Brass Band Quotes

I'm not going to lay down in words the lure of this place. Every great writer in the land, from Faulkner to Twain to Rice to Ford, has tried to do it and fallen short. It is impossible to capture the essence, tolerance, and spirit of south Louisiana in words and to try is to roll down a road of clichés, bouncing over beignets and beads and brass bands and it just is what it is. It is home.

One feels even in the midst of the traffic, or waking at night, Clarissa was positive, a particular hush, or solemnity; an indescribable pause; a suspense before Big Ben strikes. There! Out it boomed. First a warning, musical; then the hour, irrevocable. The leaden circles dissolved in the air. Such fools we are, she thought, crossing Victoria Street. For Heaven only knows why one loves it so, how one sees it so, making it up, building it round one, tumbling it, creating it every moment afresh; but the veriest frumps, the most dejected of miseries sitting on doorsteps (drink their downfall) do the same; can't be dealt with, she felt positive, by Acts of Parliament for that very reason: they love life. In people's eyes, in the swing, tramp, and trudge; in the bellow and the uproar; the carriages, motor cars, omnibuses, vans, sandwich men shuffling and swinging; brass bands; barrel organs; in the triumph and the jingle and the strange high singing of some aeroplane overhead was what she loved; life; London; this moment in June.

she wore so many brooches and necklaces and earrings that she jingled and jangled just like a brass band.

Such fools we are, she thought, crossing Victoria Street. For Heaven only knows why one loves it so, how one sees it so, making it up, building it round one, tumbling it, creating it every moment afresh; but the veriest frumps, the most dejected of miseries sitting on doorsteps (drink their downfall) do the same; can't be dealt with, she felt positive, by Acts of Parliament for that very reason: they love life. In people's eyes, in the swing, tramp and trudge; in the bellow and the uproar; the carriages, motor cars, omnibuses, vans, sandwich men shuffling and swinging; brass bands; barrel organs; in the triumph and the jingle and the strange high singing of some aeroplane overhead was what she loved; life; London; this moment of June.

In people's eyes, in the swing, tramp, and trudge; in the bellow and the uproar; the carriages, motor cars, omnibuses, vans, sandwich men shuffling and swinging; brass bands; barrel organs; in the triumph and the jingle and the strange high singing of some aeroplane overhead was what she loved; life; London; this moment of June.

Faced with a brass band that was positioned to drown out free speech, Russian activists reacted to the potential confrontation with lemons. With activists eating lemons or pretending to, involuntary saliva reaction of the band made it impossible for them to interrupt.

He smiled, looking into the flames. "He used to sleep on the foot of my bed, bad breath and gas and all, and I even took him hunting." "It's odd to take a dog hunting?" "Max? Yeah, sort of like taking along a brass band. He saved a lot of deer from death.

Mac Rebennack, better known as Dr. John, once told me that when a brass band plays at a small club back up in one of the neighborhoods, it's as if the audience--dancing, singing to the refrains, laughing--is part of the band. They are two parts of the same thing. The dancers interpret, or it might be better to say literally embody, the sounds of the band, answering the instruments. Since everyone is listening to different parts of the music--she to the trumpet melody, he to the bass drum, she to the trombone--the audience is a working model in three dimensions of the music, a synesthesic transformation of materials. And of course the band is also watching the dancers, and getting ideas from the dancers' gestures. The relationship between band and audience is in that sense like the relationship between two lovers making love, where cause and effect becomes very hard to see, even impossible to call by its right name; one is literally getting down, as in particle physics, to some root stratum where one is freed from the lockstop of time itself, where time might even run backward, or sideways, and something eternal and transcendent is accessed.

Father was an atheist; he had even joined the Skeleton Army - a club of men who went about in masks or black faces, with ribald placards and a brass band, to make war upon the Salvation Army.

In people's eyes, in the swing, tramp and trudge; in the bellow and the uproar; the carriages, motor cars, omnibuses, vans, sandwich men shuffling and swinging; brass bands; barrel organs; in the triumph and the jingle and the strange high singing of some aeroplane overhead was what she loved; life; London; this moment of June.

In people’s eyes, in the swing, tramp, and trudge; in the bellow and the uproar; the carriages, motor cars, omnibuses, vans, sandwich men shuffling and swinging; brass bands; barrel organs; in the triumph and the jingle and the strange high singing of some aeroplane overhead was what she loved; life; London; this moment of June.

the clang of the band, letting loose, rang out like a brass kettle rolling downstairs,

As she drew closer to the fairgrounds, the group began to feel the festive atmosphere. People were hurrying toward the entrance, flags were flying, and a brass band was playing.

the best brass bands and popular American and British singers the Philippines could imitate.

