Busted Song Quotes

This next song goes out to the girl who shredded my heart without hesitation back in high school. It's called Ball Busting Bitch, and Laine this one's for you.

Do broken pianos play broken songs? Do they have busted melodies for busted hearts? Is there a song living inside it that's waiting to get out? Her keys are shattered and her notes long since silent but I can still hear her song. Just listen, just listen.

Reyna said, swinging her sword again. “Something they’ll hate worse than Apollo.” Her eyes lit up. “Apollo, sing for them!” She might as well have kicked me in the face again. “My voice isn’t that bad!” “But you’re the—You used to be the god of music, right? If you can charm a crowd, you should be able to repulse one. Pick a song these birds will hate!” Great. Not only had Reyna laughed in my face and busted my nose, now I was her go-to guy for repulsiveness.

Ten Best Song to Strip 1. Any hip-swiveling R&B fuckjam. This category includes The Greatest Stripping Song of All Time: "Remix to Ignition" by R. Kelly. 2. "Purple Rain" by Prince, but you have to be really theatrical about it. Arch your back like Prince himself is daubing body glitter on your abdomen. Most effective in nearly empty, pathos-ridden juice bars. 3. "Honky Tonk Woman" by the Rolling Stones. Insta-attitude. Makes even the clumsiest troglodyte strut like Anita Pallenberg. (However, the Troggs will make you look like even more of a troglodyte, so avoid if possible.) 4. "Pour Some Sugar on Me" by Def Leppard. The Lep's shouted choruses and relentless programmed drums prove ideal for chicks who can really stomp. (Coincidence: I once saw a stripper who, like Rick Allen, had only one arm.) 5. "Amber" by 311. This fluid stoner anthem is a favorite of midnight tokers at strip joints everywhere. Mellow enough that even the most shitfaced dancer can make it through the song and back to her Graffix bong without breaking a sweat. Pass the Fritos Scoops, dude. 6. "Miserable" by Lit, but mostly because Pamela Anderson is in the video, and she's like Jesus for strippers (blonde, plastic, capable of parlaying a broken nail into a domestic battery charge, damaged liver). Alos, you can't go wrong stripping to a song that opens with the line "You make me come." 7. "Back Door Man" by The Doors. Almost too easy. The mere implication that you like it in the ass will thrill the average strip-club patron. Just get on all fours and crawl your way toward the down payment on that condo in Cozumel. (Unless, like most strippers, you'd rather blow your nest egg on tacky pimped-out SUVs and Coach purses.) 8. Back in Black" by AC/DC. Producer Mutt Lange wants you to strip. He does. He told me. 9. "I Touch Myself" by the Devinyls. Strip to this, and that guy at the tip rail with the bitch tits and the shop teacher glasses will actually believe that he alone has inspired you to masturbate. Take his money, then go masturbate and think about someone else. 10. "Hash Pipe" by Weezer. Sure, it smells of nerd. But River Cuomo is obsessed with Asian chicks and nose candy, and that's just the spirit you want to evoke in a strip club. I recommend busting out your most crunk pole tricks during this one.

For weeks Charlie had been singing the same song over and over again. “Dinah won’t you blow…” He sang it twenty-four hours a day, with the same vacant, cheerful tone. ”Dinah won’t you blow your hor-or-orn?” He kept the beat with his head, endlessly banging it against the hallways bulkhead. “Dinah won’t you blow…” Johnnie-O, who had very little patience to begin with, would have pulled out his hair, were it possible for an Afterlight’s hair to come out. “Dinah won’t you blow…” Johnnie squeezed his oversized hands into fists, wishing there was something he could bust, but having spent many years trying to break things, he knew more than anyone that Everlost stuff didn’t break, unless breakage was its purpose. “Dinah won’t you blow your horn!” “Dammit, will you shut your hole or I swear I’m gonna pound you into next Tuesday and then throw you out of the stinkin’ window where you and your song can drown and sink down to the center of earth for all I care, so you better shut your hole right now!” Charlie looked at him for a moment, eyes wide, considering it. Then he said, ”Someone’s in the kitchen with Dinah!” Johnnie groaned.

