Listener Band Quotes

Shay sometimes talked in a mysterious way, like she was quoting the lyrics of some band no one else listened to.

Remember, if a man needs to pull away like a rubber band, when he returns he will be back with a lot more love. Then he can listen. This is the best time to initiate conversation.

I'd never heard of them, but at that moment, it was the best song I'd ever heard. I went out and bought Ten and listened to it on repeat. When I listened to track five, "Black," it was like I was there, in that moment all over again. After the summer was over, when I got back home, I went to the music store and bought the sheet music and learned to play it on the piano. I thought one day I could accompany Conrad and we could be, like, a band.

So let me help you out. My favorite color is-hell, I don't know. I've never cared enough to think about it. My favorite movie is-what else-ZOMBIELAND. But not because the good guys win in the end, though that's a plus, but because Emma Stone is hot." I snorted. He was SUCH a guy. "My favorite band is-" "Let me guess," I interjected. "White Zombie? Slayer?" "Red. And no, not just because I want zombies to bleed.What about you? Who do you like? Because honestly, I'm surprised you know White Z and Slayer." "I like Red,too, but I'm partial to Skillet. Used to listen to them with my sister. But why wouldn't I know the other bands?" "You look so angelic." "And do you think angels are hot?" I asked primly, trying to play it cool so that I wouldn't reveal what a mess I was on the inside. All this time, he'd wanted to get to know me and date me. What craziness! "The hottest.

A teenage girl creaming while she listens to some boy-band, a monk digging on the God he hears in Gregorian chants, or John fucking Coltrane himself climbing up into the sky on a staircase made of sixteenth notes, it's all the same. If it takes you there, it's good.

a penny for my thoughts oh no i'll sell em for a dollar their worth so much more after im a goner and then maybe you'll hear the words ive been singing funny when your dead how people start listening

Grief is a curious thing, when it happens unexpectedly. It is a Band-Aid being ripped away, taking the top layer off a family. And the underbelly of a household is never pretty, ours no exception. There were times I stayed in my room for days on end with headphones on, if only so that I would not have to listen to my mother cry. There were the weeks that my father worked round-the-clock shifts, so that he wouldn't have to come home to a house that felt too big for us.

You can trust everyone to be human, with all the quirks and inconsistencies we humans display, including disloyalty, dishonesty and downright treachery. We are all capable of the entire range of human behavior, given the circumstances, from absolute saintliness to abject depravity. Trusting someone to limit their sphere of action to one narrow band on the spectrum is idealistic and will inevitably lead to disappointment. On the other hand, you can decide to trust that everyone is doing their best according to their particular stage of development, and to give everyone their appropriate berth. For this to work, you have to trust yourself to make and have made the right choices that will lead you on the path to your healthy growth. You have to trust yourself to come through every experience safely and enriched. But don’t trust what I am saying. Listen and then decide for yourself. Does this information sit easily in your belly? You know when you trust yourself around someone because your belly feels settled and your heart feels warm.

For here was Casablanca, a far-flung outpost in a time of war. And here at the heart of the city, right under the sweep of the searchlights, was Rick’s Café Américain, where the beleaguered could assemble for the moment to gamble and drink and listen to music; to conspire, console, and most importantly, hope. And at the center of this oasis was Rick. As the Count’s friend had observed, the saloonkeeper’s cool response to Ugarte’s arrest and his instruction for the band to play on could suggest a certain indifference to the fates of men. But in setting upright the cocktail glass in the aftermath of the commotion, didn’t he also exhibit an essential faith that by the smallest of one’s actions one can restore some sense of order to the world?

It's funny how your dead when people start listening.

I think there will always be great new music and bands. As long as there's people around, there's going to be great music. I think there's bands like Wolf Eyes, Q & Not U, the Evens and many others that are doing great stuff. The music that doesn't please you, you just don't listen. No one makes me listen to Nickelback, so long may they wave.

Come gather 'round hardy men of the steppes and listen to my tale of heroes bold and friendships fast and the Tyrant of Icenwind Dale of a band of friends by trick or by deed bred legends for the bard the baneful pride of the one poor wretch and the horror of the Crystal Shard.

You used to make me feel like I could walk on water Now most nights I'm just sinking down and down You're the reason why I can't listen to the same songs I used to

The pool,” said Kallorek, pointing. “The pool, right there.” “You mean the pond?” “I mean the pool,” growled the booker. “Get in. Swim.” He accompanied these words with effusive gestures that set his jewellery ringing. Clay examined the pond. “Swim to where?” he asked. “What do you mean swim to where?” Kallorek’s brow deepened. “Is it a healing spring?” Gabe asked. He flexed his arm, wincing as he extended it fully. “Because I think my elbow—” “Listen, fuck your elbow!” Kallorek blew up. Clay had forgotten how short the booker’s fuse was. That big toothy smile one moment, and the next …“It ain’t a spring, or a pond, or a godsdamned sea nymph’s bathtub. It’s a fucking pool. Just a pool! You swim around in it to relax.

Logan began to sing, a lilting tune I didn't recognize. At first I wondered if we'd seen the band in concert together or had listened to it on one of our first dates. Then he reached the chorus, and the words were us. All my insecurities, all his excesses, all the ways we fought and pushed and pulled. And how it all didn't matter. Those things that tore us apart were no match for forever. ... I'd been so wrong about us. If he'd lived, we would've been happy. Not every day, but over the span of time that made up forever. But he hadn't lived. ... We had lost forever.

law that stated you didn't advertise any event you hadn't attended, any place you'd never been, or any band you didn't really listen to.

Focus, Wayne,” Wax said. “How are we going to get in? Shall we try a Fat Belt?” “Nah,” Wayne said, “too loud. I think we should do Spoiled Tomato.” “Dangerous,” Wax said, shaking his head. “I’d have to do the placement just right, between the lit perimeter and the shadowed part near the walls.” “You can do it. You make shots like that all the time. Plus, we got this shiny new metalmind, full o’ health waitin’ to be slurped up.” “A mistake could ruin the whole infiltration, healing power or no,” Wax said. “I think we should do Duck Under Clouds instead.” “You kiddin’?” Wayne said. “Didn’t you get shot last time we tried that?” “Kinda,” Wax admitted. MeLaan stared at them, baffled. “Duck under Clouds?” “They get like this,” Marasi said, patting her on the shoulder. “Best not to listen too closely.” “Tube Run,” Wayne said. “No glue.” “Banefielder?” “Too dark.” “Blackwatch Doublestomp.” Wax hesitated. “… The hell is that?” “Just made it up,” Wayne said, grinning. “It’s a nifty code name though, eh?” “Not bad,” Wax admitted. “And what type of plan is it?” “Same as Spoiled Tomato,” Wayne said.

They band together and reduce us to kids having a tantrum, dismissing our words so we can’t pierce their armor. Part of me wants to kick crazily at the floor and scream until they listen, but of course that’ll only confirm their belief that I’m nothing more than a silly child.

Okay, lesson on Tate and music. If fans do anything less than carve the band's name into their skin, then the band isn't worth listening to. Any music that involves more than jumping around and banging your head is about as exciting as Kenny G to her.

Lottie, I love you. You’re beautifully frustrating, annoyingly right most of the time, and you bring me more joy than I ever thought I’d be lucky enough to have. You complement my surly attitude. You put me in my place when I need it, and you listen to me when I need a listening ear. Plain and simple, you complete me, and I know for certain, I can’t live this life without you in it.” He pops open the ring box, revealing a beautiful, cushion-shaped diamond ring with diamond accents on the band. It’s different than the current ring on my finger, edgier, just like me. “I love you so goddamn much. Please, would you accept the contract, and will you also do me the honor of being my wife?

The most profound voice of any musician I have ever heard. Joe (Strummer) took his message to the world, and the world listened. He managed to influence more than one generation with his innovative and determined manner, and I am not alone in repeatedly turning to his thoughts and lyrics when searching for inspiration. The Clash was the greatest rock band. They wrote the rule book for U2.

If you don’t have a sense of humour when you’re in a band, you end up like f**king Emerson, Lake and Palmer, making eight-disc LPs so you can all have your own three-hour f**king solos. And who wants to listen to that bollocks?

New Music, I guess, is all those bands Angie listens to. They have names like Depeche Mode and The Smiths and all they sound the same to me - like a bunch of skinny white British nerds on Thorazine. The Stones, when they started, were a bunch of skinny white British nerds too, but they never sounded like they were on Thorazine. Even if they were.

Being a dominatrix gave me the ultimate power: to sing without self-consciousness.

They're worth so much more after I'm a goner and maybe then you'll hear the words i been singing. Funny when you're dead how people start listening

Why is there so much meaningless, waste of time music out there these days? I'm no snob. I know I'm right about this. You can sell a lot of people a lot of crap but you can't sell it to me. Finding a good band to listen to these days is harder than ever. When one comes along, it's such a surprise when it didn't used to be. It's a surprise I could use a lot more of.

In Chloe, a great city, the people who move through the streets are all strangers. At each encounter, they imagine a thousand things about one another; meetings which could take place between them, conversations, surprises, caresses, bites. But no one greets anyone; eyes lock for a second, then dart away, seeking other eyes, never stopping. A girl comes along, twirling a parasol on her shoulder, and twirling slightly also her rounded hips. A woman in black comes along, showing her full age, her eyes restless beneath her veil, her lips trembling. At tattooed giant comes along; a young man with white hair; a female dwarf; two girls, twins, dressed in coral. Something runs among them, an exchange of glances link lines that connect one figure with another and draws arrows, stars, triangles, until all combinations are used up in a moment, and other characters come on to the scene: a blind man with a cheetah on a leash, a courtesan with an ostrich-plume fan, an ephebe, a Fat Woman. And thus, when some people happen to find themselves together, taking shelter from the rain under an arcade, or crowding beneath an awning of the bazaar, or stopping to listen to the band in the square, meetings, seductions, copulations, orgies are consummated among them without a word exchanged, without a finger touching anything, almost without an eye raised. A voluptuous vibration constantly stirs Chloe, the most chaste of cities. If men and women began to live their ephemeral dreams, every phantom would become a person with whom to begin a story of pursuits, pretenses, misunderstandings, clashes, oppressions, and the carousel of fantasies would stop.