There are no advertisements, no brass bands, no posters, no huge tents.

The piercing fanfare of the brass against the brutal boom and rattle of the drums surged through the air. At the head of the Ferris band marched the drum majorette. A crimson and white shako crowned her long dark hair which flew out behind her and across her radiant face flushed with excitement. Her blue eyes flashed and her smile registered triumph at having been chosen.

She runs, trips and pitches down the stairs, holding her letter. She follows the letter down, down... Blackout. A clatter. Strange sounds—xylophones, brass bands, sounds of falling, sounds of vertigo. Sounds of breathing.

Mac Rebennack, better known as Dr. John, once told me that when a brass band plays at a small club back up in one of the neighborhoods, it’s as if the audience—dancing, singing to the refrains, laughing—is part of the band.

The strangest figures we saw were the Slovaks, who were more barbarian than the rest, with their big cow-boy hats, great baggy dirty-white trousers, white linen shirts, and enormous heavy leather belts, nearly a foot wide, all studded over with brass nails. They wore high boots, with their trousers tucked into them, and had long black hair and heavy black moustaches. They are very picturesque, but do not look prepossessing. On the stage they would be set down at once as some old Oriental band of brigands. They are, however, I am told, very harmless and rather wanting in natural self-assertion.

Once I am sure there's nothing going on I step inside, letting the door thud shut. Another church: matting, seats, and stone, And little books; sprawlings of flowers, cut For Sunday, brownish now; some brass and stuff Up at the holy end; the small neat organ; And a tense, musty, unignorable silence, Brewed God knows how long. Hatless, I take off My cycle-clips in awkward reverence. Move forward, run my hand around the font. From where I stand, the roof looks almost new - Cleaned, or restored? Someone would know: I don't. Mounting the lectern, I peruse a few Hectoring large-scale verses, and pronounce 'Here endeth' much more loudly than I'd meant. The echoes snigger briefly. Back at the door I sign the book, donate an Irish sixpence, Reflect the place was not worth stopping for. Yet stop I did: in fact I often do, And always end much at a loss like this, Wondering what to look for; wondering, too, When churches will fall completely out of use What we shall turn them into, if we shall keep A few cathedrals chronically on show, Their parchment, plate and pyx in locked cases, And let the rest rent-free to rain and sheep. Shall we avoid them as unlucky places? Or, after dark, will dubious women come To make their children touch a particular stone; Pick simples for a cancer; or on some Advised night see walking a dead one? Power of some sort will go on In games, in riddles, seemingly at random; But superstition, like belief, must die, And what remains when disbelief has gone? Grass, weedy pavement, brambles, buttress, sky, A shape less recognisable each week, A purpose more obscure. I wonder who Will be the last, the very last, to seek This place for what it was; one of the crew That tap and jot and know what rood-lofts were? Some ruin-bibber, randy for antique, Or Christmas-addict, counting on a whiff Of gown-and-bands and organ-pipes and myrrh? Or will he be my representative, Bored, uninformed, knowing the ghostly silt Dispersed, yet tending to this cross of ground Through suburb scrub because it held unspilt So long and equably what since is found Only in separation - marriage, and birth, And death, and thoughts of these - for which was built This special shell? For, though I've no idea What this accoutred frowsty barn is worth, It pleases me to stand in silence here; A serious house on serious earth it is, In whose blent air all our compulsions meet, Are recognized, and robed as destinies. And that much never can be obsolete, Since someone will forever be surprising A hunger in himself to be more serious, And gravitating with it to this ground, Which, he once heard, was proper to grow wise in, If only that so many dead lie round.

Kingsley could ‘do’ the sound of a brass band approaching on a foggy day. He could become the Metropolitan line train entering Edgware Road station. He could be four wrecked tramps coughing in a bus shelter (this was very demanding and once led to heart palpitations). To create the hiss and crackle of a wartime radio broadcast delivered by Franklin Delano Roosevelt was for him scant problem (a tape of it, indeed, was played at his memorial meeting, where I was hugely honored to be among the speakers). The pièce de résistance, an attempt by British soldiers to start up a frozen two-ton truck on a windy morning ‘somewhere in Germany,’ was for special occasions only. One held one's breath as Kingsley emitted the first screech of the busted starting-key. His only slightly lesser vocal achievement—of a motor-bike yelling in mechanical agony—once caused a man who had just parked his own machine in the street to turn back anxiously and take a look. The old boy's imitation of an angry dog barking the words 'fuck off' was note-perfect.