Beauty is so rare a th— Sing a new song Real Music A busted flush. A pain in the eyebrows. A Visiting card — from 15 False Propositions Against God [1958]

Gustavo Tiberius speaking." “It’s so weird you do that, man,” Casey said, sounding amused. “Every time I call.” “It’s polite,” Gus said. “Just because you kids these days don’t have proper phone etiquette.” “Oh boy, there’s the Grumpy Gus I know. You miss me?” Gus was well aware the others could hear the conversation loud and clear. He was also aware he had a reputation to maintain. “Hadn’t really thought about it.” “Really.” “Yes.” “Gus.” “Casey.” “I miss you.” “I miss you too,” Gus mumbled into the phone, blushing fiercely. “Yeah? How much?” Gus was in hell. “A lot,” he said truthfully. “There have been allegations made against my person of pining and moping. False allegations, mind you, but allegations nonetheless.” “I know what you mean,” Casey said. “The guys were saying the same thing about me.” Gus smiled. “How embarrassing for you.” “Completely. You have no idea.” “They’re going to get you packed up this week?” “Ah, yeah. Sure. Something like that.” “Casey.” “Yes, Gustavo.” “You’re being cagey.” “I have no idea what you mean. Hey, that’s a nice Hawaiian shirt you’ve got on. Pink? I don’t think I’ve seen you in that color before.” Gus shrugged. “Pastor Tommy had a shitload of them. I think I could wear one every day for the rest of the year and not repeat. I think he may have had a bit of a….” Gus trailed off when his hand started shaking. Then, “How did you know what I was wearing?” There was a knock on the window to the Emporium. Gus looked up. Standing on the sidewalk was Casey. He was wearing bright green skinny jeans and a white and red shirt that proclaimed him to be a member of the 1987 Pasadena Bulldogs Women’s Softball team. He looked ridiculous. And like the greatest thing Gus had ever seen. Casey wiggled his eyebrows at Gus. “Hey, man.” “Hi,” Gus croaked. “Come over here, but stay on the phone, okay?” Gus didn’t even argue, unable to take his eyes off Casey. He hadn’t expected him for another week, but here he was on a pretty Saturday afternoon, standing outside the Emporium like it was no big deal. Gus went to the window, and Casey smiled that lazy smile. He said, “Hi.” Gus said, “Hi.” “So, I’ve spent the last two days driving back,” Casey said. “Tried to make it a surprise, you know?” “I’m very surprised,” Gus managed to say, about ten seconds away from busting through the glass just so he could hug Casey close. The smile widened. “Good. I’ve had some time to think about things, man. About a lot of things. And I came to this realization as I drove past Weed, California. Gus. It was called Weed, California. It was a sign.” Gus didn’t even try to stop the eye roll. “Oh my god.” “Right? Kismet. Because right when I entered Weed, California, I was thinking about you and it hit me. Gus, it hit me.” “What did?” Casey put his hand up against the glass. Gus did the same on his side. “Hey, Gus?” “Yeah?” “I’m going to ask you a question, okay?” Gustavo’s throat felt very dry. “Okay.” “What was the Oscar winner for Best Song in 1984?” Automatically, Gus answered, “Stevie Wonder for the movie The Woman in Red. The song was ‘I Just Called to Say I Love You.’” It was fine, of course. Because he knew answers to all those things. He didn’t know why Casey wanted to— And then he could barely breathe. Casey’s smile wobbled a little bit. “Okay?” Gus blinked the burn away. He nodded as best he could. And Casey said, “Yeah, man. I love you too.” Gus didn’t even care that he dropped his phone then. All that mattered was getting as close to Casey as humanely possible. He threw open the door to the Emporium and suddenly found himself with an armful of hipster. Casey laughed wetly into his neck and Gus just held on as hard as he could. He thought that it was possible that he might never be in a position to let go. For some reason, that didn’t bother him in the slightest.

Here we go again, boys. Off on another adventure. This time busting Riley's brother out of prison. There will be danger; there will be spills and thrills. There will be knives and there will be guns and there will be people saying stupid things at the worst possible time." "Probably me!" said Bob cheerfully. "So we need a motto, something to keep us going when the odds are against us." "Like the wind beneath our wings?" asked Riley. "No, not like that. And thanks for putting that song in my head, by the way.