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.

What is true of one man, said the judge, is true of many. The people who once lived here are called the Anasazi. The old ones. They quit these parts, routed by drought or disease or by wandering bands of marauders, quit these parts ages since and of them there is no memory. They are rumors and ghost in this land and they are much revered. The tools, the art, the building--these things stand in judgement on the latter races. Yet there is nothing for them to grapple with. The old ones are gone like phantoms and the savages wander these vanyons to the sound of an ancient laughter. In their crude huts they crouch in darkness and listen to the fear seeping out of the rock. All progressions from a higher to a lower order are marked by ruins and mystery and a residue of nameless rage. So. Here are the dead fathers. Their spirit is entombed in the stone. It lies upon the land with the same weight and the same ubiquity. For whoever makes a shelter of reeds and hides has joined his spirit to the primal mud with scarcely a cry. But who builds in stone seeks to alter the structure of the universe and so it was with these masons however primitive their works may seem to us.

Do you know my band’s song Once in a Lifetime?” I nod my head because I know that song very well. It’s one of the ones I used to listen repeatedly on my iPod. “I wrote that song about you. About meeting you that night.

Emezi revealed the title for You Made a Fool of Death with Your Beauty was inspired by the song “Hunger” by Florence + The Machine, stating that listening to the band “stitched me together when my spirit was pulling itself apart.

They’re a-” “-band,” Patrick finished. “I know.” “They’re not just a band,” Orestes said with reverence, his fingers flying over the keyboard. “They’re the modern voice of the collective human conscience.” “Tell that to Tipper Gore.” “Who?” Patrick laughed. “She was before your time, I guess.” “What did you used to listen to when you were a kid?” “The cavemen, banging rocks together,” Patrick said dryly

A loud clatter of gunk music flooded through the Heart of Gold cabin as Zaphod searched the sub-etha radio wave bands for news of himself. The machine was rather difficult to operate. For years radios had been operated by means of pressing buttons and turning dials; then as the technology became more sophisticated the controls were made touch-sensitive—you merely had to brush the panels with your fingers; now all you had to do was wave your hand in the general direction of the components and hope. It saved a lot of muscular expenditure, of course, but meant that you had to sit infuriatingly still if you wanted to keep listening to the same program.

When I was thirteen I spent a lot of time pretending to like dance music because everyone at my school seemed to love it. If only I'd known it was OK to have different tastes to others and that one day my mind would be blown open by an older man who would introduce me to The Smiths, The Cure, Buzzcocks, Talking Heads and almost every other band I adore to this day. I also wish I'd been reassured that one day, yes, a boy would actually fancy me in spite and potentially, deliberately, FOR my zero boob/skinny legs combo. But mainly I wish I'd listened to my mother when she said learning to play the piano might come in handy in the future and would actually be something I would thank her for forcing me to do. Every Wednesday we would drive to Mrs Batten's house listening to The ArchersI, with me in the passenger seat trying desperately to think up excuses for why I hadn't practiced that week. Though it seemed very unlikely at the time, I am thankful for those piano lessons every time I manage to impress a boy by hammering out some Chopin when drunk (swot up, kids!).

The snores alone were quite a study, varying from the mild sniff to the stentorian snort, which startled the echoes and hoisted the performer erect to accuse his neighbor of the deed, magnanimously forgive him, and wrapping the drapery of his couch about him, lie down to vocal slumber. After listening for a week to this band of wind instruments, I indulged in the belief that I could recognize each by the snore alone, and was tempted to join the chorus by breaking out with John Brown's favorite hymn: "Blow ye the trumpet, blow!

And so it easier for a camel to go through the eye of a needle than for a teenager to enter the kingdom of heaven listening to the Dave Matthews Band.

I spent a month up in Seattle last fall cowriting and producing with Leo Nash, an old friend of mine, for his band’s new album.

Pigeon?” “Yeah?” A few moments passed, and then he sighed. “Nothing.” Travis hesitated. “I can’t shake this feeling,” he said under his breath. “What do you mean? Like a bad feeling?” I said, suddenly nervous. He turned to me with concern in his eyes, “I have this crazy feeling that once we get home, I’m going to wake up. Like none of this was real.” I slid my arms around his waist, running my hands up the lean muscles of his back. “Is that what you’re worried about?” He looked down to his wrist, and then glanced to the thick silver band on his left finger. “I just can’t shake the feeling that the bubble’s going to burst, and I’m going to be lying in my bed alone, wishing you were there with me.” “I don’t know what I’m going to do with you, Trav! I’ve dumped someone for you—twice—I’ve picked up and went to Vegas with you—twice—I’ve literally gone through hell and back, married you and branded myself with your name. I’m running out of ideas to prove to you that I’m yours.” A small smile graced his lips. “I love it when you say that.” “That I’m yours?” I asked. I leaned up on the balls of my feet, pressing my lips against his. “I. Am. Yours. Mrs. Travis Maddox, forever and always.” His small smile faded as he looked at the boarding gate and then down to me. “I’m gonna fuck it up, Pigeon. You’re gonna get sick of my shit.” I laughed. “I’m sick of your shit, now. I still married you.” “I thought once we got married, that I’d feel a little more reassured about losing you. But I feel like if I get on that plane….” “Travis? I love you. Let’s go home.” His eyebrows pulled in. “You won’t leave me, right? Even when I’m a pain in the ass?” “I vowed in front of God…and Elvis…that I wouldn’t, didn’t I?” His frown lightened a bit. “This is forever?” One corner of my mouth turned up. “Would it make you feel better if we made a wager?” “What kind of husband would I be if I bet against my own marriage?” I smiled. “The stupid kind. Didn’t you listen to your dad when he told you not to bet against me?” He raised an eyebrow. “So you’re that sure, huh? You’d bet on it?” I wrapped my arms around his neck and smiled against his lips. “I’d bet my first born. That’s how sure I am.” And then the peace returned. “You can’t be that sure,” he said, the anxiousness absent from his voice. I raised an eyebrow, and my mouth pulled to one side. “Wanna bet?

Loving a band with all your heart is something you understand when it happens to you. On the surface, others can see its a petty obsession, but they'll just never know the feeling of putting so much fail into a few people on the other side of the world. It's hard to explain it to them, the listening to a song after song on repeat, the waits for new albums, the excitement and surreal sensation when you finally see them live. They don't understand why the lyric books give you a sense of comfort, or why you paste photos of them on your bedroom walls. And they can't understand why one band could matter to you so much. And you think to yourself ‘Because they saved my life’. But you say nothing, because thy wouldn't understand.

3. The lovely landscape of southern Ohio betrayed by strip mining, the thick gold band on the adulterer’s finger the blurred programs of the offshore pirate station are causes for hesitation. Here in the matrix of need and anger, the disproof of what we thought possible failures of medication doubts of another’s existence —tell it over and over, the words get thick with unmeaning— yet never have we been closer to the truth of the lies we were living, listen to me: the faithfulness I can imagine would be a weed flowering in tar, a blue energy piercing the massed atoms of a bedrock disbelief. 1971

Instructions for a Broken Heart I will find a bare patch of earth, somewhere where the ruins have fallen away, somewhere where I can fit both hands, and I will dig a hole. And into that hole, I will scream you, I will dump all the shadow places of my heart—the times you didn’t call when you said you’d call, the way you only half listened to my poems, your eyes on people coming through the swinging door of the café—not on me—your ears, not really turned toward me. For all those times I started to tell you about the fight with my dad or when my grandma died, and you said something about your car, something about the math test you flunked, as an answer. I will scream into that hole the silence of dark nights after you’d kissed me, how when I asked if something was wrong—and something was obviously so very wrong—how you said “nothing,” how you didn’t tell me until I had to see it in the dim light of a costume barn—so much wrong. I will scream all of it. Then I will fill it in with dark earth, leave it here in Italy, so there will be an ocean between the hole and me. Because then I can bring home a heart full of the light patches. A heart that sees the sunset you saw that night outside of Taco Bell, the way you pointed out that it made the trees seem on fire, a heart that holds the time your little brother fell on his bike at the fairgrounds and you had pockets full of bright colored Band-Aids and you kissed the bare skin of his knees. I will take that home with me. In my heart. I will take home your final Hamlet monologue on the dark stage when you cried closing night and it wasn’t really acting, you cried because you felt the words in you and on that bare stage you felt the way I feel every day of my life, every second, the way the words, the light and dark, the spotlight in your face, made you Hamlet for that brief hiccup of a moment, made you a poet, an artist at your core. I get to take Italy home with me, the Italy that showed me you and the Italy that showed me—me—the Italy that wrote me my very own instructions for a broken heart. And I get to leave the other heart in a hole. We are over. I know this. But we are not blank. We were a beautiful building made of stone, crumbled now and covered in vines. But not blank. Not forgotten. We are a history. We are beauty out of ruins.

Every time I collect my mail from the paint-spattered box in the lobby and see my name printed over and over in bold black ink, I’m reminded that I’m named after a rock star. Not an endlessly cool rocker like Stevie Nicks, Joan Jett, or Madonna. No, my name is Henley Rose Evans, and my parents consciously named me after the lead singer and drummer of every boomer’s favorite easy listening band, the Eagles.