At This Moment Of Time Some who are uncertain compel me. They fear The Ace of Spades. They fear Loves offered suddenly, turning from the mantelpiece, Sweet with decision. And they distrust The fireworks by the lakeside, first the spuft, Then the colored lights, rising. Tentative, hesitant, doubtful, they consume Greedily Caesar at the prow returning, Locked in the stone of his act and office. While the brass band brightly bursts over the water They stand in the crowd lining the shore Aware of the water beneath Him. They know it. Their eyes Are haunted by water Disturb me, compel me. It is not true That "no man is happy," but that is not The sense which guides you. If we are Unfinished (we are, unless hope is a bad dream), You are exact. You tug my sleeve Before I speak, with a shadow's friendship, And I remember that we who move Are moved by clouds that darken midnight

[T]he piano was to Harlem what brass bands had been to New Orleans. The instrument represented conflicting possibilities -- a pathway for assimilating traditional highbrow culture, a calling card of lowbrow nightlife, a symbol of middle-class prosperity, or, quite simply, a means of making a living.

Dance with me', he says. There is a longing in his voice, and loss, and she thinks, perhaps, it is the end, of this, of them. A game finally played out. A war with no winners. And so she agrees to dance. There is no music, but it does not matter. When she takes his hand, she hears the melody, soft and soothing in her head. Not a song, exactly, but the sound of the woods in summer, the steady hush of the wind through the fields. And as he pulls her close, she hears a violin, low and mournful, along the Seine. His hand slides through hers, and there is the steady murmur of the seaside. The symphony soaring through Munich. Addie leans her head against his shoulder, and hears the rain falling in Villon, the brass band ringing in an L.A. lounge, and the ripple of a saxophone thorugh the open windows on Bourbon.

Mr. Tridden told them how it had been twenty years ago, the band playing on that ornate stand at night, the men pumping air into their brass horns, the plump conductor flinging perspiration from his baton, the children and fireflies running in the deep grass, the ladies with long dresses and high pompadours treading the wooden xylophone walks with men in choking collars. There was the walk now, all softened into a fiber mush by the years. The lake was silent and blue and serene, and fish peacefully threaded the bright reeds, and the motorman murmured on and on, and the children felt it was some other year, with Mr. Tridden looking wonderfully young, his eyes lighted like small bulbs, blue and electric. It was a drifting, easy day, nobody rushing, and the forest all about, the sun held in one position, as Mr. Tridden's voice rose and fell, and a darning needle sewed along the air, stitching, restitching designs both holden and invisible. A bee settled into a flower, humming and humming.

As soon as all the prizes had been given out, the band began to play a lively dance number. Rod Havelock, who had been watching closely, came up to claim Nancy and was only a second ahead of Al. “I guess I’d better get my dances in early,” the assistant purser teased. “I see I have a handsome rival.” Nancy laughed as they glided off. “I’m glad you did, because I must ask you a question. We are planning to open the mystery trunk tonight after this party is over. Will you come and help us investigate it?” “You bet I will,” Rod replied. “I can tell you now that the dancing will end at eleven o’clock sharp. Shall we say eleven-fifteen in your room?” “Perfect,” Nancy agreed. At this moment the music ended. Others came up to talk to the couple, and presently AI made his way toward Nancy. “May I have the next dance?” he asked. The whole evening was a joyful one for Nancy and her friends. They were claimed for every dance. Al asked the girl detective if she would accompany him to the lavish table of food that had been set up on the deck outside. She went along and they found Bess, George, and Nelda there with Bruce, Chipper, and Tubby. “Hey, have some of those delicious meatballs!” Tubby recommended. “Now, Tub, I thought you were staying away from all this fattening stuff?” Chipper teased. “Well, I had to try a little of each!” Tubby defended himself. When the music began to play again, Al asked Nancy to dance. “Sure, I’d like to,” she said. “I’m glad you would,” Al commented. “Next to football, dancing is my favorite pastime.

High school marching band was its own little microcosm of the world. More a study in sociology than in woodwinds and brass: There were the band geeks, pimply and a tad too greasy, making out with one another every chance they got. There were the no-nonsense go-getters, eager to fill a line on their college applications, marching without rhythm or passion. There was the percussion section, hipsters-to-be whose arms would be full of tattoos in a few years’ time. And there were the tuba players, chunky and asexual, as if they were slowly morphing into their instrument of choice.

