Drill Music Quotes

Abroad, she discovered that the transformation of music into noise was a planetary process by which mankind was entering the historical phase of total ugliness. The total ugliness to come had made itself felt first as omnipresent acoustical ugliness: cars, motorcycles, electric guitars, drills, loudspeakers, sirens. The omnipresence of visual ugliness would soon follow.

I let the music drill through my teeth and drip out my hair and pound through my eyeballs. I taste it, like grit and sweat.

Granny Trill and Granny Wallon were traditional ancients of a kind we won’t see today, the last of that dignity of grandmothers to whom age was its own embellishment. The grandmothers of those days dressed for the part in that curious but endearing uniform which is now known to us only through music-hall. And our two old neighbours, when setting forth on errands, always prepared themselves scrupulously so. They wore high laced boots and long muslin dresses, beaded chokers and candlewick shawls, crowned by tall poke bonnets tied with trailing ribbons and smothered with inky sequins. They looked like starlings, flecked with jet, and they walked in a tinkle of darkness. Those severe and similar old bodies enthralled me when they dressed that way. When I finally became King (I used to think) I would command a parade of grandmas, and drill them, and march them up and down - rank upon rank of hobbling boots, nodding bonnets, flying shawls, and furious chewing faces. They would be gathered from all the towns and villages and brought to my palace in wagon-loads. No more than a monarch’s whim, of course, like eating cocoa or drinking jellies; but far more spectacular any day than those usual trudging guardsmen.

In the main café area next door, Delilah is coming to the end of Moonlight Sonata. The final notes are deep, sad — placed in a way only Beethoven knows how to place notes. They drill a hole in my stomach and place a lead weight there. If death has ever been portrayed in music, it’s in those final bars. And yet, at the same time, they’re so beautiful.

It was ordained. Just as the fates deal out the plague with a tarot card. Just as the Supreme Being drills holes in our skulls to let the Boston Symphony through.

Inside, upstairs, where the planes are met, the spaces are long and low and lined in tasteful felt gray like that cocky stewardess's cap and filled with the kind of music you become aware of only when the elevator stops or when the dentist stops drilling. Plucked strings, no vocals, music that's used to being ignored, a kind of carpet in the air, to cover up a silence that might remind you of death.

Except Caitlyn. High school dating, drill team, school spirit—it all seemed silly to her. Why did it feel like high school was crushing her soul? She had nothing concrete she could point to. All she knew was that she didn’t belong here. She preferred old, used clothes to new ones; her iPod was full of classical music; and photos of castles and reproductions of old European art covered her bedroom walls, including a Renaissance painting of a young girl in white, named Bia. It should have been pop singers on her wall, or movie stars

A boring machine, would it drill holes—or put you to sleep? The two-party political system, that’s a boring machine, though voters are waking up. I'd like to think my ducks quacking for their breakfast in the morning is also helping The Sleepwalkers rise from their slumber.

THE BEET IS THE MOST INTENSE of vegetables. The radish, admittedly, is more feverish, but the fire of the radish is a cold fire, the fire of discontent not of passion. Tomatoes are lusty enough, yet there runs through tomatoes an undercurrent of frivolity. Beets are deadly serious. Slavic peoples get their physical characteristics from potatoes, their smoldering inquietude from radishes, their seriousness from beets. The beet is the melancholy vegetable, the one most willing to suffer. You can't squeeze blood out of a turnip . . . The beet is the murderer returned to the scene of the crime. The beet is what happens when the cherry finishes with the carrot. The beet is the ancient ancestor of the autumn moon, bearded, buried, all but fossilized; the dark green sails of the grounded moon-boat stitched with veins of primordial plasma; the kite string that once connected the moon to the Earth now a muddy whisker drilling desperately for rubies. The beet was Rasputin's favorite vegetable. You could see it in his eyes. In Europe there is grown widely a large beet they call the mangel-wurzel. Perhaps it is mangel-wurzel that we see in Rasputin. Certainly there is mangel-wurzel in the music of Wagner, although it is another composer whose name begins, B-e-e-t——. Of course, there are white beets, beets that ooze sugar water instead of blood, but it is the red beet with which we are concerned; the variety that blushes and swells like a hemorrhoid, a hemorrhoid for which there is no cure. (Actually, there is one remedy: commission a potter to make you a ceramic asshole—and when you aren't sitting on it, you can use it as a bowl for borscht.) An old Ukrainian proverb warns, “A tale that begins with a beet will end with the devil.” That is a risk we have to take.

