow, whole lives played out beneath me: the smell of food cooking; lovers’ arguments; dishes clanking; TVs blasting at top volume; my old shows, The Simpsons and Jeopardy!; rap music—all carrying me back to University Avenue. Mostly, though, I heard families: children calling out for mothers, husbands speaking their wives’ names, sending me reminders of the way love stretched between a handful of people fills a space, transforms it into a home.

One of my favorite things to do is put my headphones on,blast some good music and just walk my own personal music video

[A]ll the resources of our almost miraculous technology have been thrown into the current assault against silence. That most popular and influential of all recent inventions, the radio, is nothing but a conduit through which pre-fabricated din can flow into our homes. And this din goes far deeper, of course, than the ear-drums. It penetrates the mind, filling it with a babel of distractions - news items, mutually irrelevant bits of information, blasts of corybantic or sentimental music, continually repeated doses of drama that bring no catharsis, but merely create a craving for daily or even hourly emotional enemas.

Because everyone is still treating me with kid gloves, Pigpen's driving me in his pickup truck, blasting music that's more screaming than music. I prefer electric guitar over voices, but it's not my fucking truck.

The band playing what was charitably known as “death metal” music, but only if the qualifications for it meant that the hearers sincerely wanted to die, preferably in a quick and painless manner, rather than being blasted to death by the noise.

I miss being in Barbados in December, That is a time I always remember, The smell of varnish on the wooden floors, And the smell of paint on the wooden doors The crowds in de Supermarket, Buying up the rum, And the music blasting Puh rup a pum pum

as Aldous Huxley says, “news items, mutually irrelevant bits of information, blasts of corybantic or sentimental music, continually repeated doses of drama that bring no catharsis, but merely create a craving for daily or even hourly emotional enemas.

There is music blasting from Ayoola’s room. She is listening to Whitney Houston’s “I Wanna Dance with Somebody.” It would be more appropriate to play Brymo or Lorde, something solemn or yearning, rather than the musical equivalent of a packet of M&M’S.

We finally made our way to the front of the line, where a young bouncer snapped an underage wristband on me and gave me an appraising look, eyes scanning my waist-length hair before raising the velvet rope. I rushed under it with Jay on my heels. “For real, Anna, don't let me stand in the way of all these dudes tonight.” Jay laughed behind me, raising his voice as we entered the already packed room, music thumping. I knew I should have put my hair up before we came, but Jay's sister, Jana had insisted on my keeping it down. I pulled my hair over my shoulder and wound it into a rope with my finger, looking around at the tightly packed crowd and wincing slightly at the noise and blasts of emotion. “They only think they like me because they don't know me,” I said. Jay shook his head. "I hate when you say things like that.” “Like what? That I'm especially special?” I was trying to make a joke, using the term us Southerners fondly called people who "weren't right" but anger burst gray from Jay's chest, surprising me, then fizzled away. “Don't talk about yourself that way. You're just...shy.” I was weird and we both knew it. But I didn't like to upset him, and it felt ridiculous having a serious conversation at the top of our lungs. Jay pulled his phone from his pocket and looked at the screen as it vibrated in his hand. He grinned and handed it to me. Patti. “Hello?” I stuck a finger in my other ear so I could hear. “I'm just checking to see if you made it safely, honey. Wow, it's really loud there!” “Yeah, it is!” I had to shout. “Everything is fine. I'll be home by eleven.” It as my first time going to something like this. Ever. Jay had begged Patti for permission himself, and by some miracle got her to agree. But she was not happy about it. All day she'd been as nervous as a cat the vet.

In the passenger seat, Nahil is all questions. Was Kabul safe? How was the food? Did he [Idris] get sick? Did he take pictures and videos of everything? He does his best. He describes for her the shell-blasted schools, the squatters living in roofless buildings, the beggars, the mud, the fickle electricity, but it's like describing music. He cannot bring it to life. Kabul's vivid, arresting details--the bodybuilding gym amid the rubble, for instance, a painting of Schwarzenegger on the window. Such details escape him now, and his descriptions sound to him generic, insipid, like those of an ordinary AP story.

Everyone wants to blast their music, to impose their voice and opinion, to make noise that is loud enough to cover every other voice around them. I wondered what would happen if we truly gave each other a chance and listened carefully to the tunes played by the fancy or broken instruments of each lonely soul around us?

So,” Ben says, tapping his fingers against his thighs, “Ryder’s going to watch out for you during the storm, I guess. Keep an eye on your place and everything?” “I promised her dad I would,” Ryder says. Because God knows that’s the only reason he’d do something nice for me. I can’t help but roll my eyes. “Well, it’s not like I’m right down the road like Ryder is, but if you need anything, just let me know, okay? I don’t mind coming out there.” “Thanks, Ben,” I say, patting his shoulder. “That’s sweet.” And then Ryder leans over and turns on the radio, blasting a country music station loud enough to make conversation impossible. I guess that means we’re done talking, which is fine by me.

Proud music of the sea-storm! Blast that careers so free, whistling across the prairies! Strong hum of forest tree-tops! wind of the mountains! Personified dim shapes! you hidden orchestras! You serenades of phantoms, with instruments alert, Blending, with Nature's rhythmus, all the tongues of nations; You chords left as by vast composers! you choruses!

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

The Garden passes by my window. Older folks water their flowers or bring out their trash cans. A couple of cars blast music on high. Seems normal, but things haven't been the same since the riots. The neighborhood doesn't feel nearly as safe. Not that the Garden was ever a utopia, hell no, but before I only worried about GDs and Crowns. Now I gotta worry about the cops too?

We look for sense and we search for patterns or a grand design in the desperate attempt to make meaning out of what frightens us the most – the possibility that there is no meaning. Bad things happen to good people. Evil prospers. Young fit men get sick and die. Children starve. Teenagers are murdered in bomb blasts at music concerts. There is no reason or divine plan. Crap things happen. End of.

Driving through the crowded city streets and gazing upon the bizarre stream of humanity had been quite an experience for the pair but walking amongst it, actually being trapped shoulder to shoulder with some of the city's freakish denizens was something entirely different. Here the noise was amplified, loud with shouting, screaming, chattering, the sounds of traffic, the thundering of music from clubs and from hotted up car stereo systems, the wailing of sirens. Miller felt diseased just striding amongst it, dressed in his blasphemous disguise. Exiting the parking station was akin to being propelled into the outer rings of hell on a course which would launch he and Friar into the very bowels of the infernal pit AKA the Victory Ampitheatre where Satan's messengers would blast their horrendous music. Sinister Cavan, coming in April in Axes of Evil

Cal doesn't think about Donna constantly, the way he did at first-- it took months of dogged work, blasting music or reciting football lineups out loud like a loon every time she came into his head, but he got there in the end. She still crops up from time to time, though, mostly when he runs across something that would make her smile. He always loved Dona's smile, quick and complete, sending every line of her face flying upwards.

He grinned at Horace. “Time we heard how musical you can be.” “Hah!” snorted Horace. He took the horn from his belt, raised it to his lips and blew a mighty blast on it. Gilan winced. “Not at all, apparently.” The light flashed one more time from the ridge. “She heard it,” Horace said. Gilan frowned at him. “They probably heard it at Castle Araluen.” Horace ignored him and turned toward the stairs. “Let’s get that ramp down,” he said.

I could always tell when a chorus was coming by watching Kurt’s dirty Converse sneaker as it moved closer and closer to the distortion pedal, and just before he stomped on the button, I would blast into a single-stroke snare roll with all of my might, like a fuse burning fast into the heart of a bomb, signaling the change. The subsequent eruption would often send chills up my neck, as the undeniable power of our collective sound was becoming almost too big for that tiny little space.

Tenderly he drew on his lambswool gloves, and shivered a little; for the breath of that desert blew snell and frore and there seemed a shadow in the air southward, for all it was bright and gentle weather below whence they were come. Yet albeit his frail body quailed, even so were his spirits within him raised with high and noble imaginings as he stood on the lip of that rocky cliff. The cloudless vault of heaven; the unnumbered laughter of the sea; that quiet cove beneath, and those ships of war and that army camping by the ships; the emptiness of the blasted wolds to southward, where every rock seemed like a dead man’s skull and every rank tuft of grass hag-ridden; the bearing of those lords of Demonland who stood beside him, as if nought should be of commoner course to them pursuing their resolve than to turn their backs on living land and enter those regions of the dead; these things with a power as of a mighty music made Gro’s breath catch in his throat and the tear spring in his eye.

The music, Beethoven's Ninth, opened with a blast: violins, trumpet, an explosion loud enough to knock thought and worry from the mind. It was reminiscent of war - thundering footsteps, the rumble of tanks, the screech & crack of planes overhead, an exploding bomb. The audience sat at attention, gripping their seats. Something small and gentle might have lost them. Something tender and they might have begun to cry and never stopped. They were there, but they were not strong. They would do anything to protect themselves from sadness.

Brutality is boring. Over and over, hell night after hell night, the same old dumb, tedious, bestial routine: making men crawl; making men groan, hanging men from the bars; shoving men; slapping men; freezing men in the showers; running men into walls; displaying shackled fathers to their sons and sons to their fathers. And if it turned out that you'd been given the wrong man, when you were done making his life unforgettably small and nasty, you allowed him to be your janitor and pick up the other prisoners' trash. There was always another prisoner, and another. Faceless men under hoods: you stripped them of their clothes, you stripped them of their pride. There wasn't much more you could take away from them, but people are inventive: one night some soldiers took a razor to one of Saddam's former general in Tier 1A and shaved off his eyebrows. He was an old man. "He looked like a grandfather and seemed like a nice guy," Sabrina Harman said, and she had tried to console him, telling him he looked younger and slipping him a few cigarettes. Then she had to make him stand at attention facing a boom box blasting the rapper Eminem, singing about raping his mother, or committing arson, or sneering at suicides, something like that⁠—these were some of the best-selling songs in American history. "Eminem is pretty much torture all in himself, and if one person's getting tortured, everybody is, because that music's horrible," Harman said. The general maintained his bearing against the onslaught of noise. "He looked so sad," Harman said. "I felt so bad for the guy." In fact, she said, "Out of everything I saw, that's the worst." This seems implausible, or at least illogical, until you think about it. The MI block was a place where a dead guy was just a dead guy. And a guy hanging from a window frame or a guy forced to drag his nakedness over a wet concrete floor⁠—well, how could you relate to that, except maybe to take a picture? But a man who kept his chin up while you blasted him with rape anthems, and old man shorn of his eyebrows whose very presence made you think of his grandkids--you could let that get to you, especially if you had to share in his punishment: "Slut, you think I won't choke no whore / til the vocal cords don't work in her throat no more!..." or whatever the song was.

There were, inevitably, children’s clothing stores, furniture shops still offering bedroom sets by layaway, and dollar stores whose awnings teemed with suspended inflatable dolls, beach chairs, laundry carts, and other impulse purchases a mom might make on a Saturday afternoon, exhausted by errand running with her kids. There was the sneaker store where Olga used to buy her cute kicks, the fruit store Prieto had worked at in high school, the little storefront that sold the kind of old-lady bras Abuelita used to wear. On the sidewalks, the Mexican women began to set up their snack stands. Mango with lime and chili on this corner, tamales on that. Until the Mexicans had come to Sunset Park, Olga had never tried any of this food, and now she always tried to leave a little room to grab a snack on her way home. Despite the relatively early hour, most of the shops were open, music blasting into the streets, granting the avenue the aura of a party. In a few more hours, cars with their stereos pumping, teens with boom boxes en route to the neighborhood’s public pool, and laughing children darting in front of their mothers would add to the cacophony that Olga had grown to think of as the sound of a Saturday.

The feedback from the speakers changes and begins blasting death metal music so loudly into the sky that I swear the bridge suspensions are vibrating. The twins were in charge of the music selection. I catch sight of them on the side of the bridge, each with an arm raised, holding up their forefingers and pinkies in a devil sign, head-banging to the beat. They’re mouthing the words to the garbled voice screaming over the intense electric guitar and drums blasting out of the speakers. They might look pretty badass if it weren’t for their hobo clown outfits. It’s the loudest party the Bay Area has ever heard.

You," I said, "have this whole tall, dark stranger thing going on. Not to mention the tortured artist bit." "Bit?" "You know what I mean." He shook his head, clearly discounting this description. "And you," he said, "have that whole blonde, cool and collected, perfect smart girl thing going on." "You're the boy all the girls want to rebel with," I said. "You," he replied, "are the unattainable girl in the homeroom who never gives a guy the time of the day." There was a blast of music from inside, a thump of bass beat, then quiet again. "I'm not perfect," I said. "Not even close." "I'm not tortured. Unless you count this conversation.

In terms of cultural impact, one parallel for “Earth Song” is John Lennon’s classic, “Imagine.” Both songs became global anthems with instantly identifiable piano hooks and choruses. Both ask listeners to try to care for the world we have, rather than simply be placated by the thought of an afterlife. Yet where “Imagine” makes a subdued, elegant statement, “Earth Song” is epic, intense, and visceral. This, indeed, is one reason “Imagine” is more palatable to the average music listener. Its radical ideas can be softened by its ethereal sound. “Earth Song,” in contrast, seeks to shatter indifference, as it demands accountability. Radio can’t do it justice. It is a song that was created to blast out of speakers if it couldn’t be seen in person.

Then, she stepped hard on something soft. “Ouch!” exclaimed an urgent, musical voice behind her followed by another blast of that scent. That voice rang out in the night like a small bell. Damn, thought Carmen. These late-night stragglers always show up just as I am closing! “We’re closed,” she commented impatiently, not even bothering to turn around. “I can’t get you anything, my cash register is empty. And, I definitely can’t get you any gasoline. The pumps are shut down.” “You’re on my foot!” said the small, feminine voice again, protesting more loudly. “Get off!” The girl laughed. The street lights came on, as if the pressure of stepping on this person’s foot had turned them on. Carmen laughed at the synchronicity. She felt a small hand on her waist as she moved her foot off the soft place it had landed. It had been years since she had felt a woman’s touch. The feminine voice said quietly, “That hurt.” Carmen whirled around to face the girl she had stepped on, and almost lost her balance. Her eyes met the huge violet eyes of the most beautiful country girl she had ever seen standing directly behind her. Obviously, she had stepped on her. She apologized until she was speechless. Then, she coughed and indicated her truck. The girl had straight, healthy blue hair, delicately shaved over one ear and well-done light makeup with a few rhinestone studs in her ears and nose. Carmen had sucked her breath in audibly at the girl’s appearance. This diminutive girl was stunning. She was a real beauty, set in the dark country night like a diamond against the warm obsidian of the sky. And that fragrance!

I pulled at the knot again and heard threads begin to pop. “Allow me, Miss Jones,” said Armand, right at my back. There was no gracious way to refuse him. Not with Mrs. Westcliffe there, too. I exhaled and dropped my arms. I stared at the lotus petals in my painting as the new small twists and tugs of Armand’s hands rocked me back and forth. Jesse’s music began to reverberate somewhat more sharply than before. “There,” Armand said, soft near my ear. “Nearly got it.” “Most kind of you, my lord.” Mrs. Westcliffe’s voice was far more carrying. “Do you not agree, Miss Jones?” Her tone said I’d better. “Most kind,” I repeated. For some reason I felt him as a solid warmth behind me, behind all of me, even though only his knuckles made a gentle bumping against my spine. How blasted long could it take to unravel a knot? “Yes,” said Chloe unexpectedly. “Lord Armand is always a perfect gentleman, no matter who or what demands his attention.” “There,” the gentleman said, and at last his hands fell away. The front of the smock sagged loose. I shrugged out of it as fast as I could, wadding it up into a ball. “Excuse me.” I ducked a curtsy and began my escape to the hamper, but Mrs. Westcliffe cut me short. “A moment, Miss Jones. We require your presence.” I turned to face them. Armand was smiling his faint, cool smile. Mrs. Westcliffe looked as if she wished to fix me in some way. I raised a hand instinctively to my hair, trying to press it properly into place. “You have the honor of being invited to tea at the manor house,” the headmistress said. “To formally meet His Grace.” “Oh,” I said. “How marvelous.” I’d rather have a tooth pulled out. “Indeed. Lord Armand came himself to deliver the invitation.” “Least I could do,” said Armand. “It wasn’t far. This Saturday, if that’s all right.” “Um…” “I am certain Miss Jones will be pleased to cancel any other plans,” said Mrs. Westcliffe. “This Saturday?” Unlike me, Chloe had not concealed an inch of ground. “Why, Mandy! That’s the day you promised we’d play lawn tennis.” He cocked a brow at her, and I knew right then that she was lying and that she knew that he knew. She sent him a melting smile. “Isn’t it, my lord?” “I must have forgotten,” he said. “Well, but we cannot disappoint the duke, can we?” “No, indeed,” interjected Mrs. Westcliffe. “So I suppose you’ll have to come along to the tea instead, Chloe.” “Very well. If you insist.” He didn’t insist. He did, however, sweep her a very deep bow and then another to the headmistress. “And you, too, Mrs. Westcliffe. Naturally. The duke always remarks upon your excellent company.” “Most kind,” she said again, and actually blushed. Armand looked dead at me. There was that challenge behind his gaze, that one I’d first glimpsed at the train station. “We find ourselves in harmony, then. I shall see you in a few days, Miss Jones.” I tightened my fingers into the wad of the smock and forced my lips into an upward curve. He smiled back at me, that cold smile that said plainly he wasn’t duped for a moment. I did not get a bow. Jesse was at the hamper when I went to toss in the smock. Before I could, he took it from me, eyes cast downward, no words. Our fingers brushed beneath the cloth. That fleeting glide of his skin against mine. The sensation of hardened calluses stroking me, tender and rough at once. The sweet, strong pleasure that spiked through me, brief as it was. That had been on purpose. I was sure of it.

He laughs and turns up the music so that I can hear it in the back. The speakers blast out: ‘Streets like a jungle, so call the police.’ ‘Call the police,’ I smile, ‘fuck the police’ nodding my head to the beat. The guard turns it up even more. ‘Yeah, fuck the police for stitching me up and presenting their dodgy evidence,’ I think to myself. Fuck them for getting me put away for seven instead of the four or five I should have got. A new song comes on and I’m merrily tapping my feet while the guard sings along up front to The Clash. ‘Fighting the nation. Police and thieves in the street, oh yeah…Oh yeah! Scaring the nation with their guns and ammunition. Police and thieves in the street. Oh yeah. Fighting the nation with their guns and ammunition’. Ha ha. The DJ on the radio is on my side. The Securicor men are on my side. And I’m heading back to civilisation and as many drugs as I can get my hands on. Everything’s going my way. There must be a song about that, too.

Maybe you are a nihilistic death-metal punk. You are deeply skeptical and pessimistic. You find meaning nowhere. You hate everything, just on principle. But then your favorite nihilistic death-metal punk band lead guitarist and his bandmates start to blast out their patterned harmonies—each in alignment with the other—and you are caught! “Ah, I do not believe in anything—but, God, that music!” And the lyrics are destructive and nihilistic and cynical and bitter and hopeless but it does not matter, because the music beckons and calls to your spirit, and fills it with the intimation of meaning, and moves you, so that you align yourself with the patterns, and you nod your head and tap your feet to the beat, participating despite yourself. It is those patterns of sound, layered one on top of another, harmoniously, moving in the same direction, predictably and unpredictably, in perfect balance: order and chaos, in their eternal dance. And you dance with it, no matter how scornful you are. You align yourself with that patterned, directional harmony. And in that you find the meaning that sustains.

There was a warrior once who fought Against man's subtlest, mightiest foe, And more than valiant deeds he wrought T' effect th' enslaver's overthrow. But ah! how dread was his campaign, Forc'd in the wilderness to stray, Lone, hungry, stung with grief and pain, And thus sustain the arduous fray. Prompt at each call from place to place, 'Mid sin's dark shade and sorrow's flow, He sped to save man's erring race, And bear for him the vengeful blow. But when his soldiers saw the strife, When imminent the danger grew, Though 'twas for them he pledg'd his life, Like dastards from the field they flew. Wearied, forsaken, still he strove, And gain'd the glorious victory; Yet such achievements few could move, To hail his triumpn 'beath the sky. Dying he conquer'd; yet at last No human honours grac'd his bier; No trumpet wail'd its mournful blast, No muffl'd drum made music drear. But when he dy'd the rocks were rent, The sun his radiant beams withheld, All nature shudder'd at th' event, And horror every bosom swell'd. E'en Death, fell Death! could not detain Him, who for man his life had given, He burst the ineffectual chain, And soar'd his advocate to heaven.

There is safety in learning doctrine in gatherings which are sponsored by proper authority. Some members, even some who have made covenants in the temple, are associating with groups of one kind or another which have an element of secrecy about them and which pretend to have some higher source of inspiration concerning the fulfillment of prophecies than do ward or stake leaders or the General Authorities of the Church. Know this: There are counterfeit revelations which, we are warned, “if possible . . . shall deceive the very elect, who are the elect according to the covenant.” (JS—M 1:22.) . . . For the past several years we have watched patterns of reverence and irreverence in the Church. While many are to be highly commended, we are drifting. We have reason to be deeply concerned. The world grows increasingly noisy. Clothing and grooming and conduct are looser and sloppier and more disheveled. Raucous music, with obscene lyrics blasted through amplifiers while lights flash psychedelic colors, characterizes the drug culture. Variations of these things are gaining wide acceptance and influence over our youth. . . . This trend to more noise, more excitement, more contention, less restraint, less dignity, less formality is not coincidental nor innocent nor harmless. The first order issued by a commander mounting a military invasion is the jamming of the channels of communication of those he intends to conquer. Irreverence suits the purposes of the adversary by obstructing the delicate channels of revelation in both mind and spirit.

announced that Otis Redding and the Bar-Kays would be performing in Madison, two friends and I cut class and raced to the Factory, where we plunked down three bucks apiece for tickets. In the weeks leading up to the concert, Steve Kruvant, Rick Kleiner, and I wore out the grooves of Otis’s Live in Europe LP. From the emcee’s introductory cheerleading (“Gimme an O!”) to the final horn blasts

Ending the Year in Praise Praise the Lord! Praise God in his heavenly dwelling; praise him in his mighty heaven! Praise him for his mighty works; praise his unequaled greatness! Praise him with a blast of the trumpet; praise him with the lyre and harp! . . . Let everything that lives sing praises to the Lord! Praise the Lord! Psalm 150:1-3, 6 What a way to end the year—praising the Lord for his mighty works, his unequaled greatness. This psalm, also called the last hallelujah, invites us to join the praises to God in the holy place. The praise is not half-hearted; it is full-force praise with musical instruments—tambourine, stringed instruments, the lyre, the cymbals—and dancing, praise from everyone. When we offer God praise, we’re doing what we were created for, even if we’re not the best musician or dancer. All of us can raise our voices singing hymns, choruses, and new songs to the Lord. How has God blessed you, your family, friends, or church this year? What mighty works has he accomplished? What progress have you made in an area in which you’ve struggled? What prayers has God answered? What new attributes or aspects of God have you discovered or experienced in the past year? Lift up your voice or whatever instrument you play, and praise the Lord for these specific things as you pray this psalm aloud.   LORD, I join those in your heavenly dwelling to worship you for your mighty works. I praise your unequaled greatness. I praise you with my whole heart for how you’ve sustained me in the year that is ending, for your faithfulness, love, and provision. Thank you for how you’ll be with me each day in the new year. Let everything that lives sing praises to the Lord!   TO THE EAR OF GOD EVERYTHING HE CREATED MAKES EXQUISITE MUSIC, AND MAN JOINED IN THE PAEAN OF PRAISE UNTIL HE FELL, THEN THERE CAME IN THE FRANTIC DISCORD OF SIN. THE REALIZATION OF REDEMPTION BRINGS MAN BY WAY OF THE MINOR NOTE OF REPENTANCE BACK INTO TUNE WITH PRAISE AGAIN. Oswald Chambers (1874-1917)

Even the wind's burden held a peculiar strain of conscious malignity; and for a second it seemed that the composite sound included a bizarre musical whistling or piping over a wide range as the blast swept in and out of the omnipresent and resonant cave mouths. There was a cloudy note of reminiscent repulsion in this sound, as complex and unplaceable as any of the other dark impressions.

turned on the radio, looking for something to blast the thoughts out of my head, hoping the moist nighttime air would blow in a rare non-country station. I ground through static and static and static, then recoiled at the shrill, choking sound of a man apparently squealing through a crushed larynx. After a moment I realized it was simply Fred Durst and the group Limp Bizkit—Shitload’s favorite band. They’re the ones who invented the musical technique of feeding a list of generic rap phrases to a goat, then reading its turds into a microphone over heavy metal guitar. This was the song “Rollin’,” judging by the fact that the chorus was Fred saying that word several dozen times. Perfect. Rollin’, rollin’, rollin’ . . .

Not long ago, I attended a gathering with a congregation other than my own, and I thought my ears were going to bleed. The moment the preservice music began, the congregation collectively shuddered and stood cringing under the instrumental blast for the next thirty minutes, until the sermon began. We hoped that the volume would modulate downward after the sermon, but it didn’t. The preacher left the platform and the onslaught continued. I couldn’t resist the temptation to pull out my iPhone and use an app to check the sound levels. While the app surely isn’t the most accurate measurement, it measured sustained levels well over 110 decibels, which can be damage-inducing. (By contrast, our sound engineers at Sojourn are trained to keep sustained volume at about 90 decibels or below, at which they have varied levels of success.) The irony of this, of course, is that I was in a traditional service, and the instrument in question was a roaring pipe organ.

Jeff Goodby, however, got to see them all. After work, he, Silverstein, Sogard, and a few other guys from the agency went down to a dive bar on Union Street called the Bus Stop, where they got to experience the inaugural batch of ads with an unsuspecting focus group of drunken peers. For a crowd that loved music and loved even more what MTV had encouraged music to become, the bar blasted the Video Music Awards on a dozen televisions as if it were the Super Bowl.

He had a new stereo installed that’s pretty crisp, but I hate music in cars, so it doesn’t do me much good. The second he starts it up, Pigs in the Toaster, this emo band he loves for reasons I cannot fathom, blasts out of the speakers at a volume that should be illegal for whining set to guitar. The singer’s voice is screechy and the music is too disjointed to have a real beat. He doesn’t move to turn it down. Normally,

You Never Can Tell" It was a teenage wedding, and the old folks wished them well You could see that Pierre did truly love the mademoiselle And now the young monsieur and madame have rung the chapel bell, "C'est la vie", say the old folks, it goes to show you never can tell They furnished off an apartment with a two room Roebuck sale The coolerator was crammed with TV dinners and ginger ale, But when Pierre found work, the little money comin' worked out well "C'est la vie", say the old folks, it goes to show you never can tell They had a hi-fi phono, boy, did they let it blast Seven hundred little records, all rock, rhythm and jazz But when the sun went down, the rapid tempo of the music fell "C'est la vie", say the old folks, it goes to show you never can tell They bought a souped-up jitney, 'twas a cherry red '53, They drove it down New Orleans to celebrate their anniversary It was there that Pierre was married to the lovely mademoiselle "C'est la vie", say the old folks, it goes to show you never can tell

Cade stood still in the doorway to the bedroom that had been the source of the only happiness he could remember. The mattress had been gutted by someone looking for hidden wealth. The bed frame and washstand had been used for firewood. The porcelain washbowl and pitcher with their colorful roses and greenery lay shattered on the floor. And Lily's elegant windows had been blasted by a shotgun. Cade was a proud man, and a strong one. Nothing in all his life had ever brought him to his knees, but he was on the verge now. Clinging to the door frame, Cade held himself upright by sheer force of will. Lily's cries of passion still haunted these walls. He could almost hear the sound of a flute as he clung to the wood. He had wanted to give her music and happiness. He had wanted to lay the world at her feet. He had wanted... He had wanted. And this was the result. Everything she had, destroyed. It was a poor return for everything she had given him in those few short months. Cade closed the door and walked away. Lily carried his life with her. He knew it as the soul knows the stars are out of reach. If Lily lived, he would survive. If she did not, he was a walking ghost. He could not return to being the man he had once been. He could not live alone again. He

Gentry’s neighbor is still blasting the same teeth-grating country pop he was playing last time I was here. When the frowning dumbass sticks his head into the hall to complain about the noise I stick the Colt in his face. “Play Taylor Swift one more time, motherfucker.” He turtles his head back into his apartment and the music stops.

His 1968 film of Finian’s Rainbow, a fanciful 1947 Broadway blast from the left by Fred Saidy, E. Y. “Yip” Harburg and Burton Lane, is a guidebook to other movies and musicals. Coppola packs his film with intrusive references that proclaim the artifices of filmusical style and the tension between credible storytelling and musical convention. The editing of an arrival by train comes directly from Hallelujah; a dance with laundry on a clothesline from Dames; the aerial floating on that clothing from Mary Poppins; the spray of fire hoses on a burning church from Strike; the passing of water pails, “Keep the water coming,” from Our Daily Bread; the use of blackface from two decades of filmusicals between The Jazz Singer and The Jolson Story.

The lights blazed from every window and Decker could hear the music blasting out of the place. It was country, with a dash of rock and roll, at least to his ear. It shot through the air like a sound cannon.

A small rumpus erupted over a review of ‘Where The Streets Have No Name’ by U2, the biggest-band-in-the-world and drearily po-faced windbags forever blubbing on a cactus. There were, I pointed out, ‘no streets in the desert’ and deemed Bono, somehow, ‘a goon’. Sackfuls of hate mail arrived from U2-devoted Smash Hits viewers while a headline in an Irish newspaper bellowed, ‘GOON BONO BLASTED BY TOP POP MAG.

The photographer will ask you what kind of music you want to play during the shoot. Remember that whatever you choose will be blasted through the loft and heard by an entire crew of people who are all so cool that the Board of Ed. officially closed school. Just murmur, “Hip-hop,” or make up the name of a hipster-sounding band and then act superior when they’ve never heard of it. “Do you guys have any Asphalt of Pinking? [disappointed] Really? [shrug] Whatever you want, then.” Sometimes they ask if you want to hook up your iPod for background music. Do not do this. It’s a trap. They’ll put it on shuffle, and no matter how much Beastie Boys or Velvet Underground you have on there, the following four tracks will play in a row: “We’d Like to Thank You Herbert Hoover” from Annie, “Hold On” by Wilson Phillips, “That’s What Friends Are For,” Various Artists, and “We’d Like to Thank You Herbert Hoover” from Annie.

Then they get to Mississippi and Ella pauses because Mama sometimes talked about Mississippi and Ella imagines warmth and mosquitoes and tallgrass, haze more than smoke and lounging on cars with the smell of weed making a blanket and somebody’s blasting Motown music out the open doors of their beat-up four-door and everybody is everybody’s cousin and barbecue sauce is suddenly on people’s fingers and bellies bulge with plenty. Maybe Mama didn’t say all those things when she said the word “Mississippi.” Maybe she didn’t mention the mosquitoes or the music. But it was the only time Ella ever saw her not look like she was made of iron.

Like Miles Davis, Graham often used to turn his back on his audiences. This was primarily between songs, while he was retuning his guitars. For Graham, in the early 1960s, was privy to a secret alternative tuning system known as DADGAD, which he was reluctant to share with any rival guitarists in the crowd. He began using it around 1962–3, on a trip to the bohemian Beat capital Tangier, where he spent six months and earned his keep by working in a snack booth selling hash cakes to locals. The raw Gnaoua trance music preserved in Morocco’s town squares and remote Rif mountain villages stretched back thousands of years, and Graham was hypnotised by the oud, a large Arabic lute which resembles a bisected pear (the word ‘lute’ itself derives from the Arabic ‘al-ud’) and has been identified in Mesopotamian wall paintings 5,000 years old. The paradigm of Eastern music, defining its difference from the West, is the maqam, which uses a microtonal system that blasts open the Western eight-note octave into fifty-three separate intervals. DADGAD is not one of the tunings commonly used on the eleven-string oud, but Graham found that tuning a Western guitar that way made it easier to slip into jam sessions with Moroccan players. The configuration allows scales and chords to be created without too much complicated fingering; its doubled Ds and As and open strings often lead to more of a harp-like, droning sonority than the conventional EADGBE.

That Hamilton adhered to a code of gentlemanly honor was confirmed in yet another sideshow of the Benedict Arnold affair: the arrest of Major John André, adjutant general of the British Army and Arnold’s contact, traveling under the nom de guerre John Anderson. As he awaited a hearing to decide his fate, he was confined at a tavern in Tappan, New York. Though seven years younger than André, Hamilton developed a sympathy for the prisoner born of admiration and visited him several times. A letter that Hamilton later wrote to Laurens reveals his nearly worshipful attitude toward the elegant, cultured André, who was conversant with poetry, music, and painting. Hamilton identified with André’s misfortune in a personal manner, as if he saw his own worst nightmare embodied in his fate: To an excellent understanding, well improved by education and travel, [André] united a peculiar elegance of mind and manners and the advantage of a pleasing person. . . . By his merit, he had acquired the unlimited confidence of his general and was making a rapid progress in military rank and reputation. But in the height of his career, flushed with new hopes from the execution of a project the most beneficial to his party that could be devised, he was at once precipitated from the summit of prosperity and saw all the expectations of his ambition blasted and himself ruined.55

I connected my phone to the Escalade’s Bluetooth and blasted Queen’s Greatest Hits. Restless fingers drummed along against the steering wheel. The music helped. There wasn’t much Freddie Mercury couldn’t make better.

In the snow-blanketed alleyway, kids were playing with mitten-covered hands; a beautiful girl was perched on the hood of a parked car, flirting with a man whose tongue dangled out of his open mouth like a thirsty dog. A middle-aged neighbor was shoveling his driveway joyfully, bobbing his head and singing along with the upbeat music blasting from his radio. If I could pack my unhappiness into snowballs, I would throw them at these people.

the window was down and my music was blasting and i was like, i am the sun on my skin. i am the clouds in the sky. i’m everything i’ve ever seen or done or felt or heard, and one day i will be gone.

I tracked down a vegan baker and had this cake special ordered for tonight. It’s a vanilla cake made with almond milk and maple syrup, glazed with cocoa icing. The damn thing smells delicious, yet my mouth is as dry as the Sahara Desert. That’s probably because of the message. Or, I should say, question iced on top of the cake. Walking up to the kitchen, I see her shaking her booty as she sings to the loud music blasting through the apartment. In her hand, she has a knife and is cutting up a banana. On the stove, I can see a small pot of melted dark chocolate and what looks like toasted and chopped walnuts on a plate. “Hey, babe! You’re home too early.” She gives me a fake pout. “I wanted to surprise you.” Setting my chin on her shoulder, I place my hands on her hips and watch as she starts cutting up another banana. “Surprise me with what, Pixie?” “Something sweet for us to eat while we watch the movie tonight.” Kissing the side of her neck, I murmur into her skin, “I’ve got your sweet covered.” She looks at the box with curious eyes. “Oh? And what do you have there, Trevor Blake?” Lifting the lid, I push the now visible cake with its question closer to her, and she gasps. Her hands start to tremble, and I watch the hand holding the knife with a wary eye. Perhaps I should have asked her to put that down first. I watch her face as her eyes tear up at the question in red icing. Will You Marry Me? The ring is the dot at the bottom of the question mark, shiny and blinking at her. Standing here, I wait for an answer. And I wait more. Thing is, it’s too quiet. There are silent tears running down her face, but she’s not said a single word. Fuck. What if she isn’t ready for this? I open my mouth to try to fix this, but suddenly my little sprite is squealing loudly, jumping up and down. I should be fucking thrilled that she’s happy, but all I can see is that knife bouncing up and down with her little body. She’s talking so fast I can barely understand what she’s saying. “Oh-my-gosh-Trevor-are-you-serious-right-now!” “Babe, happy as hell that you’re excited, but can you do me a favor really quick?” Paisley stops jumping up and down and nods her head repeatedly like a bobble head doll. I have to stop myself from laughing at her. She smiles brightly at me. “If you wanna know my answer, it’s yes!” “Well, that, too. But, Pixie, can you please put down the knife? Would really fucking hate it if one of us got accidentally stabbed on the night that I’m asking you to become my wife.

Alex,” Paco says, leaning on the golf club like it’s a cane. “Do ya think I was meant to play golf?” Looking Paco straight in the eye, I answer, “No.” “I heard you talkin’ to Hector. I don’t think you were mean to deal, either.” “Is that why we’re here? You’re tryin’ to make a point?” “Hear me out,” Paco insists. “I’ve got the keys to the car in my pocket and I’m not goin’ nowhere until I finish hittin’ all of these bulls, so you might as well listen. I’m not smart like you. I don’t have choices in life, but you, you’re smart enough to go to college and be a doctor or computer geek or somethin’ like that. Just like I wasn’t meant to hit golf balls, you weren’t meant to deal drugs. Let me do the drop for you.” “No way, man. I appreciate you makin’ an ass out of yourself to prove a point, but I know what I need to do,” I tell him. Paco sets up a new ball, swings, and yet again the ball rolls away from him. “That Brittany sure is hot. She goin’ to college?” I know what Paco is doing; unfortunately my best friend is nothing less than obvious. “Yep. In Colorado.” To be close to her sister, the person she cares for more than herself. Paco whistles. “I’m sure she’ll meet a lot of guys in Colorado. You know, real guys with cowboy hats.” My muscles tense. I don’t want to think about it. I ignore Paco until we’re back in the car. “When are you going to stop stickin’ your ass into my business?” I ask him. He chuckles. “Never.” “Then I guess you won’t mind me bargin’ into yours. What happened between you and Isa, huh?” “We fooled around. It’s over.” “You might think it’s over, but I don’t think she does.” “Yeah, well, that’s her problem.” Paco turns the radio on and blasts the music loud. He’s never dated anyone because he’s scared of getting close to someone. Even Isa isn’t aware of all the abuses he’s endured at home. Believe me, I understand the reasons behind his keeping a distance from a girl he cares about. Because the truth is, sometimes getting close to the fire does actually burn you.

He kicked off his boots before walking through the living room. Day’s house was very nice. It had been his grandmother’s and she’d left it for him in her will. Day made a lot of renovations on the three-bedroom, two-story home, and God found himself wishing he had a family to share that type of home with. He could see himself sitting on the large leather sofa in the den with Day snuggled up next to him. His mom baking them raisin bread and Genesis upstairs blasting his music too loud. God shook his head at the nonsense and went to find the one thing he had in his life that was real in the kitchen. Day loved him, and as far as he was concerned, that would be enough for him.

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To my two sweet daughters Dedicated to my well behaved children For my girls, for never fighting To my daughters, who never slam doors Sugar and spice and everything nice, that’s what little girls are made of For not blasting your music while I’m trying to write Presented to my children who always listen For Grace and Sarah, I love you tons.

On the way home we blast the radio and roll down the windows and sing at the top of our lungs. The night air tastes like starlight. I haven’t had a drop to drink and don’t know what being drunk feels like, but right now I swear I’m tipsy. The edges of the moment are blurred like an old photograph. Just enough that I can’t quite see Aaron’s expression, and I force his words into the music box in my brain, slam the lid, turn the key, and forget about them.

I blew into L.A. streaking down the freeway, the song "L.A. Woman" blasting out of the car speakers, the wind in my hair, the music in the wind. The first thing you notice about L.A. is that it’s overflowing with people, tourists, the homeless, the starstruck, it was like an old fashioned boom town, a few ghosts wandered it’s streets but it was still booming, if L.A. lived off the people that were successful, the city would be awfully empty.

CHRISTMAS IN BARBADOS I miss being in Barbados in December, That is a time I always remember. The smell of varnish on the wooden floors and the smell of paint on the wooden doors. The smell of cloves as the ham was baked and the smell of the rum, in my mudda fruit cakes. The smell of coconut as she baked de sweetbread and the smell of the cloth as she made up de bed. The sounds of "Moussa" as he played "Nat King Cole" The sounds of "Lassie" as he played…"Coming in from de cold". The hustling and the bustling of the Bajans buying Christmas gifts, The sights of Taxis, giving Bajan Yankees a lift. The barrels on top of the lorries and the vans, The cases of sweet drinks and the baking pans The young people in town buying a new Christmas dress, The smell of hair that yuh mudda just press. The crowds in de Supermarket buying up the rum, And the music blasting, “Puh Rup a Pum Pum”. I am usually glad when de New Year begins,. A month later, "Courts and Manning come back fuh the things.

For entertainment there was a stereo. Each morning after the Sherpas had burned juniper and chanted their Buddhist prayers, Robin Williams roared “Good Morning, Vietnam!” across the camp, blasting us from our sleeping bags. The rest of the day was rock and roll, plus Indian music from the cooking tent. We had a couple of parties, for which we broke out the beer. Some people ended up dancing on our dining tent’s stone table. It wasn’t a mosh pit, exactly, but not unlike one. There were also theme-night dinners, when the food and its preparation and everyone’s dress were supposed to complement one team member’s salient characteristic.

I first imagined each moment separate, inspired, consecutive. I could have cast the film—myself the female lead, you the star. I wore color—magenta. lavender, lime. You were in white, something textured that moved with your body. The music was sensuous, full orchestra scored for harp, piccolo, twelve double basses, a chime. The premiere, well-attended, prices high. Those who didn't like it find little to like in this world. The critics, through careful eyes, decided our performance was fresh, the location on the cliff above the ocean a splendid choice on someone's part, the humor warm. But time extracts. After the blast, the slow boil, the few grains cupped in the palm. The orchestra was really scored for wind and pelican, the dry flick of lizard. The lily, with petals like white tongues, appeared from nowhere, and the gull remained stone-still. as gulls do not do. The costumes were too simple: sun and salt on skin, and the actors kept changing roles, crawling into one another’s lines, saying the wrong words when they spoke at all, finding it hard to think in vertigo, their love clouded with a retinue of men and women, former actors who wanted the parts. The critics made no sense of the film, double-exposed, sprocket holes on either side and a garbled sound track that wove ‘always’ and ‘never’ into one word. The beginning appeared in the last scene, and the climax was a whorl of color, like looking too long at the sun through closed eyelids. One thing someone found to praise: a clear shot of a shining feather lying on a stone in the path.

At that sound the bent shape of the king sprang suddenly erect. Tall and proud he seemed again; and rising in his stirrups he cried in a loud voice, more clear than any there had ever heard a mortal man achieve before: Arise, arise, Riders of Théoden! Fell deeds awake: fire and slaughter! spear shall be shaken, shield be splintered, a sword-day, a red day, ere the sun rises! Ride now, ride now! Ride to Gondor! With that he seized a great horn from Guthláf his banner-bearer, and he blew such a blast upon it that it burst asunder. And straightway all the horns in the host were lifted up in music, and the blowing of the horns of Rohan in that hour was like a storm upon the plain and a thunder in the mountains. Ride now, ride now! Ride to Gondor!

I turned on the radio, looking for something to blast the thoughts out of my head, hoping the moist nighttime air would blow in a rare noncountry station. I ground through static and static and static, then recoiled at the shrill, choking sound of a man apparently squealing through a crushed larynx. After a moment I realized it was simply Fred Durst and the group Limp Bizkit—Shitload’s favorite band. They’re the ones who invented the musical technique of feeding a list of generic rap phrases to a goat, then reading its turds into a microphone over heavy metal guitar.

blast upon it that it burst asunder. And straightway all the horns in the host were lifted up in music, and the blowing of the horns of Rohan in that hour was like a storm upon the plain and a thunder in the mountains.

It is very obvious why everyone is suffering from anxiety and stress these days, why there is so much anger in the world. Have you ever tried to find a corner of silence in any city where there isn't pop music blasting in the background while people shout at each other? Have you ever tried to find a place where there aren't cars passing by, and you can hear them? Have you ever tried to find a place where you don't hear people, because they don't feel the need to make noise to feel alive? The more aware you are of the need for silence, the more anxious you get, because you're supposed to feel anxious. You are living in a world of very mentally ill creatures. The need for noise is a mental problem. The constant need to hear music that tells you how to feel, what you should miss, want, need, care for, is a mental problem. The world is made to turn you insane. And the radiation in the environment, may be invisible to the eyes, but does contaminate your brain with more toxicity. You are under attack 24/7 and you don't even notice it because you have become too numb, too stupid, too apathetic to feel it. You are so worried about having friends that you socialize with most imbecile and you praise yourself for having many imbecile friends. And the reason why so many people don't notice these things is because their level of apathy is too deep. You are supposed to get angry, anxious and irritated with all this. There is something very wrong with you, if you feel good in such a world.

After a blast of trumpets the violins and cellos were left on their own for a while, creating a noise that started small and tender, and rose to create a kind of symphonic storm. And, yes, it did nothing at first. But then, somehow, it got in. No. Not got in. That’s the wrong way of putting it. Music doesn’t get in. Music is already in. Music simply uncovers what is there, makes you feel emotions that you didn’t necessarily know you had inside you, and runs around waking them all up. A rebirth of sorts.

Robyn Hartford, would you like to spend these first snow moments with me?" "I am spending them with you." "Not like this." He takes a step back and extends his palm my way. "Share this first snow dance with me." Isn't he romantic? "I'll have to warn you that I'm not a good dancer." "Liar," he whispers, inching closer. "I've heard you blast the music almost every morning and watched you dance with Milo while cleaning the house." I gasp and sign rapidly. "You've been spying on me?" Era rolls his eyes. "It's called admiring the view." My smile is wider than Texas when I place my hand in his palm and allow him to spin me around in the snow.

Plunkett gave Pitt a dry look. "Even death would be a treat if I didn't have to hear that blasted tune again." "You don't care for 'Minnie the Mermaid'?" Pitt asked in mock surprise. "After hearing the chorus for the twentieth time, no." "With the telephone housing smashed, our only contact with the surface is the acoustic radio transmitter. Not nearly enough range for conversation, but it's all we've got. I can offer you Strauss waltzes or the big band sounds of the forties, but they wouldn't be appropriate." "I don't think much of your musical inventory," Plunkett grunted. Then he looked at Pitt. "What's wrong with Strauss?" "Instrumental," Pitt answered. "Distorted violin music can sound like whales or several other aquatic mammals through water. Minnie is a vocal. If anyone on the surface is listening, they'll know someone down here is still sucking air. No matter how garbled, there's no mistaking good old human babble." "For all the good that will do," said Plunkett. "If a rescue mission is launched, there's no way we can transfer from this vehicle to a submersible without a pressure lock. A commodity totally lacking on your otherwise remarkable tractor. If I may speak realistically, I fail to see anything in the near future but our inevitable demise." "I wish you wouldn't use the word 'demise.

Ill health is a form of trouble, as are alcoholism and drug addiction, proneness to accidents, all neurosis including compulsive screwing-up, and such seemingly benign foibles as jealousy, chronic lateness, and the blasting of rap music at 110 dB from your smoked-glass ’95 Supra.