They sat eating ham sandwiches and fresh strawberries and waxy oranges and Mr. Tridden told them how it had been twenty years ago, the band playing on that ornate stand at night, the men pumping air into their brass horns, the plump conductor flinging perspiration from his baton, the children and fireflies running in the deep grass, the ladies with long dresses and high pompadours treading the wooden xylophone walks with men in choking collars. There was the walk now, all softened into a fiber mush by the years. The lake was silent and blue and serene, and fish peacefully threaded the bright reeds, and the motorman murmured on and on, and the children felt it was some other year, with Mr. Tridden looking wonderfully young, his eyes lighted like small bulbs, blue and electric. It was a drifting, easy day, nobody rushing, and the forest all about, the sun held in one position, as Mr. Tridden's voice rose and fell, and a darning needle sewed along the air, stitching, restitching designs both golden and invisible. A bee settled into a flower, humming and humming. The trolley stood like an enchanted calliope, simmering where the sun fell on it. The trolley was on their hands, a brass smell, as they ate ripe cherries. The bright odor of the trolley blew from their clothes on the summer wind.

It is almost necessary to say nowadays that a saint means a very good man. The notion of an eminence merely moral, consistent with complete stupidity or unsuccess, is a revolutionary image grown unfamiliar by its very familiarity, and needing, as do so many things of this older society, some almost preposterous modern parallel to give its original freshness and point. If we entered a foreign town and found a pillar like the Nelson Column, we should be surprised to learn that the hero on the top of it had been famous for his politeness and hilarity during a chronic toothache. If a procession came down the street with a brass band and a hero on a white horse, we should think it odd to be told that he had been very patient with a half-witted maiden aunt. Yet some such pantomime impossibility is the only measure of the innovation of the Christian idea of a popular and recognized saint. It must especially be realized that while this kind of glory was the highest, it was also in a sense the lowest. The materials of it were almost the same as those of labour and domesticity: it did not need the sword or sceptre, but rather the staff or spade. It was the ambition of poverty. All this must be approximately visualized before we catch a glimpse of the great effects of the story which lay behind the Canterbury Pilgrimage.

My 1979 Top 40 In no particular order, this is the forty-track rotation I listened to when I was researching, prepping and writing 1979. They were all released in the late 1970s, though not all in 1979 itself. But then, like Allie, we all listen to tunes from our past . . . I hope it gets you in the mood for reading! ‘Picture This’ – Blondie ‘Lovely Day’ – Bill Withers ‘Automatic Lover’ – Dee D. Jackson ‘Brass in Pocket’ – The Pretenders ‘It’s a Heartache’ – Bonnie Tyler ‘Wild West Hero’ – Electric Light Orchestra ‘Because the Night’ – Patti Smith ‘Into the Valley’ – The Skids ‘YMCA’ – Village People ‘Like Clockwork’ – Boomtown Rats ‘Stayin’ Alive’ – Bee Gees ‘Uptown Top Ranking’ – Althea & Donna ‘No More Heroes’ – The Stranglers ‘Take a Chance on Me’ – Abba ‘Werewolves of London’ – Warren Zevon ‘Psycho Killer’ – Talking Heads ‘Kiss You All Over’ – Exile ‘Top of the Pops’ – Rezillos ‘Heroes’ – David Bowie ‘Don’t Hang Up’ – 10cc ‘English Civil War’ – The Clash ‘2-4-6-8-Motorway’ – Tom Robinson Band ‘Rebel Rebel’ – David Bowie ‘Glad to be Gay’ – Tom Robinson Band

At their invitation we crowded into the spacious control cabin of the great airship, where scientific gear occupied every available cubic—perhaps hypercubic—inch. Among the fantastical glass envelopes and knottings of gold wire as unreadable to us as the ebonite control panels scrupulously polished and reflecting the Arctic sky, we were able here and there to recognize more mundane items—here Manganin resistance-boxes and Tesla coils, there Leclanché cells and solenoidal magnets, with electrical cables sheathed in commercial-grade Gutta Percha running everywhere. Inside, the overhead was much higher than expected, and the bulkheads could scarcely be made out in the muted light through three hanging Fresnel lenses, the mantle behind each glowing a different primary color, from sensitive-flames which hissed at different frequencies. Strange sounds, complex harmonies and dissonances, resonant, sibilant, and percussive at once, being monitored from someplace far Exterior to this, issued from a large brass speaking-trumpet, with brass tubing and valvework elaborate as any to be found in an American marching band running back from it and into an extensive control panel on which various metering gauges were ranked, their pointers, with exquisite Breguet-style arrowheads, trembling in their rise and fall along the arcs of italic numerals. The glow of electrical coils seeped beyond the glass cylinders which enclosed them, and anyone’s hands that came near seemed dipped in blue chalk-dust. A Poulsen’s Telegraphone, recording the data being received, moved constantly to and fro along a length of shining steel wire which periodically was removed and replaced. “Ætheric impulses,” Dr. Counterfly was explaining. “For vortex stabilization we need a membrane sensitive enough to respond to the slightest eddies. We use a human caul—a ‘veil,’ as some say.” “Isn’t a child born with a veil believed to have powers of second sight?” Dr. Vormance inquired. “Correct. And a ship with a veil aboard it will never sink—or, in our case, crash.” “Things have been done to obtain a veil,” darkly added a junior officer, Mr. Suckling, “that may not even be talked about.