One day in the next five hundred billion years, while the probes complete one full circuit of the Milky Way, maybe they’ll stumble upon intelligent life. In forty thousand years or so, when the two probes sail close enough to a planetary system, maybe just maybe one of these plants will be home to some life form which will spy the probe with whatever it has that passes for eyes, stay its telescope, retrieve the derelict fuel-less old probe with whatever it has that passes for curiosity, lower the stylus (supplied) to the record with whatever it has that passes for digits, and set free the dadadadaa of Beethoven’s Fifth. It’ll roll like thunder through a different frontier. Human music will permeate the Milky Way’s outer reaches. There’ll be Chuck Berry and Bach, there’ll be Stravinsky and Blind Willie Johnson, and the didgeridoo, violin, slide guitar and shakuhachi. Whale song will drift through the constellation of Ursa Minor. Perhaps a being on a planet of the star AC +793888 will hear the 1970s recording of sheep bleat, laughter, footsteps, and the soft pluck of a kiss. Perhaps they’ll hear the trundle of a tractor and the voice of a child. When they hear on the phonograph a recording of rapid firecracker drills and bursts, will they know that these sounds denote brainwaves? Will they ever infer that over forty thousand years before in a solar system unknown a woman was rigged to an EEG and her thoughts recorded? Could they know to work backwards from the abstract sounds and translate them once more into brainwaves, and could they know from these brainwaves the kinds of thoughts the woman was having? Could they see into a human’s mind? Could they know she was a young woman in love? Could they tell from this dip and rise in the EEG’s pattern that she was thinking simultaneously of earth and lover as if the two were continuous? Could they see that, though she tried to keep her mental script, to bring to mind Lincoln and the Ice Age and the hieroglyphs of ancient Egypt and whatever grand things have shaped the earth and which she wished to convey to an alien audience, every thought cascaded into the drawn brows and proud nose of her lover, the wonderful articulation of his hands and the way he listened like a bird and how they had touched so often without touching. And then a spike in sound as she thought of that great city Alexandria and of nuclear disarmament and the symphony of the earth’s tides and the squareness of his jaw and the way he spoke with such bright precision so that everything he said was epiphany and discovery and the way he looked at her as though she were the epiphany he kept on having and the thud of her heart and the flooding how heat about her body when she considered what it was he wanted to do to her and the migration of bison across a Utah plain and a geisha’s expressionless face and the knowledge of having found that thing in the world which she ought never to have had the good fortune of finding, of two minds and bodies flung at each other at full dumbfounding force so that her life had skittered sidelong and all her pin-boned plans just gone like that and her self engulfed in a fire of longing and thoughts of sex and destiny, the completeness of love, their astounding earth, his hands, his throat, his bare back.

The Transformation of music into noise was a planetary process by which mankind was entering the historical phase of total ugliness. The total ugliness to come had made itself felt first as omnipresent acoustical ugliness: cars, motorcycles, electric guitars, drills, loudspeakers, sirens. The omnipresence of visual ugliness would soon follow.