You know, one time I saw Tiger down at the water hole: he had the biggest testicles of any animal, and the sharpest claws, and two front teeth as long as knives and as sharp as blades. And I said to him, Brother Tiger, you go for a swim, I’ll look after your balls for you. He was so proud of his balls. So he got into the water hole for a swim, and I put his balls on, and left him my own little spider balls. And then, you know what I did? I ran away, fast as my legs would take me “I didn’t stop till I got to the next town, And I saw Old Monkey there. You lookin’ mighty fine, Anansi, said Old Monkey. I said to him, You know what they all singin’ in the town over there? What are they singin’? he asks me. They singin’ the funniest song, I told him. Then I did a dance, and I sings, Tiger’s balls, yeah, I ate Tiger’s balls Now ain’t nobody gonna stop me ever at all Nobody put me up against the big black wall ’Cos I ate that Tiger’s testimonials I ate Tiger’s balls. “Old Monkey he laughs fit to bust, holding his side and shakin’, and stampin’, then he starts singin’ Tiger’s balls, I ate Tiger’s balls, snappin’ his fingers, spinnin’ around on his two feet. That’s a fine song, he says, I’m goin’ to sing it to all my friends. You do that, I tell him, and I head back to the water hole. “There’s Tiger, down by the water hole, walkin’ up and down, with his tail switchin’ and swishin’ and his ears and the fur on his neck up as far as they can go, and he’s snappin’ at every insect comes by with his huge old saber teeth, and his eyes flashin’ orange fire. He looks mean and scary and big, but danglin’ between his legs, there’s the littlest balls in the littlest blackest most wrinkledy ball-sack you ever did see. “Hey, Anansi, he says, when he sees me. You were supposed to be guarding my balls while I went swimming. But when I got out of the swimming hole, there was nothing on the side of the bank but these little black shriveled-up good-for-nothing spider balls I’m wearing. “I done my best, I tells him, but it was those monkeys, they come by and eat your balls all up, and when I tell them off, then they pulled off my own little balls. And I was so ashamed I ran away. “You a liar, Anansi, says Tiger. I’m going to eat your liver. But then he hears the monkeys coming from their town to the water hole. A dozen happy monkeys, boppin’ down the path, clickin’ their fingers and singin’ as loud as they could sing, Tiger’s balls, yeah, I ate Tiger’s balls Now ain’t nobody gonna stop me ever at all Nobody put me up against the big black wall ’Cos I ate that Tiger’s testimonials I ate Tiger’s balls. “And Tiger, he growls, and he roars and he’s off into the forest after them, and the monkeys screech and head for the highest trees. And I scratch my nice new big balls, and damn they felt good hangin’ between my skinny legs, and I walk on home. And even today, Tiger keeps chasin’ monkeys. So you all remember: just because you’re small, doesn’t mean you got no power.

My Rush You are my rush You are my tortured dreams You are my fear come running on a busted knee You’re a life raft I cling onto I’ll keep an eye on the bottom And my arms around you You are the current that I can’t escape Draw me down into your depths, Down to your depths A storm coming trying to throw me back You’re the angel’s voice ringing And the Devil in the trap The hunter’s game and a lover’s song You’re a hand on the trigger And a whisper in my ear You are the water swirling round my feet You’re a knife-edge that cuts to a steady beat You are the current that I can’t escape Pull me down, pull me down, pull me down To your depths So Soldier (feat. Ainslie Wills) So you’ve been hiding You’ve been hiding that secret under your shirt collar You can’t breathe easy So if he finds it That you’re hiding that secret under your shirt collar You can’t breathe easy When you have to, you’ll find When you have to, you’ll show it Forever leaves behind Forever is not knowing Fearing is a feeling of mine And everybody’s doing their time Those shadows creeping up from behind Are calling out your name

He found himself thinking of something Barry Grieg had once said to him about a rhythm guitar player from L.A., a guy named Jory Baker who was always on time, never missed a practice session, or fucked up an audition. Not the kind of guitar player that caught your eye, no showboat like Angus Young or Eddie Van Halen, but competent. Once, Barry had said, Jory Baker had been the driving wheel of a group called Sparx, a group everybody seemed to think that year's Most Likely to Succeed. They had a sound something like early Creedence: hard solid guitar rock and roll. Jory Baker had done most of the writing and all of the vocals. Then a car accident, broken bones, lots of dope in the hospital. He had come out, as the John Prine song says, with a steel plate in his head and a monkey on his back. He progressed from Demerol to heroin. Got busted a couple of times. After a while he was just another street-druggie with fumble fingers, spare-changing down at the Greyhound station and hanging out on the strip. Then, somehow, over a period of eighteen months, he had gotten clean, and stayed clean. A lot of him was gone. He was no longer the driving wheel of any group, Most Likely to Succeed or otherwise, but he was always on time, never missed a practice session, or fucked up an audition. He didn't talk much, but the needle highway on his left arm had disappeared. And Barry Grieg had said: 'He's come out the other side.' That was all. No one can tell what goes on in between the person you were and the person you become. No one can chart that blue and lonely section of hell. There are no maps of the change. You just . . . come out the other side. Or you don't.

He found himself thinking of something Barry Grieg had once said to him about a rhythm guitar player from L.A., a guy named Jory Baker who was always on time, never missed a practice session, or fucked up an audition. Not the kind of guitar player that caught your eye, no showboat like Angus Young or Eddie Van Halen, but competent. Once, Barry had said, Jory Baker had been the driving wheel of a group called Sparx, a group everybody seemed to think that year's Most Likely to Succeed. They had a sound something like early Creedence: hard solid guitar rock and roll. Jory Baker had done most of the writing and all of the vocals. Then a car accident, broken bones, lots of dope in the hospital. He had come out, as the John Prine song says, with a steel plate in his head and a monkey on his back. He progressed from Demerol to heroin. Got busted a couple of times. After a while he was just another street-druggie with fumble fingers, spare-changing down at the Greyhound station and hanging out on the strip. Then, somehow, over a period of eighteen months, he had gotten clean, and stayed clean. A lot of him was gone. He was no longer the driving wheel of any group, Most Likely to Succeed or otherwise, but he was always on time, never missed a practice session, or fucked up an audition. He didn't talk much, but the needle highway on his left arm had disappeared. And Barry Grieg had said: 'He's come out the other side.' That was all. No one can tell what goes on in between the person you were and the person you become. No one can chart that blue and lonely section of hell. There are no maps of the change. You just . . . come out the other side. Or you don't.

He found himself thinking of something Barry Grieg had once said to him about a rhythm guitar player from L.A., a guy named Jory Baker who was always on time, never missed a practice session, or fucked up an audition. Not the kind of guitar player that caught your eye, no showboat like Angus Young or Eddie Van Halen, but competent. Once, Barry had said, Jory Baker had been the driving wheel of a group called Sparx, a group everybody seemed to think that year's Most Likely to Succeed. They had a sound something like early Creedence: hard solid guitar rock and roll. Jory Baker had done most of the writing and all of the vocals. Then a car accident, broken bones, lots of dope in the hospital. He had come out, as the John Prine song says, with a steel plate in his head and a monkey on his back. He progressed from Demerol to heroin. Got busted a couple of times. After a while he was just another street-druggie with fumble fingers, spare-changing down at the Greyhound station and hanging out on the strip. Then, somehow, over a period of eighteen months, he had gotten clean, and stayed clean. A lot of him was gone. He was no longer the driving wheel of any group, Most Likely to Succeed or otherwise, but he was always on time, never missed a practice session, or fucked up an audition. He didn't talk much, but the needle highway on his left arm had disappeared. And Barry Grieg had said: 'He's come out the other side.' That was all. No one can tell what goes on in between the person you were and the person you become. No one can chart that blue and lonely section of hell. There are no maps of the change. You just . . . come out the other side. Or you don't.

The sort where moon don’t rhyme with June, and you’re not up to your backside in bloody buttercups. Songs that aren’t about your mum and dad. A bit rough, a beat that busts up the old way, the old stodge, the empire and knowing your place and excuse me and the dressing up and doing what you’re told.

The crowd were cheering and Geraldine led the Ass squad in that annoying as fuck song about princesses as they all celebrated her win, but I ignore them as I moved forward to offer Roxy a hand up. “I’ll toss Mildred back in her room, heal her and cast a sleeping spell on her so that she can properly recover,” Cal announced as he moved around us and I couldn’t help but smile at him. It might have annoyed the fuck out of me that he’d been with my girl, but he really was a good friend. A true brother. He threw Mildred over his shoulder like a sack of potatoes and shot out of the room as Seth howled in excitement. “Come on,” I said to Roxy. “I’ll clean you up and heal those wounds.” “Okay.” Roxy followed me back to the couch and I sat her down in my spot before throwing a ring of fire and a silencing bubble up around us to give us some pretence of privacy. “Doesn’t this count as us being alone?” Roxy asked as I dropped to my knees in front of her and she pulled her busted bottom lip between her teeth. That shouldn’t have been hot, but it really fucking was. “I’m going with no,” I replied, but as the ground trembled beneath my knees I had to admit it did. “Maybe you should just-” “I’m going to look after you,” I growled, leaving no room for negotiation. “So just let me.” Her lips parted, eyes flared, fingers gripped the edge of the couch and I was sure she was about to tell me no, but instead she just nodded. I reached out and curled my fingers wound around her waist as I pressed healing magic from my skin into hers, closing my eyes so that I could concentrate. She had cracked ribs and healing bones was more difficult than damaged tissue. (Darius POV)

The crowd were cheering and Geraldine led the Ass squad in that annoying as fuck song about princesses as they all celebrated her win, but I ignore them as I moved forward to offer Roxy a hand up. “I’ll toss Mildred back in her room, heal her and cast a sleeping spell on her so that she can properly recover,” Cal announced as he moved around us and I couldn’t help but smile at him. It might have annoyed the fuck out of me that he’d been with my girl, but he really was a good friend. A true brother. He threw Mildred over his shoulder like a sack of potatoes and shot out of the room as Seth howled in excitement. “Come on,” I said to Roxy. “I’ll clean you up and heal those wounds.” “Okay.” Roxy followed me back to the couch and I sat her down in my spot before throwing a ring of fire and a silencing bubble up around us to give us some pretence of privacy. “Doesn’t this count as us being alone?” Roxy asked as I dropped to my knees in front of her and she pulled her busted bottom lip between her teeth. That shouldn’t have been hot, but it really fucking was. “I’m going with no,” I replied, but as the ground trembled beneath my knees I had to admit it did. “Maybe you should just-” “I’m going to look after you,” I growled, leaving no room for negotiation. “So just let me.” Her lips parted, eyes flared, fingers gripped the edge of the couch and I was sure she was about to tell me no, but instead she just nodded. I reached out and curled my fingers wound around her waist as I pressed healing magic from my skin into hers, closing my eyes so that I could concentrate. She had cracked ribs and healing bones was more difficult than damaged tissue. She fell still as I shifted my hands over her flesh and I tried to ignore the way the floor quaked beneath me. We couldn’t stay in this bubble for long, but I wished that we could. I wished we could just build a bubble where the stars couldn’t see us and stay in it forever. Although I guessed if I offered her that she’d just say no again. I sighed as my magic depleted, using the last drops of it to heal her and clean the blood from her skin after burning through so much in the game. A soft touch against my hair made me open my eyes and I looked up at her as she pushed the crown onto my head. “Mildred knocked me off of the couch first,” she explained in answer to the question in my eyes. “So you win. Besides, you need a big head like yours to pull off a crown like this.” I snorted a laugh as the ground trembled so violently that I was almost knocked back onto my ass. Roxy quickly pulled the rings and bracelets from her hands and offered them to me too and I pushed them into my pockets wordlessly. But as she reached up to unclasp the blood ruby pendant from around her neck I caught her wrist to stop her. “Keep it,” I said, my gaze slipping to the priceless heart where it lay against her flesh. Dragons didn’t give treasure away. Ever. It was inherited through the family or we bought more of it, but we never gifted it to anyone. It went against everything we stood for and the fierce possessiveness of our natures. But for some reason that I couldn’t fully comprehend, I wanted her to keep that necklace. “It looks better on you anyway.” Her eyes widened but before she could reply, I dropped the wall of fire and stepped away from her. Darcy hurried forward with wild eyes, looking between me and her sister for a long moment like she’d expected us to be arguing or something. But the last thing I was going to do was call Roxy out for beating Mildred’s ass for me. She’d absolutely been working in my interests and I wasn’t even going to pretend to be pissed about it. “Darius fixed me up like new. Did you see the bit when I kneed her in the vag?” Roxy asked as she grinned and Darcy started laughing. “It was classic, you’ve gotta come see Tyler’s slow motion footage of you punching her in the throat too!” (Darius POV)

Redemption Choir. Half-demons who want to be human,” I said. “So they’re the good guys.” “No,” I said. “They’re nuts, and they just kidnapped a priest. They’re the bad guys.” “Who’s AB?” “Special Agent Harmony Black. FBI agent, trying to bust Nicky Agnelli. Honest cop, as far as I know. Straight shooter.” “So she’s a good guy.” “No, because she also wants to bust everyone who Nicky’s ever done business with, including me, and Lauren Carmichael’s pulling her strings. So she’s also a bad guy.” “Who’s S?” Pixie asked. “Sitri. Demon prince.” “Definitely a bad guy.” I sighed. “No. My girlfriend works for him, and she just helped save the world.” “So let me get this straight,” Pixie said. “Some of the bad guys are bad guys, some of the bad guys are the good guys, and there aren’t any good good guys.” “That’s right.” “Hey, Faust?” “Yeah, Pix?” “You ever think,” she said, “your moral compass might be just a little bit fucked up?” “Every damn day.

Jazz was the opposite of everything Harry Anslinger believed in. It is improvised, and relaxed, and free-form. It follows its own rhythm. Worst of all, it is a mongrel music made up of European, Caribbean, and African echoes, all mating on American shores. To Anslinger, this was musical anarchy, and evidence of a recurrence of the primitive impulses that lurk in black people, waiting to emerge. “It sounded,” his internal memos said, “like the jungles in the dead of night.”94 Another memo warned that “unbelievably ancient indecent rites of the East Indies are resurrected”95 in this black man’s music. The lives of the jazzmen, he said, “reek of filth.”96 His agents reported back to him97 that “many among the jazzmen think they are playing magnificently when under the influence of marihuana but they are actually becoming hopelessly confused and playing horribly.” The Bureau believed that marijuana slowed down your perception of time98 dramatically, and this was why jazz music sounded so freakish—the musicians were literally living at a different, inhuman rhythm. “Music hath charms,”99 their memos say, “but not this music.” Indeed, Harry took jazz as yet more proof that marijuana drives people insane. For example, the song “That Funny Reefer Man”100 contains the line “Any time he gets a notion, he can walk across the ocean.” Harry’s agents warned: “He does think that.” Anslinger looked out over a scene filled with men like Charlie Parker,101 Louis Armstrong,102 and Thelonious Monk,103 and—as the journalist Larry Sloman recorded—he longed to see them all behind bars.104 He wrote to all the agents he had sent to follow them, and instructed: “Please prepare all cases in your jurisdiction105 involving musicians in violation of the marijuana laws. We will have a great national round-up arrest of all such persons on a single day. I will let you know what day.” His advice on drug raids to his men was always “Shoot first.”106 He reassured congressmen that his crackdown would affect not “the good musicians, but the jazz type.”107 But when Harry came for them, the jazz world would have one weapon that saved them: its absolute solidarity. Anslinger’s men could find almost no one among them who was willing to snitch,108 and whenever one of them was busted,109 they all chipped in to bail him out.

Oh, they’ll catch them,” said Walters. “Catch ’em? Catch ’em?” Porter was astounded. “You out of your fuckin mind? They’ll catch ’em, all right, and give ’em a big party and a medal.” “Yeah. The whole town planning a parade,” said Nero. “They got to catch ’em.” “So they catch ’em. You think they’ll get any time? Not on your life!” “How can they not give ’em time?” Walters’ voice was high and tight. “How? Just don’t, that’s how.” Porter fidgeted with his watch chain. “But everybody knows about it now. It’s all over. Everywhere. The law is the law.” “You wanna bet? This is sure money!” “You stupid, man. Real stupid. Ain’t no law for no colored man except the one sends him to the chair,” said Guitar. “They say Till had a knife,” Freddie said. “They always say that. He could of had a wad of bubble gum, they’d swear it was a hand grenade.” “I still say he shoulda kept his mouth shut,” said Freddie. “You should keep yours shut,” Guitar told him. “Hey, man!” Again Freddie felt the threat. “South’s bad,” Porter said. “Bad. Don’t nothing change in the good old U.S. of A. Bet his daddy got his balls busted off in the Pacific somewhere.” “If they ain’t busted already, them crackers will see to it. Remember them soldiers in 1918?” “Ooooo. Don’t bring all that up….” The men began to trade tales of atrocities, first stories they had heard, then those they’d witnessed, and finally the things that had happened to themselves. A litany of personal humiliation, outrage, and anger turned sicklelike back to themselves as humor. They laughed then, uproariously, about the speed with which they had run, the pose they had assumed, the ruse they had invented to escape or decrease some threat to their manliness, their humanness. All but Empire State, who stood, broom in hand and drop-lipped, with the expression of a very intelligent ten-year-old.

But we know the truth, you and I. There are many, many tasks in our very human lives that we don't want to carry out. . . . But somewhere along the way, these mundane tasks stack up to a life. Your favorite song comes on in the grocery store and you can't help busting out your karaoke moves with the cashier, and your son laughs and rolls his eyes and you remember what he looked like at every age that has passed--his dimples at three, the tousled hair at six, the tiny chip in his front tooth you never fixed because everyone grew to love it. You forget the cilantro, but my gosh, the sunrise looks so beautiful in the parking lot.

We sat there in the kitchen and I started to pick away at these chords.… “It is the evening of the day.” I might have written that. “I sit and watch the children play,” I certainly wouldn’t have come up with that. We had two lines and an interesting chord sequence, and then something else took over somewhere in this process. I don’t want to say mystical, but you can’t put your finger on it. Once you’ve got that idea, the rest of it will come. It’s like you’ve planted a seed, then you water it a bit and suddenly it sticks up out of the ground and goes, hey, look at me. The mood is made somewhere in the song. Regret, lost love. Maybe one of us had just busted up with a girlfriend. If you can find the trigger that kicks off the idea, the rest of it is easy. It’s just hitting the first spark. Where that comes from, God knows. With “As Tears Go By,” we weren’t trying to write a commercial pop song. It was just what came out. I knew what Andrew wanted: don’t come out with a blues, don’t do some parody or copy, come out with something of your own. A good pop song is not really that easy to write. It was a shock, this fresh world of writing our own material, this discovery that I had a gift I had no idea existed. It was Blake-like, a revelation, an epiphany. “As Tears Go By” was first recorded and made into a hit by Marianne Faithfull. That was only weeks away.

Without any set of stable morals, professors argue in favor of thugs and criminals. One professor played the “song” “Cop Killer” by that illustrious artist, Ice-T. To quote from the song: “I got my twelve gauge sawed off / I got my headlights turned off / I’m ’bout to bust some shots off / I’m ’bout to dust some cops off ! / Cop killer, it’s better you than me / Cop killer, f— police brutality / Cop killer, I know your family’s grieving (F— ’em) / Cop killer, but tonight we get even (ha, ha, ha, ha, yeah!).

Speaking of the great jazz singer Ella Fitzgerald– Here was a Black woman popularizing urban songs often written by immigrant Jews to a national audience of predominantly white Christians.

This kind of herd behaviour can be highly contagious and highly uncertain. And it explains the unpredictability not only of the next chart-topping song but also of next summer’s fashion craze—not to mention the ‘animal spirits’ driving boom and bust in stock markets—revealing the strength of social networks in shaping our preferences, purchases and actions.