Kimbanguism is an extremely peace-loving religion, yet brimming with military allusions. Those symbols were not originally part of the religion, but were copied in the 1930s from the Salvation Army, a Christian denomination that, unlike theirs, was not banned at that time. The faithful believed that the S on the Christian soldiers’ uniform stood not for “Salvation” but for “Simon,” and became enamored of the army’s military liturgy. Today, green is still the color of Kimbanguism, and the hours of prayer are brightened up several times a day by military brass bands. Those bands, by the way, are truly impressive. It is a quiet Monday evening when I find myself on the square. While the martial music rolls on and on, played first by the brass section, then by flutes, the faithful shuffle forward to be blessed by the spiritual leader. In groups of four or five, they kneel before the throne. The spiritual leader himself is standing. He wears a gray, short-sleeved suit and gray socks. He is not wearing shoes. In his hand he holds a plastic bottle filled with holy water from the “Jordan,” a local stream. The believers kneel and let themselves be anointed by the Holy Spirit. Children open their mouths to catch a spurt of holy water. A young deaf man asks for water to be splashed on his ears. And old woman who can hardly see has her eyes sprinkled. The crippled display their aching ankles. Fathers come by with pieces of clothing belonging to their sick children. Mothers show pictures of their family, so the leader can brush them with his fingers. The line goes on and on. Nkamba has an average population of two to three thousand, plus a great many pilgrims and believers on retreat. People come from Kinshasa and Brazzaville, as well as from Brussels or London. Thousands of people come pouring in, each evening anew. For an outsider this may seem like a bizarre ceremony, but in essence it is no different from the long procession of believers who have been filing past a cave at Lourdes in the French Pyrenees for more than a century. There too, people come from far and near to a spot where tradition says unique events took place, there too people long for healing and for miracles, there too people place all their hope in a bottle of spring water. This is about mass devotion and that usually says more about the despair of the masses than about the mercy of the divine. After the ceremony, during a simple meal, I talk to an extremely dignified woman who once fled Congo as a refugee and has been working for years as a psychiatric nurse in Sweden. She loves Sweden, but she also loves her faith. If at all possible, she comes to Nkamba each year on retreat, especially now that she is having problems with her adolescent son. She has brought him along. “I always return to Sweden feeling renewed,” she says.

The military band did not make things easier. Having detected a larger than usual turnout of British travelers, and waiting with some infernal clairvoyance until Cyprian thought he had a grip on himself, just as he turned to bid Yashmeen a breezy arrivederci, they began to play an arrangement for brass of ‘Nimrod’ – what else? – from Elgar’s Enigma Variations. Teutonic bluntness notwithstanding, at the first major-seventh chord, an uncertainty of pitch among the trumpets contributing its touch of unsought innocence, Cyprian felt the tap opening decisively. It was difficult to tell what Yashmeen was thinking as she offered her lips. He was concentrating on not getting her vestee wet. The music took them for an instant in its autumnal envelope, shutting out the tourist chatter, the steam horns and quayside traffic, in as honest an expression of friendship and farewell as the Victorian heart had ever managed to come up with, until finally, the band moved mercifully on to ‘La Gazza Ladra.’ It wasn’t till Yashmeen nodded and released him that Cyprian realized they had been holding each other.

If bullshit were music, you’d be a big brass band,

Not to be confused with Der Flügel, which is an earlier form of the baby grand piano, the Flugelhorn is a wind instrument akin to the trumpet, but has a wider, conical bore. It is actually a descendant of the valved bugle, which had been developed from a hunting horn known in eighteenth-century Germany as a Flügelhorn. This valved instrument is similar to the B♭pitch of many trumpets and cornets and was actually inspired by the eighteenth-century saxhorn on which the flugelhorn is modeled. The German word Flügel means wing and in the early part of the 18th century Germany the leader or Führer of the hunt was known as a Flügelmeister who issued his orders of the hunt with, you guessed it, a Flügelhorn. Some modern flugelhorns feature a fourth valve that adds a lower range and extends the instrument's abilities, however some players use the fourth valve in place of the first and third valve combination making the instrument somewhat sharper and more confusing. The tone range is "fatter" and usually regarded as more “mellow” and “darker” than the trumpet or cornet. The sound of the flugelhorn has been described as halfway between a trumpet and a French horn and is a standard member of the British-style brass band. Joe Bishop an American jazz musician and composer, not to be confused with Joey Bishop of the Rat Pack, was a member of the Woody Herman band and was one of the earliest jazz musicians to use the flugelhorn.