It is the simplest phrase you can imagine,” Favreau said, “three monosyllabic words that people say to each other every day.” But the speech etched itself in rhetorical lore. It inspired music videos and memes and the full range of reactions that any blockbuster receives online today, from praise to out-of-context humor to arch mockery. Obama’s “Yes, we can” refrain is an example of a rhetorical device known as epistrophe, or the repetition of words at the end of a sentence. It’s one of many famous rhetorical types, most with Greek names, based on some form of repetition. There is anaphora, which is repetition at the beginning of a sentence (Winston Churchill: “We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields”). There is tricolon, which is repetition in short triplicate (Abraham Lincoln: “Government of the people, by the people, and for the people”). There is epizeuxis, which is the same word repeated over and over (Nancy Pelosi: “Just remember these four words for what this legislation means: jobs, jobs, jobs, and jobs”). There is diacope, which is the repetition of a word or phrase with a brief interruption (Franklin D. Roosevelt: “The only thing we have to fear is fear itself”) or, most simply, an A-B-A structure (Sarah Palin: “Drill baby drill!”). There is antithesis, which is repetition of clause structures to juxtapose contrasting ideas (Charles Dickens: “It was the best of times, it was the worst of times”). There is parallelism, which is repetition of sentence structure (the paragraph you just read). Finally, there is the king of all modern speech-making tricks, antimetabole, which is rhetorical inversion: “It’s not the size of the dog in the fight; it’s the size of the fight in the dog.” There are several reasons why antimetabole is so popular. First, it’s just complex enough to disguise the fact that it’s formulaic. Second, it’s useful for highlighting an argument by drawing a clear contrast. Third, it’s quite poppy, in the Swedish songwriting sense, building a hook around two elements—A and B—and inverting them to give listeners immediate gratification and meaning. The classic structure of antimetabole is AB;BA, which is easy to remember since it spells out the name of a certain Swedish band.18 Famous ABBA examples in politics include: “Man is not the creature of circumstances. Circumstances are the creatures of men.” —Benjamin Disraeli “East and West do not mistrust each other because we are armed; we are armed because we mistrust each other.” —Ronald Reagan “The world faces a very different Russia than it did in 1991. Like all countries, Russia also faces a very different world.” —Bill Clinton “Whether we bring our enemies to justice or bring justice to our enemies, justice will be done.” —George W. Bush “Human rights are women’s rights and women’s rights are human rights.” —Hillary Clinton In particular, President John F. Kennedy made ABBA famous (and ABBA made John F. Kennedy famous). “Mankind must put an end to war, or war will put an end to mankind,” he said, and “Each increase of tension has produced an increase of arms; each increase of arms has produced an increase of tension,” and most famously, “Ask not what your country can do for you; ask what you can do for your country.” Antimetabole is like the C–G–Am–F chord progression in Western pop music: When you learn it somewhere, you hear it everywhere.19 Difficult and even controversial ideas are transformed, through ABBA, into something like musical hooks.

He’s taken courses on things like animal tracking, making a fire with a bow drill, building survival shelters in the forest. Now, my being an Indian, you might imagine I would know about all that stuff. But most Indian kids, even those on the rez, are not learning those things anymore. They’re too busy doing all the things other kids do—watching DVDs, playing Xbox games, and downloading rap music on their iPods.

Honouring the youth of their town they provided a décor that a £20-a-Martini fleecing parlour could not have amortized. They had bought eighty low Alvar Aalto stools for the alcove and coctail bar seating. Also, twenty tall numbers in the same bent bleach wood classic style. Extremely expensive and brought in from Finland at equally great expense. And in the first twelve months, ninety percent had disappeared. Compared to the catastrophic damage done every other week to one of the toilets just off the main dance floor --the level of masonry demolition going deep into the floor implied the use of a full-sized pneumatic drill-- the loss of a bunch of stools was incidental. The fact that thirty-two then turned up in New Order's rehearsal room was therefore coincidental. If you couldn't join in the public in stealing from your own club, what was the point of opening it?

He loves to stop on the corner and watch the ceramics fixer write numbers on the insides of the shards of a broken vase, drill tiny holes, brush the edges with egg white and secure them with wire, an act that gives him hope that anything shattered might, with enough skill and patience, be repaired. He loves the workshop of his music teacher, Oktay, on a narrow street deep in a Muslim quarter, the shop like a birdcage, hung with drying lengths of cane that Oktay fashions into neys, woodwind flutes whose sound—it was Rumi who said it—is not wind but fire.

I have again been asked to explain how one can "become a Daoists..." with all of the sad things happening in our world today, Laozi and Zhuangzi give words of advice, tho not necessarily to become a Daoist priest or priestess... " So many foreigners who want to become “Religious Daoists” 道教的道师 （道士） do not realize that they must not only receive a transmission of a Lu 籙 register which identifies their Daoist school, and learn as well how to sing the ritual melodies, play the flute, stringed instruments, drums, and sacred dance steps, required to be an ordained and functioning Daoist priest or priestess. This process usually takes 10 years or more of daily discipleship and practice, to accomplish. There are 86 schools and genre of Daoist rituals listed in the Baiyun Guan Gazeteer, 白雲觀志, which was edited by Oyanagi Sensei, in Tokyo, 1928, and again in 1934, and re-published by Baiyun Guan in Beijing, available in their book shop to purchase. Some of the schools, such as the Quanzhen Longmen 全真龙门orders, allow their rituals and Lu registers to be learned by a number of worthy disciples or monks; others, such as the Zhengyi, Qingwei, Pole Star, and Shangqing 正一，清微，北极，上请 registers may only be taught in their fullness to one son and/or one disciple, each generation. Each of the schools also have an identifying poem, from 20 or 40 character in length, or in the case of monastic orders (who pass on the registers to many disciples), longer poems up to 100 characters, which identify the generation of transmission from master to disciple. The Daoist who receives a Lu register (給籙元科, pronounced "Ji Lu Yuanke"), must use the character from the poem given to him by his or her master, when composing biao 表 memorials, shuwen 梳文 rescripts, and other documents, sent to the spirits of the 3 realms (heaven, earth, water /underworld). The rituals and documents are ineffective unless the correct characters and talismanic signature are used. The registers are not given to those who simply practice martial artists, Chinese medicine, and especially never shown to scholars. The punishment for revealing them to the unworthy is quite severe, for those who take payment for Lu transmission, or teaching how to perform the Jinlu Jiao and Huanglu Zhai 金籙醮，黃籙齋 科儀 keyi rituals, music, drum, sacred dance steps. Tang dynasty Tangwen 唐文 pronunciation must also be used when addressing the highest Daoist spirits, i.e., the 3 Pure Ones and 5 Emperors 三请五帝. In order to learn the rituals and receive a Lu transmission, it requires at least 10 years of daily practice with a master, by taking part in the Jiao and Zhai rituals, as an acolyte, cantor, or procession leader. Note that a proper use of Daoist ritual also includes learning Inner Alchemy, ie inner contemplative Daoist meditation, the visualization of spirits, where to implant them in the body, and how to summon them forth during ritual. The woman Daoist master Wei Huacun’s Huangting Neijing, 黃庭內經 to learn the esoteric names of the internalized Daoist spirits. Readers must be warned never to go to Longhu Shan, where a huge sum is charged to foreigners ($5000 to $9000) to receive a falsified document, called a "license" to be a Daoist! The first steps to true Daoist practice, Daoist Master Zhuang insisted to his disciples, is to read and follow the Laozi Daode Jing and the Zhuangzi Neipian, on a daily basis. Laozi Ch 66, "the ocean is the greatest of all creatures because it is the lowest", and Ch 67, "my 3 most precious things: compassion for all, frugal living for myself, respect all others and never put anyone down" are the basis for all Daoist practice. The words of Zhuangzi, Ch 7, are also deeply meaningful: "Yin and Yang were 2 little children who loved to play inside Hundun (ie Taiji, gestating Dao). They felt sorry because Hundun did not have eyes, or eats, or other senses. So everyday they drilled one hole, ie 2 eyes, 2 ears, 2 nostrils, one mouth; and on the 7th day, Hundun died.

Shin-shin-toitsu-do includes a wide variety of stretching exercises, breathing methods, forms of seated meditation and moving meditation, massage-like healing arts, techniques of auto-suggestion, and mind and body coordination drills, as well as principles for the unification of mind and body. These principles of mind and body coordination are regarded as universal laws that express the workings of nature on human life. As such, they can be applied directly to an endless number of everyday activities and tasks. It is not uncommon when studying Japanese yoga to encounter classes and seminars that deal with the direct application of these universal principles to office work, sales, management, sports, art, music, public speaking, and a host of other topics. How to use these precepts of mind and body integration to realize our full potential in any action is the goal. All drills, exercises, and practices of Shin-shin-toitsu-do are based on the same principles, thus linking intelligently a diversity of arts. But more than this, they serve as vehicles for grasping and cultivating the principles of mind and body coordination. And it is these principles that can be put to use directly, unobtrusively, and immediately in our daily lives.

Deanna lifted her hand to the back of her neck, stretching it from side to side. Now that he thought about it, she’d been doing that a lot today. “Do you have a headache?” he asked. She sighed. “Yeah. I haven’t been sleeping that well, and when we were doing drills yesterday, I tweaked my neck carrying equipment the wrong way.” Lucky saw a way to get this conversation back on track, so he steered them towards it. “I can help you with that.” “That’s okay,” she dismissed him. “I don’t want a massage, but thanks.” “I wasn’t offering a massage, but you’re welcome.” “But you said you could help me…” “Yeah, I did. And I can. But I didn’t say anything about a massage,” he corrected her. “Oh, no, I don’t want to take anything. I try not to take medicine unless I absolute—” “Ehhh,” he interrupted her, making the sound of a buzzer. “Wrong again. Do you want to try door number three, or should I just tell you what I was offering?” She chuckled, and his heart swelled with pride. The fact that he had made her laugh so easily made him feel like Leo on the Titanic—like he was the king of the world. “Fine. Tell me,” she replied, her tone in full sass mode. “Well, since you asked soooo nicely,” he overemphasized. “I was going to say that I could get rid of your headache if you wanted me to.” Sounding more than a little skeptical, she asked, “How?” “By going down on you,” he stated plainly and confidently. “What!?” she shrieked. “What are you talking about?” “I’m talking about me between your legs for a good thirty minutes or so. You’ll feel the scratch of my stubble on the side of your thighs, and all you’ll see is the top of my head. I’m talking about touching and kissing and licking you—” “Okay,” she cut in. “I get the point.” “Well.” He shrugged. “You asked what I was talking about, so I figured I should be clear.” Laughter filled her voice as she asked, “How do you do that?” “Do what?” “Say those….things… and make them sound so casual? Normal? Not dirty?” “It’s part of my charm, really. I can make the most innocent things sound dirty and the dirtiest things sound completely innocent,” he explained. “I believe you.” She was shaking her head and looking out the window, but with the moonlight streaming in, he could see that her face was flushed with what he was going to believe was arousal. “Just think about it. The offer’s on the table.” With that he turned up the music, which happened to be R&B. He figured a little Marvin Gaye couldn’t do anything but help his cause.

At one in the morning on the 20th. November, radio hams over most of Europe suffered serious interference to their reception, as if a new and exceptionally strong broadcaster was operating. They located the interference at two hundred and three metres; it sounded something like the noise of machinery or rushing water; then the continuous, unchanging noise was suddenly interrupted by a horrible, rasping noise (everyone described it in the same way: a hollow, nasal, almost synthetic sounding voice, made all the more so by the electronic apparatus); and this frog-like voice called excitedly, "Hello, hello, hello! Chief Salamander speaking. Hello, chief Salamander speaking. Stop all broadcasting, you men! Stop your broadcasting! Hello, Chief Salamander speaking!" And then another, strangely hollow voice asked: "Ready?" "Ready." There was a click as if the broadcast were being transferred to another speaker; and then another, unnaturally staccato voice called: "Attention! Attention! Attention!" "Hello!" "Now!" A voice was heard in the quiet of the night; it was rasping and tired-sounding but still had the air of authority. "Hello you people! This is Louisiana. This is Kiangsu. This is Senegambia. We regret the loss of human life. We have no wish to cause you unnecessary harm. We wish only that you evacuate those areas of coast which we will notify you of in advance. If you do as we say you will avoid anything regrettable. In future we will give you at least fourteen days notice of the places where we wish to extend our sea. Incidents so far have been no more than technical experiments. Your explosives have proved their worth. Thank you for them. "Hello you people! Remain calm. We wish you no harm. We merely need more water, more coastline, more shallows in which to live. There are too many of us. Your coastlines are already too limited for our needs. For this reason we need to demolish your continents. We will convert them into bays and islands. In this way, the length of coastline can be increased five-fold. We will construct new shallows. We cannot live in deep ocean. We will need your continents as materials to fill in the deep waters. We wish you no harm, but there are too many of us. You will be free to migrate inland. You will not be prevented from fleeing to the hills. The hills will be the last to be demolished. "We are here because you wanted us. You have distributed us over the entire world. Now you have us. We wish that you collaborate with us. You will provide us with steel for our picks and drills. you will provide us with explosives. You will provide us with torpedoes. You will work for us. Without you we will not be able to remove the old continents. Hello you people, Chief Salamander, in the name of all newts everywhere, offers collaboration with you. You will collaborate with us in the demolition of your world. Thank you." The tired, rasping voice became silent, and all that was heard was the constant noise resembling machinery or the sea. "Hello, hello, you people," the grating voice began again, "we will now entertain you with music from your gramophone records. Here, for your pleasure, is the March of the Tritons from the film, Poseidon.

Let your students monitor their breathing. If they are huffing and puffing, tell them to pace themselves. This is their workout. If they cannot keep up with the fast beat of the music, suggest they train to the slow beat. This is not a race. There is no finish line. It takes as long as it takes.

The truth was he’d won the moment he set foot on Russian soil, and now the world knew it. He may have come in second, but he’d gone further than any other American—Black or white. And he hadn’t taken lessons from age three, or attended music festivals at age ten, or been drilled relentlessly by elite private teachers.

TODAY'S SPECIAL THE BEET IS THE MOST INTENSE of vegetables. The radish, admittedly, is more feverish, but the fire of the radish is a cold fire, the fire of discontent not of passion. Tomatoes are lusty enough, yet there runs through tomatoes an undercurrent of frivolity. Beets are deadly serious. Slavic peoples get their physical characteristics from potatoes, their smoldering inquietude from radishes, their seriousness from beets. The beet is the melancholy vegetable, the one most willing to suffer. You can't squeeze blood out of a turnip . . . The beet is the murderer returned to the scene of the crime. The beet is what happens when the cherry finishes with the carrot. The beet is the ancient ancestor of the autumn moon, bearded, buried, all but fossilized; the dark green sails of the grounded moon-boat stitched with veins of primordial plasma; the kite string that once connected the moon to the Earth now a muddy whisker drilling desperately for rubies. The beet was Rasputin's favorite vegetable. You could see it in his eyes. In Europe there is grown widely a large beet they call the mangel-wurzel. Perhaps it is mangel-wurzel that we see in Rasputin. Certainly there is mangel-wurzel in the music of Wagner, although it is another composer whose name begins, B-e-e-t——. Of course, there are white beets, beets that ooze sugar water instead of blood, but it is the red beet with which we are concerned; the variety that blushes and swells like a hemorrhoid, a hemorrhoid for which there is no cure. (Actually, there is one remedy: commission a potter to make you a ceramic asshole—and when you aren't sitting on it, you can use it as a bowl for borscht.) An old Ukrainian proverb warns, “A tale that begins with a beet will end with the devil.” That is a risk we have to take.

There are 90 standards that kindergarteners are expected to learn by the end of the school year. This article goes on to say that early childhood experts are near unanimous in saying that in order to achieve the above, “usually calls for long hours of drill and worksheets – and reduces other vital areas of learning such as math, science, social studies, art, music and creative play.

Being a winner sometimes has little to do with the score. If your players seize the opportunity to be better today than they were yesterday in softball, in math, in music, in anything worth doing in life, regardless of natural ability, that will make them winners on and off the field.

Just a few days before, Jason had been part of the noisy street- scape, trying to talk to his aunt Joyce back in Shakopee, Minnesota. To avoid the blaring traffic and techno music, he’d ducked into a quiet construction site, phone pressed against his ear, eyes on his shoes. That was when a hard punch connected with his cheekbone. The phone went flying. Probably the worst text I’ve ever gotten was the one line, Jason’s been mugged. Accounting it later, he would say his military training must have kicked in. “Before I could think about it, I’d kicked the legs out from under one of the guys.” And that was when he said it. Jason uttered a phrase so outrageous, so utterly shameless, it can be used only once per life- time, and until then stored in a special box sternly labeled, In case of emergency, break glass. “It’s terrible; it’s right out of a Steven Seagal direct-to-VHS movie,” he admitted, as I coaxed the story out of him again. “Well, I mustered up my army drill sergeant voice and I barked, ‘Motherf*cker! You want a piece of me?’” Jason claims the second it came out of his mouth, he was already embarrassed. Embarrassed in front of what turned out to be teen boys, kids really, who clearly didn’t speak English. They ran off with his phone and Jason found his way back to Brian’s hospital room with a headache, a purple contusion, and a strong will to get his brother well—and the hell out of Asia.

I heard the music and I just wanted to dance for a few minutes. To just… forget everything for one waltz and pretend to be a normal girl. So”—she glared at him now—“go ahead and snarl and snap at me about it. What will my punishment be? Three extra miles tomorrow? An hour of drills? The rack?” And yes, they would have a conversation about abandoning posts, but right now—right now… Chaol stepped up to the line. “Dance with me,” he said, and held out his hand to her. “What?” “What didn’t you understand?” Nothing. Everything. Because when he’d said it, it hadn’t been the way Dorian had asked her to dance at the Yulemas ball. That had merely been an invitation. But this… His hand remained reaching toward her. “As far as I recall,” she said, lifting her chin, “at Yulemas, I asked you to dance, and you flat-out refused me. You said it was too dangerous for us to be seen dancing together.” “Things are different now.” Again, another layered statement she couldn’t begin to sort through now. “Dance with me, Celaena,” he said again, his voice rough.

Roger and I constructed the tape loop for ‘Money’ in our home studios and then took it in to Abbey Road. I had drilled holes in old pennies and then threaded them on to strings; they gave one sound on the loop of seven. Roger had recorded coins swirling around in the mixing bowl Judy used for her pottery, the tearing paper effect was created very simply in front of a microphone and the faithful sound library supplied the cash registers. Each sound was first measured out on the tape with a ruler before being cut to the same length and then carefully spliced together.

This may be the fundamental problem with caring a lot about what others think: It can put you on the established path—the my-isn’t-that-impressive path—and keep you there for a long time. Maybe it stops you from swerving, from ever even considering a swerve, because what you risk losing in terms of other people’s high regard can feel too costly. Maybe you spend three years in Massachusetts, studying constitutional law and discussing the relative merits of exclusionary vertical agreements in antitrust cases. For some, this might be truly interesting, but for you it is not. Maybe during those three years you make friends you’ll love and respect forever, people who seem genuinely called to the bloodless intricacies of the law, but you yourself are not called. Your passion stays low, yet under no circumstance will you underperform. You live, as you always have, by the code of effort/result, and with it you keep achieving until you think you know the answers to all the questions—including the most important one. Am I good enough? Yes, in fact I am. What happens next is that the rewards get real. You reach for the next rung of the ladder, and this time it’s a job with a salary in the Chicago offices of a high-end law firm called Sidley & Austin. You’re back where you started, in the city where you were born, only now you go to work on the forty-seventh floor in a downtown building with a wide plaza and a sculpture out front. You used to pass by it as a South Side kid riding the bus to high school, peering mutely out the window at the people who strode like titans to their jobs. Now you’re one of them. You’ve worked yourself out of that bus and across the plaza and onto an upward-moving elevator so silent it seems to glide. You’ve joined the tribe. At the age of twenty-five, you have an assistant. You make more money than your parents ever have. Your co-workers are polite, educated, and mostly white. You wear an Armani suit and sign up for a subscription wine service. You make monthly payments on your law school loans and go to step aerobics after work. Because you can, you buy yourself a Saab. Is there anything to question? It doesn’t seem that way. You’re a lawyer now. You’ve taken everything ever given to you—the love of your parents, the faith of your teachers, the music from Southside and Robbie, the meals from Aunt Sis, the vocabulary words drilled into you by Dandy—and converted it to this. You’ve climbed the mountain. And part of your job, aside from parsing abstract intellectual property issues for big corporations, is to help cultivate the next set of young lawyers being courted by the firm. A senior partner asks if you’ll mentor an incoming summer associate, and the answer is easy: Of course you will. You have yet to understand the altering force of a simple yes. You don’t know that when a memo arrives to confirm the assignment, some deep and unseen fault line in your life has begun to tremble, that some hold is already starting to slip. Next to your name is another name, that of some hotshot law student who’s busy climbing his own ladder. Like you, he’s black and from Harvard. Other than that, you know nothing—just the name, and it’s an odd one. Barack.

Between drills, he gets on his knees and does these hip-thrusty moves to stretch. In my head, I hear seventies porn music and hide my smile behind my hand.

LEGACY IS THE AFTERLIFE ON EARTH