They listened to the Beatles for most of the journey, and Hynes explained to Gackowska why Abbey Road was the band’s best record, and how Sgt. Pepper’s wasn’t really a concept album, no matter what anyone claimed to the contrary. Then he had to explain to Gackowska what a concept album was, and a B side, until pretty soon he felt about a hundred years old and was tempted to check himself into a nursing home.

Or consider “Here Without You” by 3 Doors Down, or almost any song by the group Maroon 5. Those bands are so featureless that critics and listeners created a new music category—“bath rock”—to describe their tepid sounds.

Yaicha is named after a song by some group from the last century called the Pousette-Dart Band. Something about a girl, a candle in the falling rain shining amidst the pain. I kind of surprise myself when I can picture Yaicha as that candle. My father named Yaicha after the "haunting melody." I wonder if he ever listened to the lyrics.

I have never forgotten these visitors, or ceased to marvel at them, at how they have gone on from strength to strength, continuing to lighten our darkness, and to guide, counsel and instruct us; on occasion, momentarily abashed, but always ready to pick themselves up, put on their cardboard helmets, mount Rosinante, and go galloping off on yet another foray on behalf of the down-trodden and oppressed. They are unquestionably one of the wonders of the age, and I shall treasure till I die as a blessed memory the spectacle of them travelling with radiant optimism through a famished countryside, wandering in happy bands about squalid, over-crowded towns, listening with unshakeable faith to the fatuous patter of carefully trained and indoctrinated guides, repeating like schoolchildren a multiplication table, the bogus statistics and mindless slogans endlessly intoned to them. There, I would think, an earnest office-holder in some local branch of the League of Nations Union, there a godly Quaker who once had tea with Gandhi, there an inveigher against the Means Test and the Blasphemy Laws, there a staunch upholder of free speech and human rights, there an indomitable preventer of cruelty to animals; there scarred and worthy veterans of a hundred battles for truth, freedom and justice--all, all chanting the praises of Stalin and his Dictatorship of the Proletariat. It was as though a vegetarian society had come out with a passionate plea for cannibalism, or Hitler had been nominated posthumously for the Nobel Peace Prize.

Jazz presumes that it would be nice if the four of us--simpatico dudes that we are--while playing this complicated song together, might somehow be free and autonomous as well. Tragically, this never quite works out. At best, we can only be free one or two at a time--while the other dudes hold onto the wire. Which is not to say that no one has tried to dispense with wires. Many have, and sometimes it works--but it doesn't feel like jazz when it does. The music simply drifts away into the stratosphere of formal dialectic, beyond our social concerns. Rock-and-roll, on the other hand, presumes that the four of us--as damaged and anti-social as we are--might possibly get it to-fucking-gether, man, and play this simple song. And play it right, okay? Just this once, in tune and on the beat. But we can't. The song's too simple, and we're too complicated and too excited. We try like hell, but the guitars distort, the intonation bends, and the beat just moves, imperceptibly, against our formal expectations, whetehr we want it to or not. Just because we're breathing, man. Thus, in the process of trying to play this very simple song together, we create this hurricane of noise, this infinitely complicated, fractal filigree of delicate distinctions. And you can thank the wanking eighties, if you wish, and digital sequencers, too, for proving to everyone that technologically "perfect" rock--like "free" jazz--sucks rockets. Because order sucks. I mean, look at the Stones. Keith Richards is always on top of the beat, and Bill Wyman, until he quit, was always behind it, because Richards is leading the band and Charlie Watts is listening to him and Wyman is listening to Watts. So the beat is sliding on those tiny neural lapses, not so you can tell, of course, but so you can feel it in your stomach. And the intonation is wavering, too, with the pulse in the finger on the amplified string. This is the delicacy of rock-and-roll, the bodily rhetoric of tiny increments, necessary imperfections, and contingent community. And it has its virtues, because jazz only works if we're trying to be free and are, in fact, together. Rock-and-roll works because we're all a bunch of flakes. That's something you can depend on, and a good thing too, because in the twentieth century, that's all there is: jazz and rock-and-roll. The rest is term papers and advertising.

10 facts about abusive relationships (what i wish i'd known) 1. it's not always loud. it's not always obvious. the poison doesn't always hit you like a gunshot. sometimes, it seeps in quietly, slowly. sometimes, you don't even know it was ever there until months after. 2. love is not draining. love is not tiring. this is not how it is supposed to be. 3. apologies are like band-aids, when what you really need is stitches– they don't actually fix anything long-term. soon enough, you'll be bleeding again, but they will never give you what you really need. 4. this is not your fault. you did not turn them into this. this is how they are, how they've always been. you can't blame yourself. 5. there will be less good days than bad days but the good days will be so amazing that it will feel like everything is better than it actually is. your mind is playing tricks on itself and your heart is trying to convince itself that it made the right choice. 6. they do not love you. they can not love you. this is not love. 7. you're not wrong for wanting to run, so do it. listen to what your gut is telling you. 8. you will let them come back again and again before you realize that they only change long enough for you to let them in one more time. 9. it's okay to be selfish and leave. there is never any crime in putting yourself first. when they tell you otherwise, don't believe them. don't let them tear you down. they want to knock you off your feet so that they can keep you on the ground. 10. after, you will look back on this regretting all the chances given, all the time wasted. you will think about what you know now, and what you would do differently if given the chance. part of you will say that you would never have even given them the time of the day, but another part of you, the larger one, will say that even after everything, you wouldn't have changed a thing. and as much as it will bother you, eventually, you will realize that that is the part that is right. because as much as it hurts, as much as you wish you'd never felt that pain, it has taught you something. it has helped you grow. they brought you something that you would have never gotten from somebody else. at the end of the day, you will accept that even now, you wouldn't go about it differently at all.

Dr. Doris Parker: I have your ten week report. You know what it says "F, F, F… ". Do you know what that means? It means you don't care. Student: You're brilliant. (Pause) Can I go now? Dr. Doris Parker: (Sarcastic laugh) God! you're shallow, disgusting creature. You wanna know the truth? Dr. Doris Parker: One, you're not gonna be in a band or a model missy because you have no ambition. With no skills you'd be competing with 80 percent of US work force for minimum wage job which you will work at for the rest of your life, till you're replaced by a computer. Student: I don't care! Dr. Doris Parker: The only talent you ever have is *insult*. Your life will basically become a carnival of pain and when you can't stand not one more day, not one more hour, it will get worse, much worse. Every day I come to this office and I listen to you kids *insult* all over your selves. It is so easy to be careless, it takes courage and character to care. Not that you have any of those qualities.

Why do want to find him so bad?’ I ask after a while, but she’s not listening. I watch her a bit longer. ‘Why do you want to find him so bad?’ I ask again. She blinks and comes out of her dream. She flicks the band on her wrist. ‘I just do.’ - Ed Skye

It is easy to mourn the lives we aren’t living. Easy to wish we’d developed other talents, said yes to different offers. Easy to wish we’d worked harder, loved better, handled our finances more astutely, been more popular, stayed in the band, gone to Australia, said yes to the coffee or done more bloody yoga. It takes no effort to miss the friends we didn’t make and the work we didn’t do and the people we didn’t marry and the children we didn’t have. It is not difficult to see yourself through the lens of other people, and to wish you were all the different kaleidoscopic versions of you they wanted you to be. It is easy to regret, and keep regretting, ad infinitum, until our time runs out. But it is not the lives we regret not living that are the real problem. It is the regret itself. It’s the regret that makes us shrivel and wither and feel like our own and other people’s worst enemy. We can’t tell if any of those other versions would have been better or worse. Those lives are happening, it is true, but you are happening as well, and that is the happening we have to focus on. Of course, we can’t visit every place or meet every person or do every job, yet most of what we’d feel in any life is still available. We don’t have to play every game to know what winning feels like. We don’t have to hear every piece of music in the world to understand music. We don’t have to have tried every variety of grape from every vineyard to know the pleasure of wine. Love and laughter and fear and pain are universal currencies. We just have to close our eyes and savour the taste of the drink in front of us and listen to the song as it plays. We are as completely and utterly alive as we are in any other life and have access to the same emotional spectrum. We only need to be one person. We only need to feel one existence. We don’t have to do everything in order to be everything, because we are already infinite. While we are alive we always contain a future of multifarious possibility. So let’s be kind to the people in our own existence. Let’s occasionally look up from the spot in which we are because, wherever we happen to be standing, the sky above goes on for ever. Yesterday I knew I had no future, and that it was impossible for me to accept my life as it is now. And yet today, that same messy life seems full of hope. Potential. The impossible, I suppose, happens via living. Will my life be miraculously free from pain, despair, grief, heartbreak, hardship, loneliness, depression? No. But do I want to live? Yes. Yes. A thousand times, yes.

So how does she know? If you stay, I’ll do whatever you want. I’ll quit the band, go with you to New York. But if you need me to go away, I’ll do that, too. Maybe coming back to your old life would just be too painful, maybe it’d be easier for you to erase us. And that would suck, but I’d do it. I can lose you like that if I don’t lose you today. I’ll let you go. If you stay. That was my vow. And it’s been my secret. My burden. My shame. That I asked her to stay. That she listened... I wasn’t about to tell her about the promise I’d made. A promise that in the end, I was forced to keep. But she knew. No wonder she hates me. In a weird way, it’s a relief. I’m so tired of carrying this secret around. I’m so tired of feeling bad for making her live and feeling angry at her for living without me and feeling like a hypocrite for the whole mess.

She sat for a moment, feeling the rhythmic rattle of the train’s motion. “Does it ever bother you to be in his shadow, Wayne?” “Who? Wax? I mean, he’s been putting on weight, but he’s not that fat yet, is he?” He grinned, though that faded when she didn’t smile back. And, in an uncharacteristic moment of solemnity, he slid his boots off the table and rested one elbow on it instead, leaning toward her. “Nah,” he said after some thought. “Nah, it doesn’t. But I don’t care much if people look at me or not. Sometimes my life is easier if they ain’t looking at me, ya know? I like listening.

I'm tired of people using their cars as biographical information centers, informing the world of their sad-sack lives and boring interests. Keep that shit to yourself. I don't want to know what college you went to, who you intend to vote for or what your plan is for world peace. I don't care if you visited the Grand Canyon, Mount Rushmore or the birthplace of Wink Martindale. And I'm not interested in what radio station you listen to or what bands you like. In fact, I'm not interested in you in any way, except to see you in my rearview mirror. Furthermore, I can do without your profession of faith in God, Allah, Jehova, Yahweh, Peter Cottonail or whoever the fuck it is you've turned your life over to; please keep your superstitions private. I can't tell how happy it would make me to someday drive up to a flaming auto wreck and see smoke curling up around one of those little fish symbols with Jesus written inside it. And as far as I'm concerned you can include the Darwin/fish-with-feet-evolution symbol too. Far too cute for my taste. So keep the personal and autobiographical messages to yourself. Here's an idea: maybe you could paste them up inside your car, where you can see them and I can't.

Rush had been Halliday’s favorite band, from his teens onward. He’d once revealed in an interview that he’d coded every single one of his videogames (including the OASIS) while listening exclusively to Rush albums. He often referred to Rush’s three members—Neil Peart, Alex Lifeson, and Geddy Lee—as “the Holy Trinity” or “the Gods of the North.

I recalled that inward sensation I had experienced: for I could recall it, with all its unspeakable strangeness. I recalled the voice I had heard; again I questioned whence it came, as vainly as before: it seemed in ME--not in the external world. I asked was it a mere nervous impression--a delusion? I could not conceive or believe: it was more like an inspiration. The wondrous shock of feeling had come like the earthquake which shook the foundations of Paul and Silas's prison; it had opened the doors of the soul's cell and loosed its bands--it had wakened it out of its sleep, whence it sprang trembling, listening, aghast; then vibrated thrice a cry on my startled ear, and in my quaking heart and through my spirit, which neither feared nor shook, but exulted as if in joy over the success of one effort it had been privileged to make, independent of the cumbrous body.

I've always thought of myself as a big music fan. When I walk to the station, or when I'm waiting for a friend or a train, I listen to music on my phone. I go to festivals and shows every summer. But listening to music alone in my room, with all the tome in the world... I wouldn't know what to do with myself. An artist, someone I couldn't see, singing, putting their heart and soul into it. Where should I look, What kind of face should I make? The more members in the band, the more awkward I feld. What did other people do - people who thought of themselves as music lovers? Did they just sit there with their eyes closed as they took it in? Did they stare off, bobbing their heads and moving along to the music?

I'm 90% performer, 10% musician. I've always said that Gossip are a band I would go see, not a band I would listen to.

I put on slight music I could ignore and started to write. The type of this music I most favored they no longer made. Turns out they asked around one day and I was the only one enjoying it so they decided to just stop making it. Most of the bands that were making the music when this decision was made simply disappeared and got real jobs, the ones that survived made different music that appealed to more people. The result was that when I listened to that music it felt a bit like travelling to the past or visiting ghosts, and this despite the undeniable fact that a very healthy portion of the music I listened to otherwise was created a far longer time ago, by people long-departed, yet produced no similar feelings.

This is what always happens when one of my generation dares to talk back to our parents. They band together and reduce us to kids having a tantrum, dismissing our words so we can’t pierce their armor. Part of me wants to kick crazily at the ground and scream until they listen, but of course that’ll only confirm their belief that I’m nothing more than a silly child.

It's a complex song, and it's fascinating to watch the creative process as they went back and forth and finally created it over a few months. Lennon was always my favorite Beatle. [ He laughs as Lennon stops during the first take and makes the band go back and revise a chord.] Did you hear that little detour they took? It didn't work, so they went back and started from where they were. It's so raw in this version. It actually makes the sound like mere mortals. You could actually imagine other people doing this, up to this version. Maybe not writing and conceiving it, but certainly playing it. Yet they just didn't stop. They were such perfectionists they kept it going This made a big impression on me when I was in my thirties. You could just tell how much they worked at this. They did a bundle of work between each of these recording. They kept sending it back to make it closer to perfect.[ As he listens to the third take, he points out how instrumentation has gotten more complex.] The way we build stuff at Apple is often this way. Even the number of models we'd make of a new notebook or iPod. We would start off with a version and then begin refining and refining, doing detailed models of the design, or the buttons, or how a function operates. It's a lot of work, but in the end it just gets better, and soon it's like, " Wow, how did they do that?!? Where are the screws?

Driving to pick up his son, Bennie alternated between the Sleepers and the Dead Kennedys, San Francisco bands he'd grown up with. He listened for muddiness, the sense of actual musicians playing actual instruments in an actual room. Nowadays the quality (if it existed at all) was usually an effect of analogue signaling rather than bona fide tape - everything was an effect in the bloodless constructions Bennie and his peers were churning out. He worked tirelessly, feverishly, to get things right, stay on top, make songs that people would love and buy and download as ring tones (and steal, of course) - above all, to satisfy the multinational crude-oil extractors he'd sold his label to five years ago. But Bennie knew that what he was bringing into the world was shit. Too clear, too clean. The problem was precision, perfection; the problem was digitization, which sucked the life out of everything that got smeared through its microscopic mesh. Film, photography, music: dead. An aesthetic holocaust!

Behold her, single in the field, Yon solitary Highland Lass! Reaping and singing by herself; Stop here, or gently pass! Alone she cuts and binds the grain, And sings a melancholy strain; O listen! for the vale profound Is overflowing with the sound. No nightingale did ever chaunt More welcome notes to weary bands Of travellers in some shady haunt, Among Arabian sands: A voice so thrilling ne'er was heard In spring-time from the cuckoo-bird Breaking the silence of the seas Among the farthest Hebrides. Will no one tell me what she sings? Perhaps the plaintive numbers flow For old, unhappy, far-off things, And battles long ago: Or is it some more humble lay, Familiar matter of today? Some natural sorrow, loss, or pain, That has been, and may be again! Whate'er the theme, the maiden sang As if her song could have no ending; I saw her singing at her work, And o'er the sickle bending; I listened, motionless and still; And as I mounted up the hill The music in my heart I bore, Long after it was heard no more.

Do I need to check up on you guys later? You know the rules.No sleeping in opposite-sex rooms." My face flames,and St. Clair's cheeks grow blotchy. It's true.It's a rule. One that my brain-my rule-loving, rule-abiding brain-conveniently blocked last night. It's also one notoriously ignored by the staff. "No,Nate," we say. He shakes his shaved head and goes back in his apartment. But the door opens quickly again,and a handful of something is thrown at us before it's slammed back shut. Condoms.Oh my God, how humiliating. St. Clair's entire face is now bright red as he picks the tiny silver squares off the floor and stuffs them into his coat pockets. We don't speak,don't even look at each other,as we climb the stairs to my floor. My pulse quickens with each step.Will he follow me to my room,or has Nate ruined any chance of that? We reach the landing,and St. Clair scratches his head. "Er..." "So..." "I'm going to get dressed for bed. Is that all right?" His voice is serious,and he watches my reaction carefully. "Yeah.Me too.I'm going to...get ready for bed,too." "See you in a minute?" I swell with relief. "Up there or down here?" "Trust me,you don't want to sleep in my bed." He laughs,and I have to turn my face away,because I do,holy crap do I ever. But I know what he means.It's true my bed is cleaner. I hurry to my room and throw on the strawberry pajamas and an Atlanta Film Festival shirt. It's not like I plan on seducing him. Like I'd even know how. St. Clair knocks a few minutes later, and he's wearing his white bottoms with the blue stripes again and a black T-shirt with a logo I recognize as the French band he was listening to earlier. I'm having trouble breathing. "Room service," he says. My mind goes...blank. "Ha ha," I say weakly. He smiles and turns off the light. We climb into bed,and it's absolutely positively completely awkward. As usual. I roll over to my edge of the bed. Both of us are stiff and straight, careful not to touch the other person. I must be a masochist to keep putting myself in these situations. I need help. I need to see a shrink or be locked in a padded cell or straitjacketed or something. After what feels like an eternity,St. Clair exhales loudly and shifts. His leg bumps into mine, and I flinch. "Sorry," he says. "It's okay." "..." "..." "Anna?" "Yeah?" "Thanks for letting me sleep here again. Last night..." The pressure inside my chest is torturous. What? What what what? "I haven't slept that well in ages." The room is silent.After a moment, I roll back over. I slowly, slowly stretch out my leg until my foot brushes his ankle. His intake of breath is sharp. And then I smile,because I know he can't see my expression through the darkness.

When I made it to the living room, I wasn’t surprised to see that the only one actually taking a practice GED was Dean. Lia was filing her nails. Sloane appeared to be constructing some kind of catapult out of pencils and rubber bands. Lia caught sight of me first. “Good morning, sunshine,” she said. “I’m no Michael, but based on the expression on your face, I’m guessing you’ve been spending some quality time with the lovely Agent Sterling.” Lia beamed at me. “Isn’t she the best?” The eerie thing about Lia was that she could make anything sound genuine. Lia wasn’t fond of the FBI in general, and she was the type to flout rules based on principle alone, but even knowing her enthusiasm was feigned, I couldn’t see through it. “There’s something about that Agent Sterling that just makes me want to listen to what she has to say,” Lia continued earnestly. “I think we might be soul mates.” Dean snorted, but didn’t look up from his practice test. Sloane set off her catapult, and I had to duck to keep from taking a pencil to the forehead.

The world couldn’t have been hungrier for Anthology, with a ten-hour documentary and three huge-selling volumes of outtakes, turning into a joyous global celebration. The Anthology double-CD packages might have been more purchased than played (everybody back then bought more music than they had time to listen to). They included two new songs, Lennon tape fragments that the others finished: “Free as a Bird” and “Real Love.” The flaw was Jeff Lynne’s production—George Martin wasn’t invited, because Harrison flatly refused to work with him. It’s ironic that when you watch Anthology, the only music that sounds dated is from 1995. But no matter how blasphemous the idea seemed, both songs were disarmingly beautiful, as was the documentary, to the point where you could drop in on any random hour (or binge all ten) and enjoy. One of the wisest decisions of Anthology was

It is the sound of the crowd that can be heard in the second, crescendoing rush of the orchestra that follows the final verse, rising from a hum to a gasp to a shout... fusing at last to a shriek (its similarity to the sound of the crowds at Beatle concerts is surely no accident). The onrushing sound of the orchestra at the end of "A Day in the Life" has transcended more than the conventions of Sgt. Pepper's Band. It is the nightmare resolution of the Beatles' show within a show. It is the sound in the eras of the high-wire artist as the ground rushes up from below. There is a blinding flash of silence, then the stunning impact of a tremendous E major piano chord that hangs in the air for a small eternity, slowly fading away, a forty-second meditation on finality that leaves each member if the audience listening with a new kind of attention and awareness to the sound of nothing at all.

You ever listen to that heavy metal music?” He painted such a vivid thumbnail that I was momentarily lost in it, groundless. “What? Oh, yeah, some. You know.” “I never liked it,” said Jorgensen. Pause for me to construct a mental image of Jorgensen sitting down all cozy with a Black Sabbath greatest hits disc. A taste of Mudhoney thrash. Perhaps a jot of some Norwegian speed-metal band’s idea of meltdown. “Know why? It sounds like combat, that’s why.

We entered the cool cave of the practice space with all the long-haired, goateed boys stoned on clouds of pot and playing with power tools. I tossed my fluffy coat into the hollow of my bass drum and lay on the carpet with my worn newspaper. A shirtless boy came in and told us he had to cut the power for a minute, and I thought about being along in the cool black room with Joey. Let's go smoke, she said, and I grabbed the cigarettes off the amp. She started talking to me about Wonder Woman. I feel like something big is happening, but I don't know what to do about it. With The Straight Girl? I asked in the blankest voice possible. With everything. Back in the sun we walked to the edge of the parking lot where a black Impala convertible sat, rusted and rotting, looking like it just got dredged from a swamp. Rainwater pooling on the floor. We climbed up onto it and sat our butts backward on the edge of the windshield, feet stretched into the front seat. Before she even joined the band, I would think of her each time I passed the car, the little round medallions with the red and black racing flags affixed to the dash. On the rusting Chevy, Joey told me about her date the other night with a girl she used to like who she maybe liked again. How her heart was shut off and it felt pretty good. How she just wanted to play around with this girl and that girl and this girl and I smoked my cigarette and went Uh-Huh. The sun made me feel like a restless country girl even though I'd never been on a farm. I knew what I stood for, even if nobody else did. I knew the piece of me on the inside, truer than all the rest, that never comes out. Doesn't everyone have one? Some kind of grand inner princess waiting to toss her hair down, forever waiting at the tower window. Some jungle animal so noble and fierce you had to crawl on your belly through dangerous grasses to get a glimpse. I gave Joey my cigarette so I could unlace the ratty green laces of my boots, pull them off, tug the linty wool tights off my legs. I stretched them pale over the car, the hair springing like weeds and my big toenail looking cracked and ugly. I knew exactly who I was when the sun came back and the air turned warm. Joey climbed over the hood of the car, dusty black, and said Let's lie down, I love lying in the sun, but there wasn't any sun there. We moved across the street onto the shining white sidewalk and she stretched out, eyes closed. I smoked my cigarette, tossed it into the gutter and lay down beside her. She said she was sick of all the people who thought she felt too much, who wanted her to be calm and contained. Who? I asked. All the flowers, the superheroes. I thought about how she had kissed me the other night, quick and hard, before taking off on a date in her leather chaps, hankies flying, and I sat on the couch and cried at everything she didn't know about how much I liked her, and someone put an arm around me and said, You're feeling things, that's good. Yeah, I said to Joey on the sidewalk, I Feel Like I Could Calm Down Some. Awww, you're perfect. She flipped her hand over and touched my head. Listen, we're barely here at all, I wanted to tell her, rolling over, looking into her face, we're barely here at all and everything goes so fast can't you just kiss me? My eyes were shut and the cars sounded close when they passed. The sun was weak but it baked the grime on my skin and made it smell delicious. A little kid smell. We sat up to pop some candy into our mouths, and then Joey lay her head on my lap, spent from sugar and coffee. Her arm curled back around me and my fingers fell into her slippery hair. On the February sidewalk that felt like spring.

The fact that so many books still name the Beatles as "the greatest or most significant or most influential" rock band ever only tells you how far rock music still is from becoming a serious art. Jazz critics have long recognized that the greatest jazz musicians of all time are Duke Ellington and John Coltrane, who were not the most famous or richest or best sellers of their times, let alone of all time. Classical critics rank the highly controversial Beethoven over classical musicians who were highly popular in courts around Europe. Rock critics, instead, are still blinded by commercial success. The Beatles sold more than anyone else (not true, by the way), therefore they must have been the greatest. Jazz critics grow up listening to a lot of jazz music of the past, classical critics grow up listening to a lot of classical music of the past. Rock critics are often totally ignorant of the rock music of the past, they barely know the best sellers.

You should ask him where his crew is.” Doolittle’s face wrinkled in disgust. “Go on. Tell her.” Jim didn’t look like he wanted to tell me anything. “Where is Brenna?” “On the roof, keeping a lookout,” Jim said. “And the rest?” Come to think of it, I hadn’t seen any of them since we came out of Unicorn. “Apparently there is a band of loups near Augusta.” Doolittle leveled an outraged glare at Jim. “I’ve been listening to it on the radio. The city’s on the verge of panic. Odd loups these. Mellow. Although they apparently performed shocking acts of animal mutilation within plain view of the farmhouse, the farmer’s family slept through the whole thing. Curiously, no humans were harmed.” I almost laughed. No loup would attack livestock if human prey was available. They craved human flesh. “They’re creating a diversion,” Jim said. Raphael halted his conversation with Andrea to emit a short, distinctly hyena guff. “That’s the best plan you could come up with?” “Apparently he thinks that Curran’s a moron.” Doolittle shook his head.

In a state of homicidal seizure I demand to know why the CD image does not repeat the LP image. ‘But we couldn’t fit the entire LP image on the CD because a CD is too small,’ says Richard Boon, unhelpfully. ‘But they managed quite well with Sergeant Pepper’s Lonely Hearts Club Band!’ I stomp, suddenly wondering why I continued to bother. I could, instead, be skiing in St Moritz. As the years go by, and The World Won’t Listen changes labels, the CD image remains heart-sinkingly abysmal compared to the majesty of the LP sleeve. These things count.

Music?” he asked. I nodded and handed him my iPod. We’d been running together three more times now and had worked out our routine. We talked for the first mile or so, while we were warming up. When breathing became more important than talking, we switched to music, which we would listen to for the rest of the run, and then we’d turn the iPods off as we’d cool down and walk to one of our houses—we alternated. But the run before, Frank had proposed that we switch iPods so that he could see if my “music, not observational comedy” theory was effective in terms of helping him run faster, and I could apparently learn all about some group called Freelance Whales which was, apparently, an actual band. I’d made him a mix of my favorite songs that hopefully weren’t too alienating for someone who claimed he never listened to country and had no idea who the Cure was.

Dave and Serge...played the Fiddler's Elbow as if it were Giants Stadium, and even though it was acoustic, they just about blew the place up. They were standing on chairs adn lying on the floor, they were funny, they charmed everyone in the pub apart from an old drunk ditting next to the drum kit...who put his fingers firmly in his ears during Serge's extended harmonica solo. It was utterly bizarre and very moving: most musicians wouldn't have bothered turning up, let alone almost killing themselves. And I was reminded...how rarely one feels included in a live show. Usually you watch, and listen, and drift off, and the band plays well or doesn't and it doesn't matter much either way. It can actually be a very lonely experience. But I felt a part of the music, and a part of the people I'd gone with, and, to cut this short before the encores, I didn't want to read for about a fortnight afterward. I wanted to write, but I didn't want to read no book. I was too itchy, too energized, and if young people feel like that every night of the week, then, yes, literature 's dead as a dodo. (Nick's thoughts after seeing Marah at a little pub called Fiddler's Elbow.)

She's probably just tired of seeing you miserable.Like we all are," I add. "I'm sure...I'm sure she's as crazy about you as ever." "Hmm." He watches me put away my own shoes and empty the contents of my pockets. "What about you?" he asks, after a minute. "What about me?" St. Clair examines his watch. "Sideburns. You'll be seeing him next month." He's reestablishing...what? The boundary line? That he's taken, and I'm spoken for? Except I'm not. Not really. But I can't bear to say this now that he's mentioned Ellie. "Yeah,I can't wait to see him again. He's a funny guy, you'd like him.I'm gonna see his band play at Christmas. Toph's a great guy, you'd really like him. Oh. I already said that,didn't I? But you would. He's really...funny." Shut up,Anna. Shut.Up. St. Clair unbuckles and rebuckles and unbuckles his watchband. "I'm beat," I say. And it's the truth. As always, our conversation has exhausted me. I crawl into bed and wonder what he'll do.Lie on my floor? Go back to his room? But he places his watch on my desk and climbs onto my bed. He slides up next to me. He's on top of the covers, and I'm underneath. We're still fully dressed,minus our shoes, and the whole situation is beyond awkward. He hops up.I'm sure he's about to leave,and I don't know whether to be relieved or disappointed,but...he flips off my light.My room is pitch-black. He shuffles back toward my bed and smacks into it. "Oof," he says. "Hey,there's a bed there." "Thanks for the warning." "No problem." "It's freezing in here.Do you have a fan on or something?" "It's the wind.My window won't shut all the way.I have a towel stuffed under it, but it doesn't really help." He pats his way around the bed and slides back in. "Ow," he says. "Yes?" "My belt.Would it be weird..." I'm thankful he can't see my blush. "Of course not." And I listen to the slap of leather as he pulls it out of his belt loops.He lays it gently on my hardwood floor. "Um," he says. "Would it be weird-" "Yes." "Oh,piss off.I'm not talking trousers. I only want under the blankets. That breeze is horrible." He slides underneath,and now we're lying side by side. In my narrow bed. Funny,but I never imagined my first sleepover with a guy being,well,a sleepover. "All we need now are Sixteen Candles and a game of Truth or Dare." He coughs. "Wh-what?" "The movie,pervert.I was just thinking it's been a while since I've had a sleepover." A pause. "Oh." "..." "..." "St. Clair?" "Yeah?" "Your elbow is murdering my back." "Bollocks.Sorry." He shifts,and then shifts again,and then again,until we're comfortable.One of his legs rests against mine.Despite the two layers of pants between us,I feel naked and vulnerable. He shifts again and now my entire leg, from calf to thigh, rests against his. I smell his hair. Mmm. NO! I swallow,and it's so loud.He coughs again. I'm trying not to squirm. After what feels like hours but is surely only minutes,his breath slows and his body relaxes.I finally begin to relax, too. I want to memorize his scent and the touch of his skin-one of his arms, now against mine-and the solidness os his body.No matter what happens,I'll remember this for the rest of my life. I study his profile.His lips,his nose, his eyelashes.He's so beautiful.

I've never even attempted to listen to Neil Young - everything I hear is pretty good. I know that one day, I'll be able to sit down and delve into this amazing back catalogue. Until then, there's always the ever-growing superfluous of new musicians. Sometimes I feel so much guilt when I find I absolutely love a new band or singer, as it means, 9 times out of 10, that nobody else will. That's good taste for you. The other side of the coin is - "Ah, James. You have to hear this guy, his name is Felix Maboabbie and he's better than Nick Drake and John Martyn combined - with a touch of John Lennon." And, you know what, they are always, always utterly shite.

my best friend tell me that to her the concert wasn’t about the band—it was about us, it was about the fact that we were there together, that the music itself was secondary to our world, merely something that colored it, spoke to it. That’s why all those records from high school sound so good. It’s not that the songs were better—it’s that we were listening to them with our friends, drunk for the first time on liqueurs, touching sweaty palms, staring for hours at a poster on the wall, not grossed out by carpet or dirt or crumpled, oily bedsheets. These songs and albums were the best ones because of how huge adolescence felt then, and how nostalgia recasts it now.

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.

Listening to the radio, I heard the story behind rocker David Lee Roth’s notorious insistence that Van Halen’s contracts with concert promoters contain a clause specifying that a bowl of M&M’s has to be provided backstage, but with every single brown candy removed, upon pain of forfeiture of the show, with full compensation to the band. And at least once, Van Halen followed through, peremptorily canceling a show in Colorado when Roth found some brown M&M’s in his dressing room. This turned out to be, however, not another example of the insane demands of power-mad celebrities but an ingenious ruse. As Roth explained in his memoir, Crazy from the Heat, “Van Halen was the first band to take huge productions into tertiary, third-level markets. We’d pull up with nine eighteen-wheeler trucks, full of gear, where the standard was three trucks, max. And there were many, many technical errors—whether it was the girders couldn’t support the weight, or the flooring would sink in, or the doors weren’t big enough to move the gear through. The contract rider read like a version of the Chinese Yellow Pages because there was so much equipment, and so many human beings to make it function.” So just as a little test, buried somewhere in the middle of the rider, would be article 126, the no-brown-M&M’s clause. “When I would walk backstage, if I saw a brown M&M in that bowl,” he wrote, “well, we’d line-check the entire production. Guaranteed you’re going to arrive at a technical error.… Guaranteed you’d run into a problem.” These weren’t trifles, the radio story pointed out. The mistakes could be life-threatening. In Colorado, the band found the local promoters had failed to read the weight requirements and the staging would have fallen through the arena floor.

When the gypsy chief reached this point in his story, someone came to tell him that his presence was required for business concerning his band. As soon as he left, Velásquez spoke and said, ‘I have tried in vain to concentrate all my attention on the gypsy chief’s words but I am unable to discover any coherence whatsoever in them. I do not know who is speaking and who is listening. Sometimes the Marqués de Val Florida is telling the story of his life to his daughter, sometimes it is she who is relating it to the gypsy chief, who in turn is repeating it to us. It is a veritable labyrinth. I had always thought that novels and other works of that kind should be written in several columns like chronological tables.

Bob really listened to our songs and recognized that we were less about storytelling than about singing about our own feelings and perceptions: "I'm the king of the nighttime world." "I want to rock and roll all night." That was a quantum difference. "I am the God of Thunder." These were the kinds of statements we specialized in, and they differentiated us from other bands. When we spoke to Bob about this, he realized that the simplicity and self-absorption in the lyrics was purposeful, that we were a band with a distinct point of view rather than just a set of guys who didn't have a clue. We wanted to write anthems, songs that felt like the theme songs for a generation, songs that had a "you and me against the world" perspective.

What awe must have come to the hearts of that waiting band as they listened to that “sound as of the rushing of a mighty wind”—what a sense of the irresistible power of God! But there was also the appearance of “tongues parting asunder, like as of fire.” Fire typifies the activity of God’s holiness in relation to sin; fire consumes and fire purifies. When the Spirit came upon Christ, it was not as the fire but “as a dove,” for there was no sin in Him, as the Father then declared, “Thou art my beloved Son; in thee I am well pleased” (Luke 3:22). But here the tongues “like as of fire” sat upon each of them, bringing not only a sense of the infinite holiness of God but of the activity of that holiness in dealing with all that was unholy in themselves.

Well, I thought you might want to listen to this. I mean, I thought you might be . . . ready for it. "I don't know if you remember, but just before . . . just before Malcolm died, he took me to see a concert in the town. We went to Barbarella's, and we heard all these weird bands. You remember the kind of music he used to like? Well, the people who made this record were playing that night, and they were his favourite. He liked them more than anyone. And I thought that if you heard it, it might remind you . . . might help you to think a bit about the kind of person he was. "And there's another reason too. You see the title of the record? It's called The Rotters' Club. "The Rotters' Club: that's us, Lois, isn't it? Do you see? That's what they used to call us, at school. Bent Rotter, and Lowest Rotter. We're The Rotters' Club. You and me. Not Paul. Just you and me. "I think this record was meant for us, you see. Malcolm never got to hear it, but I think he . . . knows about it, if that doesn't sound too silly. And now it's his gift, to you and me. From - wherever he is. "I don't know if that makes any sense. "Anyway. "I'll just leave it on the table here. "Have a listen, if you feel like it. "I've got to go now. "I've got to go, Lois. "I've got to go.

Expanding further on his own observations of Prince’s writing style(s) during the course of the album’s recording, fellow Paisley Park engineer Eddie Miller, who engineered the recording of ‘Electric Chair’ among other Prince recordings during the Batman era, recalled that “he would write all sorts of ways. I have to admit that I listened to some of his cassette demos that he would sometimes bring into the studio to reference (as I remember, he would hold the cassette player up to his ear, so you couldn’t really hear it.). They were fascinating. His cassette demo technique was extremely crude but ingenious—it’s like something you’d do if you had no access to any equipment. He’d use two cheap cassette recorders. If he wanted to hear drums, he’d record a human beat box rhythm for the length of the song—and most likely, he’d have the form of the song in his head while he was recording this. By the way, it was the same in the studio when he’d do his one man band approach to recording a song. He’d know the song in his head, and start out recording the drums for the song (it would essentially become the ‘click track’—the way a click track should be). Back to the cassette demo—he’d then play his beat box groove over the speaker on the cassette recorder and sing the bass line while recording all this onto the second cassette machine. He’d build up a rhythm track this way, and then add vocals. And there’s your demo.

A short, older man stepped up to me, sticking out his hand and saying something I couldn't hear. Thinking, "Now who's this?" I took out one of my ear monitors and said, "Sorry, I couldn't hear you." He spoke again, smiling, "Hello, I'm Charlie Watts." "Oh!" I said, taken aback, "Hello." And I shook his hand. He asked if we were going on soon, and I said yes, any minute, and he said, with a twinkle, "I'm going to watch you!" I suppose if I could have felt more pressured, that might have done it, but I was already at maximum intensity — there was no time to think of Charlie Watts and the Rolling Stones, watching them on The T.A.M.I. Show or "Ed Sullivan" when I was twelve-and-a-half, hearing "Satisfaction" snarling down the midway at Lakeside Park, Gimme Shelter at the cinema in London, listening to Charlie's beautiful solo album, Warm and Tender, so many times late at night in Quebec, or any of the other million times Charlie Watts and his band had been part of my life.

Presently a soprano voice of richness and depth floated from the open windows of the parlor, resonating over the darkening greenery. All at once it was as if the entire scene before them was awakened by that voice, infused with unexpected life: the western sky, streaked with bands of pale gold and purple; the two houses, standing gray and disconsolate against that sky; the clusters of trees casting deep black shadows here and there across the ground. The same voice that brought everything suddenly to life also drew them into another, much deeper world—a world that was normally hidden, a world that stretched out into eternity. Yusuke, who had at first looked on with a sense of distance as everyone else sat listening, their faces intent on the music, found himself being gradually drawn in as well, forgetting the moment and the place, lending his ear during that unworldly stretch of time as if entranced. No one spoke. The singing could not have lasted ten minutes, but when it ended he found the darkness all at once grew deeper.

I’m not your mama,” hisses Werner. “Come on, now.” Frederick’s expression is entirely without artifice. Somewhere in the kitchen, the maid is listening. There is no other sound, not of traffic or airplanes or trains or radios or the specter of Frau Schwartzenberger rattling the cage of the elevator. No chanting no singing no silk banners no bands no trumpets no mother no father no slick-fingered commandant dragging a finger across his back. The city seems utterly still, as though everyone is listening, waiting for someone to slip.

If you didn’t find some way of stopping it, people would go on asking questions. The teachers were useful there. Bands of them wandered through the mountains, along with the tinkers, portable blacksmiths, miracle medicine men, cloth peddlers, fortune-tellers, and all the other travelers who sold things the people didn’t need every day but occasionally found useful. They went from village to village delivering short lessons on many subjects. They kept apart from the other travelers and were quite mysterious in their ragged robes and strange square hats. They used long words, like corrugated iron. They lived rough lives, surviving on what food they could earn from giving lessons to anyone who would listen. When no one would listen, they lived on baked hedgehog. They went to sleep under the stars, which the math teachers would count, the astronomy teachers would measure, and the literature teachers would name. The geography teachers got lost in the woodsand fell into bear traps. People were usually quite pleased to see them. They taught children enough to shut them up, which was the main thing, after all. But they always had to be driven out of the villages by nightfall in case they stole chickens.

Married to a naval commander who happened to be Benjamin Franklin’s great-great-grandson, Wainwright prayed to the graven image of Lafayette, since neither the president nor Congress seemed to be listening. “We, the women of the United States,” she told the bronze Lafayette, “denied the liberty which you helped to gain, and for which we have asked in vain for sixty years, turn to you to plead for us. Speak, Lafayette, dead these hundred years but still living in the hearts of the American people.” She beseeched the inanimate Frenchman, “Let that outstretched hand of yours pointing to the White House recall to him”—President Wilson—“his words and promises, his trumpet call for all of us, to see that the world is made safe for democracy. As our army now in France spoke to you there, saying here we are to help your country fight for liberty, will you not speak here and now for us, a little band with no army, no power but justice and right, no strength but in our Constitution and in the Declaration of Independence; and win a great victory again in this country by giving us the opportunity we ask—to be heard through the Susan B. Anthony amendment.” She then echoed the words uttered by the American officer in Paris on July 4, 1917. “Lafayette,” she said, “we are here!

Old couples began to pair off and spin each other around, and the younger ones lined the walls, clapping and stomping their feet and swishing their drinks. In that little pub, on that little stage by the windows, Kevin was a life force, a star. With the aid of an instrument, he could spend four hours in a new country and fit in better than Maggie could after four months. He sang about drunk tanks and love and Christmas hopes, but in the spaces between the words of the song and in the cold shadows of his closed eyes rested all the things that he allowed to escape from himself only on the stage. Watching him, Maggie thought of their conversation earlier that day--how he had quit the band, quit his music, hadn't picked up a guitar in months. She could see the way he picked gingerly at the strings on his uncalloused fingers. His voice wasn't beautiful, but it had always contained a kind of arresting truth. Now too, Maggie detected a new quality--a desperation that had not been there before. Looking around the table at her family, she knew that Nanny Eli heard it, too. Her grandmother was leaning forward, holding her cigarette aloft while the ash grew longer and longer, and she was not listening to her son like the rest of them were but watching him, the movements of his long, skeletal fingers, the closed bruises of his eyes.

It was the Kojagar full moon, and I was slowly pacing the riverside conversing with myself. It could hardly be called a conversation, as I was doing all the talking and my imaginary companion all the listening. The poor fellow had no chance of speaking up for himself, for was not mine the power to compel him helplessly to answer like a fool? But what a night it was! How often have I tried to write of such, but never got it done! There was not a line of ripple on the river; and from away over there, where the farthest shore of the distant main stream is seen beyond the other edge of the midway belt of sand, right up to this shore, glimmers a broad band of moonlight. Not a human being, not a boat in sight; not a tree, nor blade of grass on the fresh-formed island sand-bank. It seemed as though a desolate moon was rising upon a devastated earth; a random river wandering through a lifeless solitude; a long-drawn fairy-tale coming to a close over a deserted world,—all the kings and the princesses, their ministers and friends and their golden castles vanished, leaving the Seven Seas and Thirteen Rivers and the Unending Moor, over which the adventurous princes fared forth, wanly gleaming in the pale moonlight. I was pacing up and down like the last pulse-beats of this dying world. Every one else seemed to be on the opposite shore—the shore of life—where the British Government and the Nineteenth Century hold sway, and tea and cigarettes.

Quickly I find another surprise. The boys are wilder writers — less careful of convention, more willing to leap into the new. I start watching the dozens of vaguely familiar girls, who seem to have shaved off all distinguishing characteristics. They are so careful. Careful about their appearance, what they say and how they say it, how they sit, what they write. Even in the five-minute free writes, they are less willing to go out from where they are — to go out there, where you have to go, to write. They are reluctant to show me rough work, imperfect work, anything I might criticize; they are very careful to write down my instructions word by word. They’re all trying themselves on day by day, hour by hour, I know — already making choices that will last too unfairly long. I’m surprised to find, after a few days, how invigorating it all is. I pace and plead for reaction, for ideas, for words, and gradually we all relax a little and we make progress. The boys crouch in their too-small desks, giant feet sticking out, and the girls perch on the edge, alert like little groundhogs listening for the patter of coyote feet. I begin to like them a lot. Then the outlines come in. I am startled at the preoccupation with romance and family in many of these imaginary futures. But the distinction between boys and girls is perfectly, painfully stereotypical. The boys also imagine adventure, crime, inventions, drama. One expects war with China, several get rich and lose it all, one invents a time warp, another resurrects Jesus, another is shot by a robber. Their outlines are heavy on action, light on response. A freshman: “I grow populerity and for the rest of my life I’m a million air.” [sic] A sophomore boy in his middle age: “Amazingly, my first attempt at movie-making won all the year’s Oscars. So did the next two. And my band was a HUGE success. It only followed that I run the country.” Among the girls, in all the dozens and dozens of girls, the preoccupation with marriage and children is almost everything. They are entirely reaction, marked by caution. One after the other writes of falling in love, getting married, having children and giving up — giving up careers, travel, college, sports, private hopes, to save the marriage, take care of the children. The outlines seem to describe with remarkable precision the quietly desperate and disappointed lives many women live today.

I’d forgotten about them until this very moment, pushed out of my memory from years of dating boys in indie rock bands, boys who scoffed at my love of PJ Harvey, boys who saw my copy of Jagged Little Pill and asked why the fuck was I listening to her, boys who would’ve most certainly ridiculed my love of a cappella. And if they didn’t like my music, they wouldn’t like me, right? Right? If there are any young women reading this and those above sentences sound familiar, if you’re hiding parts of yourself to look cool or make someone love you, please repeat after me: fuck that noise. You are perfect. You matter. Hold on to what you love, the songs and books and style and obsessions and causes and questions that make you you. Find people who love these things, too. When you get lost, they’ll help you find your way back to yourself.

One of the biggest shifts in the last decade of anthropology, one of the discoveries in the field that has changed everything, is the realization that we evolved as cooperative breeders. Bringing up kids in a nuclear family is a novelty, a blip on the screen of human family life. We never did child rearing alone, isolated and shut off from others, or with just one other person, the child’s father. It is arduous and anomalous and it’s not the way it “should” be. Indeed, for as long as we have been, we have relied on other females—kin and the kindly disposed—to help us raise our offspring. Mostly we lived as Nisa did—in rangy, multifamily bands that looked out for one another, took care of one another, and raised one another’s children. You still see it in parts of the Caribbean today, where any adult in a small town can tell any kid to toe the line, and does, and the kids listen. Or in Hawaii, where kids and parents alike depend on hanai relationships—aunties and uncles, indispensible honorary relations who take a real interest in an unrelated child’s well-being and education. No, it wasn’t fire or hunting or the heterosexual dyad that gave us a leg up, anthropologists now largely concur; it was our female Homo ancestors holding and handling and caring for and even nursing the babies of other females. That is in large part why Homo sapiens flourished and flourish still, while other early hominins and prehominins bit the dust. This shared history of interdependence, of tending and caring, might explain the unique capacity women have for deep friendship with other women. We have counted on one another for child care, sanity, and survival literally forever. The loss of your child weighs heavily on me in this web of connectedness, because he or she is a little bit my own.

Ione II. 'TWAS in the radiant summer weather, When God looked, smiling, from the sky; And we went wand'ring much together By wood and lane, Ione and I, Attracted by the subtle tie Of common thoughts and common tastes, Of eyes whose vision saw the same, And freely granted beauty's claim Where others found but worthless wastes. We paused to hear the far bells ringing Across the distance, sweet and clear. We listened to the wild bird's singing The song he meant for his mate's ear, And deemed our chance to do so dear. We loved to watch the warrior Sun, With flaming shield and flaunting crest, Go striding down the gory West, When Day's long fight was fought and won. And life became a different story; Where'er I looked, I saw new light. Earth's self assumed a greater glory, Mine eyes were cleared to fuller sight. Then first I saw the need and might Of that fair band, the singing throng, Who, gifted with the skill divine, Take up the threads of life, spun fine, And weave them into soulful song. They sung for me, whose passion pressing My soul, found vent in song nor line. They bore the burden of expressing All that I felt, with art's design, And every word of theirs was mine. I read them to Ione, ofttimes, By hill and shore, beneath fair skies, And she looked deeply in mine eyes, And knew my love spoke through their rhymes. Her life was like the stream that floweth, And mine was like the waiting sea; Her love was like the flower that bloweth, And mine was like the searching bee — I found her sweetness all for me. God plied him in the mint of time, And coined for us a golden day, And rolled it ringing down life's way With love's sweet music in its chime. And God unclasped the Book of Ages, And laid it open to our sight; Upon the dimness of its pages, So long consigned to rayless night, He shed the glory of his light. We read them well, we read them long, And ever thrilling did we see That love ruled all humanity, — The master passion, pure and strong.

Harper walked over to her reception desk. “What’s with the Tyson look-alikes out there? I almost couldn’t get in here.” Pixie frowned. “Better go ask your boy-o. Famous rock star in the house.” Pixie accentuated her comment with the poke of her pen. Jeez, he was huge. And built. And shirtless. Okay, enough staring. Well, maybe just for another second. Trent was leaning over the guy, and she could tell from the wide-reaching spread of purple transfer lines that he was just beginning a sleeve on the other man’s lower arm. The guy in the chair might well be a rock star— although Harper would never admit she had no clue who he was— but he was wincing. Harper could totally feel for him. Trent was in his usual position— hat on backward, gloves on, and perched on a stool. Harper approached them nervously. The big guy’s size and presence were a little intimidating. “I don’t bite.” Oh God. He was talking to her. “Excuse me?” He sucked air in between clenched teeth. “I said I don’t bite. You can come closer.” His blue eyes were sparkling as he studied her closely. Trent looked up. “Hey, darlin’,” he said, putting the tattoo machine down and reaching for her hand. “Dred, this is my girl, Harper. Harper, this is Dred Zander from the band Preload. He’s one of the other judges I told you about.” Wow. Not that she knew much about the kind of music that Trent listened to, but even she had heard of Preload. That certainly explained the security outside. Dred reached out his hand and shook hers. “Nice to meet you, Harper. And a pity. For a minute, I thought you were coming over to see me.” “No,” Harper exclaimed quickly, looking over at Trent, who was grinning at her. “I mean, no, I was just bringing Trent some cookies.” Holy shit. Was she really that lame? It was like that moment in Dirty Dancing when Baby told Johnny she carried a watermelon. Dred turned and smiled enigmatically at Trent. “I see what you mean, man.” “Give.” Smiling, Trent held out his hand. Reaching inside her bag, she pulled out the cookies and handed the container to him. “Seriously, dude, she’s the best fucking cook on the planet.” Trent paused to take a giant bite. “You got to try one,” he mumbled, offering the container over. Harper watched, mortified, as a modern-day rock legend bit into one of her cookies. Dred chewed and groaned. “These are almost as good as sex.” Harper laughed. “Not quite,” Trent responded, giving her a look that made her burn. “You should try her pot roast. Could bring a grown man to his knees.

The human collective knows far more today than did the ancient bands. But at the individual level, ancient foragers were the most knowledgeable and skilful people in history. There is some evidence that the size of the average Sapiens brain has actually decreased since the age of foraging.5 Survival in that era required superb mental abilities from everyone. When agriculture and industry came along people could increasingly rely on the skills of others for survival, and new ‘niches for imbeciles’ were opened up. You could survive and pass your unremarkable genes to the next generation by working as a water carrier or an assembly-line worker. Foragers mastered not only the surrounding world of animals, plants and objects, but also the internal world of their own bodies and senses. They listened to the slightest movement in the grass to learn whether a snake might be lurking there. They carefully observed the foliage of trees in order to discover fruits, beehives and bird nests. They moved with a minimum of effort and noise, and knew how to sit, walk and run in the most agile and efficient manner. Varied and constant use of their bodies made them as fit as marathon runners. They had physical dexterity that people today are unable to achieve even after years of practising yoga or t’ai chi.

Muriah approached him with a new pair of khakis and a couple of T-shirts. “I guessed at the size so you might want to go try these on first.” He took the clothes and slid his arm around her waist, maneuvering her toward the fitting room. “Hey, I didn’t sign on to be your dresser.” She grumbled, but didn’t struggle. He pulled the door closed and turned to meet her eyes. “It’s light in here and full of people. Apep will not be able to surprise us, and his serpents cannot spy. We need to talk.” *** He stripped off the wet shirt, exposing his chiseled torso. She did her best not to choke on her tongue. His tanned skin and taut muscles tempted her, luring her to touch him. Turning around to give him privacy seemed like the right thing to do, but there wasn’t a hint of modesty in this Mayan god, and if he could handle getting this personal, then she could, too. When he unzipped the wet pants, she held her breath. Would an ancient guy wear underwear? She was about to find out. He bent over to lower the wet slacks. When he straightened up, she realized he’d been talking, but she didn’t have a clue what he had said. Instead, all her attention was focused on a fine trail of dark hair leading from just below his navel and disappearing under the low-slung elastic band of his boxer briefs. “Muriah?” Her gaze snapped up to meet his. Thank the universe he couldn’t read her thoughts. “Yeah?” “Did you hear my question?” He stood two feet from her in only his underwear, and he thought she was listening? He was either completely unaware of his sex appeal, or he was way too accustomed to being obeyed. Probably both. She cleared her throat. “I must’ve missed it.” A spark lit his eyes that told her he might have more than a clue to his sex appeal. He picked up the T-shirt and pulled it on. “I asked if you knew of another hotel closer to the airport so we can get out of New York as soon as the sun sets tomorrow.” “I’m sure I can find one.” She pulled out her phone, grateful to have something to pretend to focus on besides him tucking his package into the new khakis she pulled off the rack for him. “I probably should’ve grabbed some dry underwear, too.” “They are nearly dry now. I will be fine.” He popped the tags off, and she glanced up from her hotel search. “They’re not going to like you taking the tags off before you pay.” The corner of his mouth curved up. “They will be honored to take my money.” She groaned and rolled her eyes. “Do you ever not get your way?” He stepped closer to her, his chest an inch from hers until her back pressed against the modular wall of the fitting room. “Rarely.” His dark gaze held hers, and the deep rumble of his voice sent heat through her body. “But some things are worth the extra effort.

Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors. In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.

The Unknown Soldier A tale to tell in bloody rhyme, A story to last ’til the dawn of end’s time. Of a loving boy who left dear home, To bear his countries burdens; her honor to sow. –A common boy, I say, who left kith and kin, To battle der Kaiser and all that was therein. The Arsenal of Democracy was his kind, –To make the world safe–was their call and chime. Trained he thus in the far army camps, Drilled he often in the march and stamp. Laughed he did with new found friends, Lived they together for the noble end. Greyish mottled images clipp’ed and hack´ed– Black and white broke drum Ʀ…ɧ..λ..t…ʮ..m..ȿ —marching armies off to ’ttack. Images scratched, chopped, theatrical exaggerate, Confetti parades, shouts of high praise To where hell would sup and partake with all bon hope as the transport do them take Faded icons board the ship– To steel them away collaged together –joined in spirit and hip. Timeworn humanity of once what was To broker peace in eagles and doves. Mortal clay in the earth but to grapple and smite As warbirds ironed soar in heaven’s light. All called all forward to divinities’ kept date, Heroes all–all aces and fates. Paris–Used to sing and play at some cards, A common Joe everybody knew from own heart. He could have been called ‘the kid’ by the ‘old man,’ But a common private now taking orders to stand. Receiving letters from his shy sweet one, Read them over and over until they faded to none. Trained like hell with his Commander-in-Arms, –To avoid the dangers of a most bloody harm. Aye, this boy was mortal, true enough said, He could be one of thousands alive but now surely dead. How he sang and cried and ate the gruel of rations, And grumbled as soldiers do at war’s great contagions. Out–out to the battle this young did go, To become a man; the world to show. (An ocean away his mother cried so– To return her boy safe as far as the heavens go). Lay he down in trenched hole, With balls bursting overhead upon the knoll. Listened hardnfast to the “Sarge” bearing the news, —“We’re going over soon—” was all he knew. The whistle blew; up and over they went, Charging the Hun, his life to be spent (“Avoid the gas boys that’ll blister yer arse!!”). Running through wires razored and deadened trees, Fell he into a gouge to find in shelter of need (They say he bayoneted one just as he–, face to face in War’s Dance of trialed humanity). A nameless sonnuvabitch shell then did untimely RiiiiiiiP the field asunder in burrrstzʑ–and he tripped. And on the field of battle’s blood did he die, Faceless in a puddle as blurrs of ghosting men shrieked as they were fleeing by–. Perished he alone in the no man’s land, Surrounded by an army of his brother’s teeming bands . . . And a world away a mother sighed, Listened to the rain and lay down and cried. . . . Today lays the grave somber and white, Guarded decades long in both the dark and the light. Silent sentinels watch o’er and with him do walk, Speak they neither; their duty talks. Lone, stark sentries perform the unsmiling task, –Guarding this one dead–at the nation’s bequest. Cared over day and night in both rain or sun, Present changing of the guard and their duty is done (The changing of the guard ’tis poetry motioned A Nation defining itself–telling of rifles twirl-clicking under the intensest of devotions). This poem–of The Unknown, taken thus, Is rend eternal by Divinity’s Iron Trust. How he, a common soldier, gained the estate Of bearing his countries glory unto his unknown fate. Here rests in honored glory a warrior known but to God, Now rests he in peace from the conflict path he trod. He is our friend, our family, brother, our mother’s son –belongs he to us all, For he has stood in our place–heeding God’s final call.