To be frank, I think the elegant, long sentence is a thing of beauty, a self-contained entity worthy of study all by itself. Consider this sentence by Dylan Thomas from Quite Early One Morning: I was born in a large Welsh town at the beginning of the Great War—an ugly, lovely town (or so it was and is to me), crawling, sprawling by a long and splendid curving shore where truant boys and sandfield boys and old men from nowhere, beachcombed, idled and paddled, watched the dock-bound ships or the ships streaming away into wonder and India, magic and China, countries bright with oranges and loud with lions; threw stones into the sea for the barking outcast dogs; made castles and forts and harbours and race tracks in the sand; and on Saturday afternoons listened to the brass band, watched the Punch and Judy, or hung about on the fringes of the crowd to hear the fierce religious speakers who shouted at the sea, as though it were wicked and wrong to roll in and out like that, white-horsed and full of fishes.

The Sorcery of Romance (Song) All romancers do what they gotta' do; A chef will woo you with her cordon bleu, A dancer with a graceful pas de deux, A barista will blend you her finest arabica brew ~ All romancers do what they gotta' do. A necromancer's allure on the other hand, may be to conjure up the dead for you. Wooing is sorcery's shiny brass band, Milking love from us until we moo. Yeah, romancers do what they gotta' do; Necromancers do what they gotta' do.

in the Chief’s ears. He and Phoebe had danced awfully close to the band’s brass section. “Okay, I have to go in to work. Please don’t wake your mother. Will you be around when the twins get home?” “Um,” Kacy said. “I guess?” April Peck, the Chief thought. Sweet Jesus. “I have to go,” he said. He was unwashed, unshaven, in his street clothes, and he had to make do with the truly atrocious coffee that Molly made for the station. These were all bad omens. And somehow he had to make room in his mind for Phoebe’s

at least once in my life make something that would go around the world, create a lick that guitarists everywhere would play, be number one in America, be heard at weddings, bar mitzvahs, births, funerals, be adapted into the repertoire of brass bands in the north of England, and make my mum and dad proud.

The restaurant was traditional Serbian fare, heavy on the red peppers and red meat. And the music was pure anarchy: Four brass bands wandered the rooms, blaring a cacophony of overlapping parade marches.

Neither did the boiler explode—something once so common that one train line put a “Negro brass band” on a car between passengers and the engine, to serve as a buffer against combustion, as well as entertainment.

It’s really important not to get upset because then the voices will get the upper hand and take over your mind. Things are needy. They take up space. They want attention, and they will drive you mad if you let them. So just remember, you’re like the air traffic controller—no wait, you’re like the leader of a big brass band made up of all the jazzy stuff of the planet, and you’re floating out there in space, standing on this great garbage heap of a world, with your hair slicked back and your natty suit and your stick up in the air, surrounded by all the eager things, and for one quick, beautiful moment, all their voices go silent, waiting till you bring your baton down. Music or madness. It’s totally up to you.

piss-takes. I slumped down into a chair next to Ramin. ‘When did you get back?’ ‘Yesterday.’ ‘And you went for a drink straight away? Man, do you even have a brain?’ I groaned. ‘Not currently. Currently, I have a brass band rioting in my head. I assume that the polar bear over there’s a hallucination?’ Ramin didn’t bother looking where I was pointing.

you’re like the leader of a big brass band made up of all the jazzy stuff of the planet, and you’re floating out there in space, standing on this great garbage heap of a world, with your hair slicked back and your natty suit and your stick up in the air, surrounded by all the eager things, and for one quick, beautiful moment, all their voices go silent, waiting till you bring your baton down. Music or madness. It’s totally up to you.

Anything is possible on Fasnacht, Art said. Let’s go find the guggenmusikplatz, I like those bands. Guggenmusik? You know, brass bands. They’re mostly school band reunions, and they play really loudly and out of tune. On purpose? Yes. It’s a Swiss thing, I think. On festival night you’re supposed to go wild, so for them that means playing your French horn out of tune!

The day is beautiful; a sharp blue sky is dotted with wispy white clouds, all commas and curlicues. Hummingbirds hover down to investigate the screens, then zip back out across the bright open lawns. There’s music in the distance; the Google brass band is practicing an algorithmically generated waltz.

Whole divisions entered Finland with no worthwhile intelligence estimates of their opposition, guided by hopelessly inaccurate maps, yet fully burdened with truckloads of propaganda material including reams of posters and brass bands.

When Adolfe Sax patented the first saxophone on June 23, 1846, the Creek Nation was in turmoil. The people had been moved west of the Mississippi River after the Creek Wars which culminated in the Battle of Horseshoe Bend. We were putting our lives back together in new lands where we were promised we would be left alone. The saxophone made it across the big waters and was introduced in brass bands in the South. The music followed rivers into new towns, cities, all the way to our new lands. Not long after, in the early 1900s, my grandmother Naomi Harjo learned to play saxophone. I can feel her now when I play the instrument we both loved and love. The saxophone is so human. Its tendency is to be rowdy, edgy, talk too loud, bump into people, say the wrong words at the wrong time, but then, you take a breath all the way from the center of the earth and blow. All that heartache is forgiven. All that love we humans carry makes a sweet, deep sound and we fly a little.

It's really important not to get upset because then the voices will get the upper hand and take over your mind. Things are needy. They take up space. They want attention, and they will drive you mad if you let them. So just remember, you're like the air traffic controller-no wait, you’re like the leader of a big brass band made up of all the jazzy stuff of the planet, and you’re floating out there in space, standing on this great garbage heap of a world, with your hair slicked back and your natty suit and your stick up in the air, surrounded by all the eager things, and for one quick, beautiful moment, all their voices go silent, waiting till you bring your baton down. Music or madness. It’s totally up to you.

Jimmy Vanderbean, if you remember, is the guy who called me “Brass Gas” in band. (For the record, I farted ONCE while playing my trumpet.)

I play in a band and sometimes it's just frustrating, like, how do some people in the low brass go for the D if they can't even hit it

Afterwards I asked Stewart – a poet who presents programmes on Radio 4, including Pick of the Week – what had possessed him to ask that question. He replied that he had once been interviewing the last survivor of a British brass band which Hitler had requested to perform a private concert for him before the Second World War. The interviewee was an elderly woman who evidently did not understand that Stewart was trying to extract more than ‘yes/no’ answers from her. Eventually, in despair, he decided that he would ask her ‘What did Hitler smell like?’, at which point she opened up completely and gave him all the material he could have hoped for.

Submariners considered themselves the royalty of the German navy, and when they returned from successful patrols, their reception, especially at Lorient, was regal indeed. Dönitz himself was on hand to greet them, as was a brass band and a crowd of welcomers, including a number of attractive young German women who would bestow flowers and kisses on the victorious sub commanders. Medals would be awarded, speeches made, and triumphant anthems played.

In the village where I was born, most people were quite simple folk, as were my parents. There were only a few prominent residents: the mayor, the doctor, the notary and some members of the aristocracy who lived in manor houses on the edge of the village. The children of these prominent citizens were different. They didn’t run; they walked upright and bashed their knees in falls a lot less frequently. They had different toys as well. We had spinning tops, balls and elastic. They had a diabolo, walked with books on their heads and later they were given a horse. Our kind of children played from the age of ten in the brass band; they were given piano lessons at home and on Sundays they would listen to Peter and the Wolf. There were differences: you could see that instantly. But ours was the majority and from belonging to the majority we derived our pride and strength. Looking back, this strikes me as odd. At university, all the prominent children of the country had come together and now they formed the majority. They had walked about with books on their heads and they all knew >Peter and the Wolf backwards. Theirs were tales about the decline of the aristocracy – some of these were quite hilarious. It’s the way you tell ‘em.

In the village where I was born, most people were quite simple folk, as were my parents. There were only a few prominent residents: the mayor, the doctor, the notary and some members of the aristocracy who lived in manor houses on the edge of the village. the children of these prominent citizens were different. They didn’t run; they walked upright and bashed their knees in falls a lot less frequently. They had different toys as well. We had spinning tops, balls and elastic. They had a diabolo, walked with books on their heads and later they were given a horse. Our kind of children played from the age of ten in the brass band; they were given piano lessons at home and on Sundays they would listen to Peter and the Wolf. There were differences: you could see that instantly. But ours was the majority and from belonging to the majority we derived our pride and strength. Looking back, this strikes me as odd. At university, all the prominent children of the country had come together and now they formed the majority. They had walked about with books on their heads and they all knew Peter and the Wolf backwards. Theirs were tales about the decline of the aristocracy – some of these were quite hilarious. It’s the way you tell ‘em.

They had nothing. In their houses, there was nothing. At first. You had to stay in the dark of the huts a long while to make out what was on the walls. In the wife's hut a wavy pattern of broad white and ochre bands. In others - she did not know whether or not she was welcome where they dipped in and out all day from dark to light like swallows - she caught a glimpse of a single painted circle, an eye or target, as she saw it. In one dwelling where she was invited to enter there was the tail of an animal and a rodent skull, dried gut, dangling from the thatch. Commonly there were very small mirrors snapping at the stray beams of light like hungry fish rising. They reflected nothing. An impression - sensation - of seeing something intricately banal, manufactured, replicated, made her turn as if someone had spoken to her from back there. It was in the hut where the yokes and traces for the plough-oxen were. She went inside again and discovered insignia, like war medals, nailed just to the left of the dark doorway. The enamel emblem's Red Cross was foxed and pitted with damp, bonded with dirt to the mud and dung plaster that was slowly incorporating it. The engraved lettering on the brass arm-plaque had filled with rust. The one was a medallion of the kind presented to black miners who pass a First Aid exam on how to treat injuries likely to occur underground, the other was a black miner's badge of rank, the highest open to him. Someone from the mines; someone had gone to the gold mines and come home with these trophies. Or they had been sent home; and where was the owner? No one lived in this hut. But someone had; had had possessions, his treasure displayed. Had gone away, or died - was forgotten or was commemorated by the evidence of these objects left, or placed, in the hut. Mine workers had been coming from out of these places for a long, long time, almost as long as the mines had existed. She read the brass arm-plaque: Boss Boy.

purpose of the memorial was to show their devotion to those rebel vets both dead and still living and to teach their increasingly irreverent sons the true meaning of the Lost Cause. This gave them, many of whom were college graduates, a sense of purpose; they were the teachers and it was in the schoolroom and the Sunday school room that the most important work of indoctrination took place. In addition, the women’s suffrage movement was making itself felt throughout the country and the men reckoned on Lost Cause activity keeping their women safe from that. At 10 a.m. the brass band blared Dixie and a bevy of white-gloved ladies pulled the velvet cord that removed the white satin cloak from the gleaming statue. A gasp ran through the crowd. Hamilton had no public

Bud!” He looked up, irritated. She got up and walked out into the hall, giving him a significant look as she passed his chair. He came out a minute later. “This had better be good, kid. They’re talking about cobras.” “Someone’s out on the porch. I heard him.” “What was he doing?” “How do I know? I heard the floorboards creaking.” “Oh, Maggie, come on. How do you know it was even a him—a person?” “What else would make those boards creak? A cricket jumping up and down on them?” Bud rubbed his chin. “Could have been a cricket. Or a bat. They squeak. Kind of. It’s like radar.” “Will you listen to me?” Margaret hissed. “It was not a cricket or a bat. Are you afraid to go out and see who’s there?” “No, I’m not afraid.” “Well, let’s go then.” “Well, all right.” Bud grabbed the front screen-door handle and said, loudly, “We’ll just go out there now and see.” Margaret said, “Why not hire a brass band, while we’re at it?” “You want to go first?” Bud demanded. “Be my guest.” Margaret said, “Oh, for Heaven’s sake—no one’s going to be out there now, anyway. Not unless they’re dying, or something.” Bud threw the screen door open and marched out. Margaret was one step behind him.

It seems like the entire town is drunk. lee's Confederate army has surrendered. In the Union capital whiskey is chugged straight out of the bottle, church bells toll, pistols are fired into the air, fireworks explode, newsboys hawk final editions chock-full of details from Appomattox, brass bands play, church hymns are sung, thirty-five U.S. flags are hoisted, and army howitzers launch an astonishing five-hundred-gun salute, which shatters windows for miles around the city.

You don’t have to offer me a job to get into my panties. You are welcome there. There’s a little brass band down there, ready to say hi whenever you’re ready. They have banners and balloons. There is no job required.

Let me say about Molly. If bullshit was music, she’d be a brass band.

But it was clear they were watching everything, and she must have been setting off their Google Alerts like a brass band over the last couple of days.

gatherings formatted around two drums, a violin, and communal singing in New Orleans’ Congo Square81 reshaped the blues into “jass” or “dirty” brass bands that transmits the magical technology of “Jes Grew” 82—an audio virus that novelist and playwright Ishmael Reed describes as “going around in circles until the 1920s when it impregnated America's ‘hysteria.’” 83 Canadian media theorist Marshall McLuhan was preeminently aware of this phenomenon of Black people taking and forging new outcomes from technology produced during the nineteenth and twentieth century, as evidenced in his 1968 book with graphic designer Quentin Fiore, War and Peace in the Global Village: