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.

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.

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

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.

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.

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.

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.

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?

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.

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?

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 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

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

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.

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.

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.

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.

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!).

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.

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!

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.

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.

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.

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.

Strike, who had been raised by a mother who listened mainly to metal bands, knew very little about classical music, but there was a looming, ominous quality about this music that he didn’t particularly care for.

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.

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.

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.

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.

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.

Chelsea fans may have been listening to the Beatles and the Stones, but at Highbury half-time entertainment was provided by the Metropolitan Police Band and their vocalist, Constable Alex Morgan. Morgan (whose rank never changed ...) ... sang highlights from light operettas.

Led Zeppelin was the rock band's rock band, but it was Plant who made it special. He had the knack of taking a seemingly inconsequential string of words, adding a searing shriek, and knocking the listener back on his heels. This was no less impressive on stage than in the restaurant.

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.

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.

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.

but he would bet his life that it had a white CB antenna on the roof and that the driver was listening to police bands.

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.

Though Sage was still under the impression the inked gold band around her pinkie finger would kill her if she betrayed him, he quietly vowed to tell her the truth when he saw her again. And he would see her again. It would be a disaster, of course. The way he would take perverse delight in her face flushing with anger and her nose scrunching. How she’d yell at him, and then the flush would go all the way down her chest, dipping below her bodice, at which time, naturally, he’d be distracted by it and stop listening. She’d notice and yell at him some more. He couldn’t wait.

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.

Once Dan told me he wished he could make art that was like a Kinks song. (A lot of artists listen to music while they work, and many think, Why can’t I make art that looks as intense as the sounds I’m hearing? I don’t have an answer.)

Some speed-metal band that believed anything less than 250 beats a minute was elevator music. It amazed her what some people listened to voluntarily. She only knew it as the playlist of CIA black-site detention facilities around the world.

It’s everything new around me and it’s happening more and more. Happening right now—a Miami girl in an English club listening to an English band, sitting on an English boy’s lap, his sweater warm around me. And I can’t help but enjoy it for real.

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.

The song ends and tears spring to my eyes. I quickly scroll to another—“The Scientist” by Coldplay—one of Kate’s favorite bands. I know the track, but I’ve never really listened to the lyrics before. I close my eyes and let the words wash over and through me.

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.

We are not going to band together and listen to a bunch of scientists to save humanity like Jake Gyllenhaal in a disaster movie. Sorry. You know how I know? Because a bunch of scientists are telling us how to save the world right now, and half the world isn’t listening to them.

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.)

singing in choruses, performing in marching bands, listening to sermons, attending political rallies, and meditating. Most of my students have experienced the switch at least once, although only a few had a life-changing experience. More commonly, the effects fade away within a few hours or days.

For as long as I’d been alive, I’d listened to people talk through their teeth about all the trips they would take and the hobbies they would pick up and the books they would write and the bands they would start, only to watch those dreams get stacked away in old boxes behind record collections and dusty picture frames.

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.

Storm was an outcast, a geek. She was the girl who dressed weird and always carried an old camera around and took five AP classes her senior year. She listened to bands nobody had ever heard of and spent lunch breaks leaned against a pillar in the middle of the quad with oversize headphones on her ears and equally oversize Russian novels in her lap.

Sorry," I said. There was little healing power in the word, but maybe the Inspectre wasn't looking to heal. Maybe he didn't want someone to fix it. It had been broken too long for me to think anything I said would actually help. It was like trying to put a Band-Aid on a shark bite. Sometimes people just needed to vent and get it out of their system.

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.

We listen to the old radio shows. Light flares and spreads across the blue-banded edge, sunrise, sunset, the urban grids in shadow. There is a sweetness in the tenor voice of the young man singing, a simple vigour that time and distance and random noise have enveloped in eloquence and yearning. Every sound, every lilt of strings has this veneer of age.

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.

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.

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.

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.

The song transitions, and so does her sway. It’s an older tune. An electronic mix between rock and pop. Not approved listening aboveground. The band sings of immortality. Of the inability to live without another. It’s about tested faith. About past and future and living forever and losing time. It’s a love song. A fantasy. What would that be like? To rely so much on someone else?

The Stereophonics were nice guys and we got along fine, though the differences between us were marked. Before they played they would practise their harmonies by playing the Extreme song ‘More Than Words’, with the whole band singing along with Kelly, the singer, and his acoustic guitar. For our pre-gig ritual we would sniff as many poppers as we could and listen to ‘Raw Power’ by The Stooges at ear-splitting volume.

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.

The words that passed between the girls of the little band and myself were not of any interest; they were, moreover, but few, broken by long spells of silence on my part. All of which did not prevent me from finding, in listening to them when the spoke to me, as much pleasure as in gazing at them, in discovering in the voice of each one of them a brightly colored picture. It was with ecstasy that I caught their pipings.

The words that passed between the girls of the little band and myself were not of any interest; they were, moreover, but few, broken by long spells of silence on my part. All of which did not prevent me from finding, in listening to them when they spoke to me, as much pleasure as in gazing at them, in discovering in the voice of each one of them a brightly colored picture. It was with ecstasy that I caught their pipings.

For as long as I’d been alive, I’d listened to people talk through their teeth about all the trips they would take and the hobbies they would pick up and the books they would write and the bands they would start, only to watch those dreams get stacked away in old boxes behind record collections and dusty picture frames. I lay there on the floor that night smiling from ear to ear. I was not going to be one of those people.

But if you listen to outtakes from the sessions, you can hear the Beatles worked out harmonies for “Eight Days a Week”—beautiful harmonies, in fact. Yet they cut the harmonies and sang in unison, to make the song sound like it took less work than it did. They spent seven hours in the studio tinkering with “Eight Days a Week,” adding and subtracting, until they got that unrehearsed feel. So much guile went into making the song sound like a moment’s exhalation.

Like the New Orleans tradition that preceded it, and the Swing Era offerings that followed it, Chicago jazz was not just the music of a time and place, but also a timeless style of performance - and for its exponents, very much a way of life - one that continues to reverberate to this day in the works of countless Dixieland and traditional jazz bands around the world. For many listeners, the Chicago style remains nothing less than the quintessential sound of jazz.

When I was little, I listened to radio serials, read comic books and went to 'B' movies. When I got a little older I listened to big band swing, read slick magazines and went to 'A' movies. When I got even older I listened to F-M stereo, read literary quarterlies and went to foreign movies. And then the pop-culture movement began. Now I listen to old radio serials, read comic books and go to revivals of 'B' movies. In a society without standards who needs to grow up?

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.

BIG BANDS AND THE SWING ERA: RECOMMENDED LISTENING Tommy Dorsey, “Opus One,” November 14, 1944 Duke Ellington, “Cotton Tail,” May 4, 1940 Duke Ellington, “Harlem Air Shaft,” July 22, 1940 Duke Ellington, “Take the ‘A’ Train,” February 15, 1941 Benny Goodman, “Sing, Sing, Sing,” January 16, 1938 Benny Goodman Trio, “After You’ve Gone,” July 13, 1935 Coleman Hawkins, “Body and Soul,” October 11, 1939 Fletcher Henderson, “New King Porter Stomp,” December 9, 1932 Glenn Miller, “In the Mood,” August 1, 1939 Artie Shaw, “Begin the Beguine,” July 24, 1938

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.

A lot of time has been spent looking for just a hint of how Jimmy Palao and the Original Creole band sounded. The answer has been right under our nose. As we listen to the music of that day we hear the remnants of Jimmy Palao’s Original Creole Band. We do not hear the music that he would have recorded with the Original Creole Band but we hear the music just as he wished us to hear it … as he freely gave way to the concept of developing the free form of Jazz … that is to let others be heard and display their musical talent. It wasn’t his music from his instrument that he wanted heard. He wanted us to take in the greats as their sounds developed. After all that is why Jazz… is Jazz…

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.

Music began playing and a woman walked into the room and stood beside a small band. She was dressed in a red Irish costume that hung to her ankles and it was laced at the bodice with a black cord. After giving a nod to the band, she sang a few Irish songs. But one song seemed to stand out to Rick and he stopped eating and listened. Sure a little bit of Heaven fell from out the sky one day and it nestled on the ocean in a spot so far away. When the angels found it, sure it looked so sweet and fair, they said, "Suppose we leave it for it looks so peaceful there." So they sprinkled it with stardust just to make the shamrocks grow. 'Tis the only place you'll find them no matter where you go. Then they dotted it with silver to make its lakes so grand and when they had it finished, sure they called it Ireland.

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.

I’ve repeated this process with virtually every major classic-rock artist and band that I love. I am now fully versed in the postsixties work of the Kinks, even the double-album rock operas that go on for forty-two hours. I enjoy at least one Doors album, An American Prayer, that was completed and released seven years after Jim Morrison died. I will defend not only both Page & Plant albums, but also the Page & Coverdale record. I own albums by every iteration of Crosby, Stills, Nash and Young, and will argue that Crosby & Nash is in fact better than CSNY (though not CSN). I’m still not crazy about nineties Springsteen, but I will listen to Human Touch and Lucky Town when I don’t feel like playing Darkness on the Edge of Town or The River for the ten thousandth time. Come to think of it, Lucky Town is in fact much better than most people (even myself) give it credit for.

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.

One story sums up their magical quality. On June 30th 1968, at the height of Apple optimism, Paul McCartney and Derek Taylor were driving back to London from Saltaire, Yorkshire, where they had been recording the Black Dyke Mills Band on a song of Paul’s called ‘Thingummybob’. They were in Bedfordshire. Let’s pick a village on the map and pay it a visit, said Beatle Paul. He found a village called Harrold, which they found quite hilarious, and turned off the A5. Harrold turned out to be a picture-perfect village, with a picture-perfect pub at its heart. The pub was closed, but when the villagers saw there was a Beatle at the door they opened it up. Soon the whole village was in the pub, listening to Paul McCartney on the pub piano playing the as-yet-unreleased ‘Hey Jude’. Every Harrold resident danced and sang along, and the revelry went on until 3 a.m. It was beautiful, perfect, spontaneous and full of love. Harrold. You couldn’t make it up.

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.

THE SOLITARY REAPER. 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 a 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 to-day? Some natural sorrow, loss, or pain, That has been, or 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.

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

A new legend swept Oregon, from Roseburg all the way north to the Columbia, from the mountains to the sea. It traveled by letter and by word of mouth, growing with each telling. It was a sadder story than the two that had come before it--those speaking of a wise, benevolent machine and of a reborn nation. It was more disturbing than those. And yet this new fable had one important element its predecessors lacked. It was true. The story told of a band of forty women--crazy women, many contended--who had shared among themselves a secret vow; to do anything and everything to end a terrible war, and end it before all the good men died trying to save them. They acted out of love, some explained. Others said they did it for their country. There was even a rumor that the women had looked on their odyssey to Hell as a form of penance, in order to make up for some past failing of womankind. Interpretations varied, but the overall moral was always the same, whether spread by word of mouth or by U.S. Mail. From hamlet to village to farmstead, mothers and daughter and wives read the letters and listened to the words--and passed them on.

This conversation revealed to Odo a third conception of the religious idea. In Piedmont religion imposed itself as a military discipline, the enforced duty of the Christian citizen to the heavenly state; to the Duke it was a means of purchasing spiritual immunity from the consequences of bodily weakness; to the Bishop, it replaced the panem et circenses of ancient Rome. Where, in all this, was the share of those whom Christ had come to save? Where was Saint Francis’s devotion to his heavenly bride, the Lady Poverty? Though here and there a good parish priest like Crescenti ministered to the temporal wants of the peasantry, it was only the free-thinker and the atheist who, at the risk of life and fortune, laboured for their moral liberation. Odo listened with a saddened heart, thinking, as he followed his host through the perfumed shade of the gardens, and down the long saloon at the end of which the Venus stood, of those who for the love of man had denied themselves such delicate emotions and gone forth cheerfully to exile or imprisonment. These were the true lovers of the Lady Poverty, the band in which he longed to be enrolled; yet how restrain a thrill of delight as the slender dusky goddess detached herself against the cool marble of

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.

A Thing I Have Learned (Written By A Nobody Who Has Been Everybody) 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.

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.

It is recorded that during the long winter after the Battle of Fredericksburg, when the two rival armies were camped on opposite sides of the Rappahannock, with the boys on the opposing picket posts daily swapping coffee for tobacco and comparing notes on their generals, their rations, and other matters, and with each camp in full sight and hearing of the other, one evening massed Union bands came down to the river bank to play all of the old songs, plus the more rousing tunes like "John Brown's Body," "The Battle Cry of Freedom," and "Tramp, Tramp, Tramp, the Boys Are Marching." Northerners and Southerners, the soldiers sang those songs or sat and listened to them, massed in their thousands on the hillsides, while the darkness came down to fill the river valley and the light of the campfires glinted off the black water. Finally the Southerners called across, "Now play some of ours," so without pause the Yankee bands swung into "Dixie" and "The Bonnie Blue Flag" and "Maryland, My Maryland," and then at last the massed bands played "Home, Sweet Home," and 150,000 fighting men tried to sing it and choked up and just sat there, silent, staring off into the darkness; and at last the music died away and the bandsmen put up their instruments and both armies went to bed. A few weeks later they were tearing each other apart in the lonely thickets around Chancellorsville.

All words have to be coined by a wordsmith at some point in the mists of history. The wordsmith had an idea to get across and needed a sound to express it. In principle, any sound would have done - basic principle of linguistics is that the relation of a sound to a meaning is arbitrary - so the first coiner of a term from for a political affiliation, for instance, could have used glorg or schmendrick or mcgillicuddy. But people are poor at conjuring sounds out of the blue, and they probably wanted to ease their listeners understanding of the coinage rather than having to define it or illustrate it with examples. So they reached for a metaphor that reminded them of the idea and they hoped would evoke a similar idea in the minds of their listeners, such as band or bond for a political affiliation. The metaphorical hint allowed the listeners to cotton on to the meaning more quickly than if they had had to rely on context alone, giving the word an advantage in the Darwinian competition among neologisms […] The word spread and became endemic to the community, adding to the language’s stock of apparent metaphors. But then it came to be used often enough, and in enough contexts, the speakers kicked the ladder away, and today people think not a whit about the metaphorical referent. It persists as a semantic fossil, a curiosity to amuse etymologists and wordwatchers [stet], but with no more resonance in our minds than any other string of vowels and consonants.

I turned the dial up into the phone portion of the band on my ham radio in order to listen to a Saturday morning swap net. Along the way, I came across an older sounding chap, with a tremendous signal and a golden voice. You know the kind, he sounded like he should be in the broadcasting business. He was telling whoever he was talking with something about “a thousand marbles.” I was intrigued and stopped to listen to what he had to say. “Well, Tom, it sure sounds like you’re busy with your job. I’m sure they pay you well but it’s a shame you have to be away from home and your family so much. Hard to believe a young fellow should have to work sixty or seventy hours a week to make ends meet. Too bad you missed your daughter’s dance recital.” He continued, “Let me tell you something, Tom, something that has helped me keep a good perspective on my own priorities.” And that’s when he began to explain his theory of a “thousand marbles.” “You see, I sat down one day and did a little arithmetic. The average person lives about seventy-five years. I know, some live more and some live less, but on average, folks live about seventy-five years. “Now then, I multiplied 75 times 52 and I came up with 3,900 which is the number of Saturdays that the average person has in their entire lifetime. Now stick with me Tom, I’m getting to the important part. “It took me until I was fifty-five years old to think about all this in any detail,” he went on, “and by that time I had lived through

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.

In November of 1997, the New Jersey–based independent radio station WFMU broadcast a live forty-seven-minute interview with Ronald Thomas Clontle, the author of an upcoming book titled Rock, Rot & Rule. The book, billed as “the ultimate argument settler,” was (theoretically) a listing of almost every musical artist of the past fifty years, with each act designated as “rocking,” “rotting,” or “ruling” (with most of the research conducted in a coffeehouse in Lawrence, Kansas). The interview was, of course, a now semi-famous hoax. The book is not real and “Ronald Thomas Clontle” was actually Jon Wurster, the drummer for indie bands like Superchunk and (later) the Mountain Goats. Rock, Rot & Rule is a signature example of what’s now awkwardly classified as “late-nineties alt comedy,” performed at the highest possible level—the tone is understated, the sensibility is committed and absurd, and the unrehearsed chemistry between Wurster and the program’s host (comedian Tom Scharpling) is otherworldly. The sketch would seem like the ideal comedic offering for the insular audience of WFMU, a self-selecting group of sophisticated music obsessives from the New York metropolitan area. Yet when one relistens to the original Rock, Rot & Rule broadcast, the most salient element is not the comedy. It’s the apoplectic phone calls from random WFMU listeners. The callers do not recognize this interview as a hoax, and they’re definitely not “ironic” or “apathetic.” They display none of the savvy characteristics now associated with nineties culture. Their anger is almost innocent.

It is easy to mourn the lives we aren't living. Easy to wish we'd developed other 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 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 of 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 feel in any other 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 savor the taste of the drink in front of us and listen to the song as it plays.

A gang of roving bandits who terrorized the backcountry of North Carolina in the mid-1700s captured seventeen-year-old Joseph Cook and threatened to murder him if he did not join their band. After Joseph explained that he was a Quaker and that his conscience would not allow him to kill another person, the ruffians began making plans to shoot him. While they were discussing his execution, Mary Herbert, a young Quaker woman about Joseph's age, suddenly appeared in their midst. She demanded that they let Joseph go and boldly stated that they could not have him because Joseph belonged to her. When the startled bandits refused her, she surprised them by grabbing Joseph and carrying him away in her arms. The captain of the bandits, presumably amused and certain that she could not carry him very far, shouted after her, “When you put him down we will start shooting.” Mary, empowered by love, found the strength to carry Joseph well beyond the range of their guns. Quaker journals from that period reveal that “two years later Mary established a legal claim to Joseph by marrying him.”16 There is love locked in our hearts waiting to empower us with strength beyond our imagining. The power to overcome evil by witnessing to love lies within us all, waiting to be released. Yet most of us keep this transforming power locked away, and we die having never dared to use it. Now is the time to listen within and unlock the transforming power of our love. If we dare to listen deeply, we hear love calling, inviting us to plain living, to “do no harm,” and to respect, love, and serve one another. Hope is whispering to us from the future, calling us each by name, beseeching us to open our hearts because only then will the world be transformed by what Love is waiting to do.

I shake my head, knowing that if it hadn’t been for me, Ben wouldn’t have been there in the first place. I try to tell him that, but he swats my words away with his hand and says he wants to show me something. “Sure,” I say, wondering if he’s really as nervous as he seems. He clenches his teeth and hesitates a couple of moments; the angles of his face seem to grow sharper. Finally, he motions to the pant leg of his jeans. There’s a tear right over his thigh. “I know you saw it in the hospital,” he says, exposing the chameleon tattoo through the torn fabric. “I felt you . . . looking at it. Anyway, I wanted you to know that I did this back home, before I ever came to Freetown. Before I ever met you.” “So it’s a coincidence?” His dark gray eyes swallow mine whole. “Do you honestly believe that?” “No,” I say, listening as he proceeds to tell me that a few months before he got to town, he touched his mother’s wedding band—something that reminded him of soul mates—and the image of a chameleon stuck inside his head. “I couldn’t get it out of my mind,” he explains. “It was almost like the image was welded to my brain, behind my eyes, haunting me even when I tried to sleep.” “And you got the tattoo because of that?” “Because I hoped its permanence might help me understand it more—might help me understand what it had to do with my own soul mate.” “And do you understand now?” I ask, swallowing hard. “Yeah.” He smiles. “I suppose I do.” I take a deep breath, trying to hold myself together, desperate to know what he’s truly trying to say here, and what I should say to him as well. I close my eyes, picturing that moment in the hospital when I held his hand and wondering if he would’ve recovered as quickly as if it hadn’t been for the connection between us—the electricity he must have sensed from my touch.

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.

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.

Not long after I learned about Frozen, I went to see a friend of mine who works in the music industry. We sat in his living room on the Upper East Side, facing each other in easy chairs, as he worked his way through a mountain of CDs. He played “Angel,” by the reggae singer Shaggy, and then “The Joker,” by the Steve Miller Band, and told me to listen very carefully to the similarity in bass lines. He played Led Zeppelin’s “Whole Lotta Love” and then Muddy Waters’s “You Need Love,” to show the extent to which Led Zeppelin had mined the blues for inspiration. He played “Twice My Age,” by Shabba Ranks and Krystal, and then the saccharine ’70s pop standard “Seasons in the Sun,” until I could hear the echoes of the second song in the first. He played “Last Christmas,” by Wham! followed by Barry Manilow’s “Can’t Smile Without You” to explain why Manilow might have been startled when he first heard that song, and then “Joanna,” by Kool and the Gang, because, in a different way, “Last Christmas” was an homage to Kool and the Gang as well. “That sound you hear in Nirvana,” my friend said at one point, “that soft and then loud kind of exploding thing, a lot of that was inspired by the Pixies. Yet Kurt Cobain” — Nirvana’s lead singer and songwriter — “was such a genius that he managed to make it his own. And ‘Smells Like Teen Spirit’?” — here he was referring to perhaps the best-known Nirvana song. “That’s Boston’s ‘More Than a Feeling.’ ” He began to hum the riff of the Boston hit, and said, “The first time I heard ‘Teen Spirit,’ I said, ‘That guitar lick is from “More Than a Feeling.” ’ But it was different — it was urgent and brilliant and new.” He played another CD. It was Rod Stewart’s “Do Ya Think I’m Sexy,” a huge hit from the 1970s. The chorus has a distinctive, catchy hook — the kind of tune that millions of Americans probably hummed in the shower the year it came out. Then he put on “Taj Mahal,” by the Brazilian artist Jorge Ben Jor, which was recorded several years before the Rod Stewart song. In his twenties, my friend was a DJ at various downtown clubs, and at some point he’d become interested in world music. “I caught it back then,” he said. A small, sly smile spread across his face. The opening bars of “Taj Mahal” were very South American, a world away from what we had just listened to. And then I heard it. It was so obvious and unambiguous that I laughed out loud; virtually note for note, it was the hook from “Do Ya Think I’m Sexy.” It was possible that Rod Stewart had independently come up with that riff, because resemblance is not proof of influence. It was also possible that he’d been in Brazil, listened to some local music, and liked what he heard.

I glanced over and saw Wyatt glaring at me. Journey’s “Lovin’ Touchin’, Squeezin’” was playing on the radio. “What?” I asked. “You secretly hate me, don’t you.” He gestured toward the radio. “You can’t stand the thought of me taking a much needed nap and leaving you to drive without conversation. You’re torturing me with this sappy stuff.” “It’s Journey. I love this song.” Wyatt mumbled something under his breath, picked up the CD case, and started looking through it. He paused with a choked noise, his eyes growing huge. “You’re joking, Sam. Justin Bieber? What are you, a twelve-year old girl?” There’s gonna be one less lonely girl, I sang in my head. That was a great song. How could he not like that song? Still, I squirmed a bit in embarrassment. “A twelve-year old girl gave me that CD,” I lied. “For my birthday.” Wyatt snorted. “It’s a good thing you’re a terrible liar. Otherwise, I’d be horrified at the thought that a demon has been hanging out with a bunch of giggling pre-teens.” He continued to thumb through the CDs. “Air Supply Greatest Hits? No, no, I’m wrong here. It’s an Air Supply cover band in Spanish.” He waved the offending CD in my face. “Sam, what on earth are you thinking? How did you even get this thing?” “Some tenant left it behind,” I told him. “We evicted him, and there were all these CDs. Most were in Spanish, but I’ve got a Barry Manilow in there, too. That one’s in English.” Wyatt looked at me a moment, and with the fastest movement I’ve ever seen, rolled down the window and tossed the case of CDs out onto the highway. It barely hit the road before a semi plowed over it. I was pissed. “You asshole. I liked those CDs. I don’t come over to your house and trash your video games, or drive over your controllers. If you think that will make me listen to that Dubstep crap for the next two hours, then you better fucking think again.” “I’m sorry Sam, but it’s past time for a musical intervention here. You can’t keep listening to this stuff. It wasn’t even remotely good when it was popular, and it certainly hasn’t gained anything over time. You need to pull yourself together and try to expand your musical interests a bit. You’re on a downward spiral, and if you keep this up, you’ll find yourself friendless, living in a box in a back alley, stinking of your own excrement, and covered in track marks.” I looked at him in surprise. I had no idea Air Supply led to lack of bowel control and hard core drug usage. I wondered if it was something subliminal, a kind of compulsion programmed into the lyrics. Was Russell Hitchcock a sorcerer? He didn’t look that menacing to me, but sorcerers were pretty sneaky. Even so, I was sure Justin Bieber was okay. As soon as we hit a rest stop, I was ordering a replacement from my iPhone.

Putting Lotion on the Hurts Materials: You will need a bottle of hand lotion, preferably a bottle with a pump spout. Preparation and Instructions: This is a wonderful game to play with children after they have experienced some pain—either physical, as after a fall off a bike, or emotional, as after the death of a pet. Search the child for boo-boos—old scars or new scratches. The size or intensity of the scar or sore is not relevant. The Game: Begin the game by saying, “I am going to put some lotion on all your hurts. I see one right here. I will be very careful.” Continue looking over the child’s body for hurts. If the hurt is old, lotion can be put directly on the scar. If the hurt is new, be careful to encircle the wound with lotion. Put some lotion on one finger and apply it gently. It is important that you repeat the message, “I will take care of you. No more hurts for you,” as you apply the lotion. Sometimes the child will help you find the sores. While you are putting lotion on one sore, the child is locating the next sore. If this happens, say, “There are so many hurts, and you want me to notice them all. I will find them. I will not forget. See this one here. I am putting lotion all around it.” Sometimes a child will tell you stories of how he or she was hurt. It is important to listen to the child. Variations: A variation of this game is played with Band-Aids. You begin the game with at least two. Ask the child, “Where do these go?” The child will direct you to the spot where the Band-Aid should be placed. If it is a sore, speak to it, saying, “I am glad I found you. This Band-Aid is for you.

Tune to any band of the frequencies, Pause, play or dance, It's your choice, You are there to care; You are there to share; You are there to spare; Don't let a husband tune a tone for you, It's the only band you are not supposed to act at, Or to react, Just listen to him, And do what you should do. Be united. Be loved. Be adapted...

Nations banded together and when the Secretary of Agriculture, who found himself president through the line of succession, said that we needed to get off the planet, people listened.

Having hit on this “theory,” I began to recognize checklists in odd corners everywhere—in the hands of professional football coordinators, say, or on stage sets. 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. “David Lee Roth had a checklist!” I yelled at the radio.

But still he’d stood in the halls of the home where he’d been loathed for existing, and listened to Frisby weep for his sister, and his heart had twisted like wet washing with a childish, agonised longing for something he’d never have.

Later, I sat down drunk on the corner of Carondelet and Canal Streets, listening for the rumble of the streetcar that would take me back uptown to my apartment, watching the evening sun bleed from the streets, the city shifting into night, when it truly became New Orleans: the music, the constant festival, the smell of late evening dinners pouring out, layering the beer-soaked streets, prostitutes, clubs with DJs, rowdy gay bars, dirty strip clubs, the insane out for a walk, college students vomiting in trash cans, daiquiri bars lit up like supermarkets, washing-machine-sized mixers built into the wall spinning every color of daiquiri, lone trumpet players, grown women crying, clawing at men in suits, portrait painters, spangers (spare change beggars), gutter punks with dogs, kids tap-dancing with spinning bike wheels on their heads, the golden cowboy frozen on a milk crate, his golden gun pointed at a child in the crowd, fortune-tellers, psycho preachers, mumblers, fighters, rock-faced college boys out for a date rape, club chicks wearing silver miniskirts, horse-drawn carriages, plastic cups piling against the high curbs of Bourbon Street, jazz music pressing up against rock-and-roll cover bands, murderers, scam artists, hippies selling anything, magic shows and people on unicycles, flying cockroaches the size of pocket rockets, rats without fear, men in drag, business execs wandering drunk in packs, deciding not to tell their wives, sluts sucking dick on open balconies, cops on horseback looking down blouses, cars wading across the river of drunks on Bourbon Street, the people screaming at them, pouring drinks on the hood, putting their asses to the window, whole bars of people laughing, shot girls with test tubes of neon-colored booze, bouncers dragging skinny white boys out by their necks, college girls rubbing each other’s backs after vomiting tequila, T-shirts, drinks sold in a green two-foot tube with a small souvenir grenade in the bottom, people stumbling, tripping, falling, laughing on the sidewalk in the filth, laughing too hard to stand back up, thin rivers of piss leaking out from corners, brides with dirty dresses, men in G-strings, mangy dogs, balloon animals, camcorders, twenty-four-hour 3-4-1, free admission, amateur night, black-eyed strippers, drunk bicyclers, clouds of termites like brown mist surrounding streetlamps, ventriloquists, bikers, people sitting on mailboxes, coffee with chicory, soul singers, the shoeless, the drunks, the blissful, the ignorant, the beaten, the assholes, the cheaters, the douche bags, the comedians, the holy, the broken, the affluent, the beggars, the forgotten, and the soft spring air pregnant with every scent created by such a town.

Every night we’d go out and listen to bands play. Fort Collins had a music scene that was second to none for a town its size. Any night of the week you could find 10 or 15 bands playing. All of them were playing original music, too. No cover bands. I never understood going out to listen to music that you could hear on a CD. We mostly saw punk bands, including Suicide Fan Club, Armchair Martian, Baldo Rex, The Fairlanes, Fester, The Nobodys, Pinhead Circus, and others. Another local favorite was Where’s the Bishop, which merged punk and funk beautifully. It was such a great time.

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.

Recorded sound, which artificially preserves the unpreservable, increases the likelihood of listening without hearing, since it can be listened to at home or in motion, thus allowing us to reduce music to background activity and eliminate the possibility of total concentration - i.e., thought. The moral responsibility for this rests entirely with the individual human being, who can determine whether a recording is a means of instruction, rendering the music more familiar through repetition - the equivalent of rereading a passage in a book - or simply a means of distraction in the sense of the music played by the band in Thomas Mann’s The Magic Mountain, to which the philosopher Settembrini says, “The human being, unfortunately, has a tendency to imbue objects with moral authority, so as not to take the responsibility himself. Is a knife an instrument with which one can commit murder - therefore an immoral instrument - or is it an instrument with which bread can be cut and a fellow human being fed - therefore an instrument of human generosity? It is the human being’s application of it that determines its moral qualities.

The house at Creaky Farm had its own life to live. Loose gutters banging, boards creaking, leaks dripping. At night I would lie in my bunk listening to the kind of shit that gives no comfort. Mice rustling around. Or else the WWE of cockroach wrestling, maybe both. We knew that critter fiestas were had in the kitchen after hours because we found mouse poop all over, like they’d dropped turd trails to find their way back home. Obviously, a kitchen that’s kept like a pigsty is going to attract the wrong crowd. What did we know? We’re juveniles. Every day a fresh surprise. Many were the mornings I opened a new loaf of Wonder Bread, only to find something had tunneled through it from one end to the other. A mouse-size hole in every slice. Do you think Creaky let us throw that bread away? This man that saved every rubber band off the newspapers and called you a pussy if you didn’t eat your apple whole, the core and all? Mouse sloppy seconds, no exception. He said the toaster would kill the germs. Maybe so, because here I am telling the tale.

With the Allies on the advance nearly everywhere and invasion talk in the air, London was a welcoming place for young airmen who were taking the fight to Hitler’s doorstep. The first stop for American airmen was usually the nearest Red Cross Club, where helpful volunteers made bookings free of charge at commercial hotels or at one of the Red Cross’s own dormitory-like facilities. After checking in and dropping off their kits, most men headed straight for Rainbow Corner. Located on the corner of Shaftesbury Avenue and Piccadilly Circus, it was a place as close to home as a GI could find in all of England. Administered by the American Red Cross, Rainbow Corner had been designed “to create a strictly American atmosphere.” There was an exact replica of a small-town corner drugstore in the club’s basement, where ice-cold Cokes were sold for a nickel and grilled hamburgers for a dime. Upstairs, in the grand ballroom, servicemen danced with volunteer hostesses to the driving music of soldier bands—the Flying Forts, the Thunderbolts, the Sky Blazers. There was also a lounge with a jukebox and a small dance floor with tables and chairs around it. Lonely GIs dunking donuts in fresh coffee would loaf there, listening to the latest American hits. Rainbow Corner never closed its doors. The key had been symbolically thrown away the day of the grand opening in November 1942.

the vindictive Magua was searching for his victim in the very band the veteran had just quitted. “Father — father — we are here!” shrieked Alice, as he passed, at no great distance, without appearing to heed them. “Come to us, father, or we die!” The cry was repeated, and in terms and tones that might have melted a heart of stone, but it was unanswered. Once, indeed, the old man appeared to catch the sounds, for he paused and listened; but Alice had dropped senseless on the earth, and Cora had sunk at her side, hovering in untiring tenderness over her lifeless form. Munro shook his head in disappointment, and proceeded, bent on the high duty of his station.

There was one idea that might have turned out pretty interesting. Hunter S. Thompson had written a book called Songs of the Doomed, and in the first few pages he mentions sitting around and listening to something off The Caution Horses, then he mentions the band later on in there, too. He's always been one of our favourite wackos, so we decided to call him up and see if we could maybe work on something together. It took a while to get him on the phone, because he'd wake up at midnight, stay up all night, drinking and watching sports, then sleep through the day. But we ended up having a bunch of weird phone conversations with him. His idea was we'd go to his ranch out in Colorado, get a camera crew, no script and 'just go crazy, man!' That didn't really fit what we had in mind; we wanted a little more structure than that. Going crazy isn't what we do. But he wasn't into that, at all. He didnt want to write anything, he just wanted this wacked-out thing. Eventually he got really pissed off for some reason. He sent us a fax, saying 'If you guys show up here, you're going home in body bags!' What did we do to piss him off that much?

The theme of music making the dancer dance turns up everywhere in Astaire’s work. It is his most fundamental creative impulse. Following this theme also helps connect Astaire to trends in popular music and jazz, highlighting his desire to meet the changing tastes of his audience. His comic partner dance with Marjorie Reynolds to the Irving Berlin song “I Can’t Tell a Lie” in Holiday Inn (1942) provides a revealing example. Performed in eighteenth-century costumes and wigs for a Washington’s birthday–themed floor show, the dance is built around abrupt musical shifts between the light classical sound of flute, strings, and harpsichord and four contrasting popular music styles played on the soundtrack by Bob Crosby and His Orchestra, a popular dance band. Moderate swing, a bluesy trumpet shuffle, hot flag-waving swing, and the Conga take turns interrupting what would have been a graceful, if effete, gavotte. The script supervisor heard these contrasts on the set during filming to playback. In her notes, she used commonplace musical terms to describe the action: “going through routine to La Conga music, then music changing back and forth from minuet to jazz—cutting as he holds her hand and she whirls doing minuet.”13 Astaire and Reynolds play professional dancers who are expected to respond correctly and instantaneously to the musical cues being given by the band. In an era when variety was a hallmark of popular music, different dance rhythms and tempos cued different dances. Competency on the dance floor meant a working knowledge of different dance styles and the ability to match these moves to the shifting musical program of the bands that played in ballrooms large and small. The constant stylistic shifts in “I Can’t Tell a Lie” are all to the popular music point. The joke isn’t only that the classical-sounding music that matches the couple’s costumes keeps being interrupted by pop sounds; it’s that the interruptions reference real varieties of popular music heard everywhere outside the movie theaters where Holiday Inn first played to capacity audiences. The routine runs through a veritable catalog of popular dance music circa 1942. The brief bit of Conga was a particularly poignant joke at the time. A huge hit in the late 1930s, the Conga during the war became an invitation to controlled mayhem, a crazy release of energy in a time of crisis when the dance floor was an important place of escape. A regular feature at servicemen’s canteens, the Conga was an old novelty dance everybody knew, so its intrusion into “I Can’t Tell a Lie” can perhaps be imagined as something like hearing the mid-1990s hit “Macarena” after the 2001 terrorist attacks—old party music echoing from a less complicated time.14 If today we miss these finer points, in 1942 audiences—who flocked to this movie—certainly got them all. “I Can’t Tell a Lie” was funnier then, and for specifically musical reasons that had everything to do with the larger world of popular music and dance. As subsequent chapters will demonstrate, many such musical jokes or references can be recovered by listening to Astaire’s films in the context of the popular music marketplace.

Ian Stanley: “We got a Prophet-5 in ’84, for the band, you know, me and Roland Orzabal. And the big story is that, you know, when you first buy a keyboard or you try it out in the shop or whatever it is, it can either inspire you or not. Pretty immediately, you’d either go, this is great, or not. And I think we bought the Prophet-5, we ordered it, and Roland took it back to his house and the next day he phoned me up and said, ‘Come and listen to this.’ So I went down to his house and he played me ‘Shout’, the bass line, which is the drone all the way through the song, and the middle bit, which was all Prophet-5. So he just had a drum machine and the Prophet-5. You know, that was a major turning point in our career. Because ‘Shout’ went on to become number one in 20-odd countries. These things, you get inspired by the sound of it, and it was purely this bass-note drone that created the whole song.

Or so we felt as we listened to the band play and sing, the heat spreading through us like sun through the orchard in early spring, giving life to everything it touched, every seed, every bud, every blossom.

At exactly 8:45 P.M., George Alagna tuned the receiver in the radio shack to the six-hundred-meter frequency, the distress wave band for ships at sea. The mandatory three-minute period of silent “listening out” is an international watch kept by all ships at sea. For three minutes at precisely fifteen minutes past and fifteen minutes before each hour, every marine radio operator on duty stops transmitting and tunes to the emergency channel, listening for even the weakest distress signal. Junior Operator George Maki watched carefully as Alagna fine-tuned the instruments. Maki himself sometimes found it difficult to locate the frequency; on several occasions Chief Radio Officer Rogers had noticed Maki’s hesitation, and he used each occasion to give Maki a tongue-lashing. Ever since Rogers had assumed command of the wireless room, his hostility toward Maki had increased. The chief radio officer made special note of each of Maki’s faults: he was slow on direction finding, decoding meteorological bulletins, and switching smoothly across the transmitting and receiving wave bands. Maki knew his career as a radioman would be terminated abruptly if Rogers made a report to the Radiomarine Corporation. Rogers chose not to file any official complaint; instead, he kept Maki on as a personal whipping boy, somebody he could verbally castigate whenever he wanted to.

A Few Good Hearts" I've walked through crowds, been part of the scene, But the shallow waters never felt that keen, I don't need the world to hold my hand, Just a few good hearts who understand. 'Cause I don't need everybody in my life, Just a few who stand by me through strife, Those who see the real me, not just the brand, A few good hearts who truly understand. It's not about numbers, it's about ties, The ones who listen to the unspoken cries, They're the melody in my life's band, The few good hearts who truly understand. In the quiet moments, in the roaring tide, They're the ones always by my side, With them, every moment is grand, Those few good hearts who truly understand. I don't need a crowd to make my day, Just those who know me in every way, They're my chosen, my trusted clan, A few good hearts who truly understand. So here's to the ones who are part of my story, They're the ones who share in my glory, In this life's journey, they're my stand, The few good hearts who truly understand.

With the last window firmly shut, she switched on the air-con and put on her favourite album – Keane’s Hopes and Fears. The album was released back in 2004, but she had only discovered the British band last year. It was love at first listen. Since then, she put it on almost every day. The languid and dreamy voice filled the air as a new day at Hyunam-dong Bookshop began.

One memorable offstage incident was reported in detail by Tork to writer Dave Zimmer: “We were in this hotel room. Jimi and Stephen (Stills) were sitting on these beds facing each other, just flailing away on acoustic guitars. In between ’em was Micky Dolenz, slapping his guitar like, ‘slap, whacka, slap, whacka, slap.’ And all of a sudden Micky quit. Then Stephen and Jimi stopped and Stephen said to Micky, ‘Why’d you stop playing? Micky said, ‘I didn’t know you were listening.’ So there’s one for ya—Hendrix, Stills, and Dolenz.

He’d been anticipating this talk since he’d spent four months with the Illyrians, soothing the jagged edges amongst the war-bands, making sure the families who’d lost fathers and sons and brothers and husbands were taken care of, that they knew he was there to help and to listen, and generally making it very fucking clear that if they rose up against Rhys, there would be hell to pay.

Think, again, of the sheer amount of human organization required for the American Society for Testing and Materials to produce directive D3462-87 (“Asphalt Shingles Made from Glass Felt and Surfaced with Mineral Granules”) and then to enforce its mandates. We could, clearly, repeat this exercise for everything you see around you, and everything you hear, and everything you smell—all the infinitely more interesting activities always under way beneath all those roofs. As I write, for instance, I’m listening to Orchestra Baobab on Spotify. It was the house band at a Dakar nightclub in the 1970s, where its music reflected the Cuban beats that came with sailors to West Africa in the 1940s; eventually the group recorded its best album at a Paris studio, and now it somehow resides on a computer server where 196,847 people from across the planet listen to it each month.

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I’d been a devoted fan of his band, Banks Forest, and spent hours every day in my bedroom, high on ditz and hormones, listening to their music.

He was vegan, animal rights activists, environmentalists who believe in conscious and compassionate living just like me. He listened to almost every bands that i listen to and more importantly he reads books. He was the person that i could talk to about almost everything that exists in this planet. He was just so close to perfection. Only thing that was missing out was long hair and beard. If only had he had hair and beard. The kind which makes guys look cool and hot at the same time. How can people look cool and hot the same time? what the fuck is wrong with me?

Movies, music, TV, images and even food have become perfected to such an extent that it’s hard to even remember the way things used to be. We look at computers more than we look at the outside world. It may be true in some sense that movies and TV are more entertaining now, although I don’t personally think so. Magazines think they need to Photoshop their images to keep selling copies. There is no defense for artificial food whatsoever, and the problem with artificial music is that the public doesn’t realize that what they’re listening to is not real. It’s not human. The use of live instruments in recordings and in live “concerts” is so rare now that young people (especially in the United States) don’t have hardly any idea whatsoever about how to dance to live music of any sort. They don’t hear human salsa bands, string quartets, jazz bands, funk bands, rock bands or solo instrumentalists anymore. We have enough DJs. We need more high-level live music. There

Hey, listen,’ said Bob, ‘have a great trip. But just be careful around old folks like us – we’re the biggest carriers of Aids in America.’ ‘Yeah, Band-Aids, hearing aids and walking aids,’ said Rich. I

Try describing a few of the most wildly successful pop albums of the twentieth century without mentioning the artist and title. A concept rock album about a fictional Edwardian military band, featuring musical styles borrowed from Indian classical music, vaudeville, and musique concrete, its sleeve design including images of Karl Marx, Oscar Wilde, Marilyn Monroe, Carl Gustav Jung, Sir Robert Peel, Marlene Dietrich, and Aleister Crowley? That’s Sgt. Pepper’s Lonely Hearts Club Band by The Beatles, one of the biggest selling records of all time. How about a record exploring the perception of time, mental illness, and alterity? Pink Floyd’s The Dark Side of the Moon, which has to date sold around 45 million copies worldwide. Ask any of those 45 million who bought a copy of The Dark Side of the Moon if they thought themselves pretentious for listening to an album described by one of the band members as “an expression of political, philosophical, humanitarian empathy,” and the answer would almost certainly be no.

Sometimes I saw what Espen and I did through Yngve’s eyes, then we were transformed into two nerds sitting alone and reading aloud and playing chess and listening to jazz, as far from the social, sociable world of bands and girls and nights out as it was possible to be. Yngve saw that it wasn’t me, and I carried that view with me, I was the guy in the street who liked football and pop music, what was I doing with all this modernist elitist literature? However, it worked the other way too because what Yngve said didn’t always sound so convincing in my ears any more, but this was such a painful thought that I suppressed it the instant it appeared.

Do we know that it is a form of madness to watch our sons and daughters fight in the name of nationalism and defense? And how dare we use music to glorify such madness? Music is sacred. And to have a band procession salute the flag and soldiers is preposterous. It is as insane as watching someone getting raped on television while listening to Beethoven’s Symphony Number 9!" Nejoud Al-Yagout

Another disproportionately fascinating symbol is the Singing Commercial. Singing Commercials are a recent invention; but the Singing Theological and the Singing Devotional -- the hymn and the psalm -- are as old as religion itself. Singing Militaries, or marching songs, are coeval with war, and Singing Patriotics, the precursors of our national anthems, were doubtless used to promote group solidarity, to emphasize the dis­tinction between "us" and "them," by the wandering bands of paleolithic hunters and food gatherers. To most people music is intrinsically attractive. Moreover, melodies tend to ingrain themselves in the listener's mind. A tune will haunt the memory during the whole of a lifetime. Here, for example, is a quite uninterest­ing statement or value judgment. As it stands nobody will pay attention to it. But now set the words to a catchy and easily remembered tune. Immediately they become words of power. Moreover, the words will tend automatically to repeat themselves every time the mel­ody is heard or spontaneously remembered. Orpheus has entered into an alliance with Pavlov -- the power of sound with the conditioned reflex. For the commercial propagandist, as for his colleagues in the fields of poli­tics and religion, music possesses yet another advan­tage. Nonsense which it would be shameful for a rea­sonable being to write, speak or hear spoken can be sung or listened to by that same rational being with pleasure and even with a kind of intellectual convic­tion. Can we learn to separate the pleasure of singing or of listening to song from the all too human tend­ency to believe in the propaganda which the song is putting over? That again is the question.

WGHB started as a Clearwater, Florida radio station in 1925. By 1927, its call letters changed to WFLA and it moved to 590 AM. WFLA inaugurated its broadcasting in the Tampa area on February 14, 1955. During those early years WFLA had had several music formats including middle-of-the-road and adult contemporary music before switching to news/talk in 1986. The most popular music you heard in the Tampa Bay Area was referred to as “good music” by the retirees and although big bands were at their zenith during and right after World War II, by 1947 most music critics knew that their time had passed. Although, Benny Goodman was only 46 in 1955, Tommy Dorsey was 49 and Count Basie was 51, in many quarters they were still popular and perhaps their music always will be. I for one had my Hi-Fidelity 33 1/3 rpm multi stacked record player and a stash of vinyl long play recordings shipped to West Africa. For me time stood still as I listened and entertained my friends. Some years later I actually met Harry James at the Crystal Ballroom in Disneyland. Wow, those were the days….

Larry Page probably never listened to early Louis Armstrong records, in which the notion of time is reinvented. Armstrong threw away the classical meanings of time, which he had learned in the marching bands of New Orleans, and replaced it with a slippery push-pull syncopation that would come to define the idea of swing. Perhaps we can get a small insight from this into the culture clash between the nerds and the artists. The time clock in a computer is unforgiving, but a great musician often plays behind the beat.

It was to be the longest flight I had ever made in my young life and one of the most interesting. Having always been interested in the magic of aviation I knew that the DC-6B, I boarded was an approximately 75 seat, trans-ocean, Pan Am Clipper. It would also be the last long distance propeller driven commercial airliner. The only difference between it and the DC-6A was that it didn’t have a large cargo door in its side, and it was also approximately 5 feet longer than the DC-6A. 1955 was a good year and people felt relatively safe with Dwight D. Eisenhower in the White House. “I like Ike” had been his political motto since before he assumed office on January 20, 1953, even many Democrats held him in high esteem for his military service and winning the war in Europe. Eisenhower obtained a truce in Korea and worked diligently trying to ease the tensions of the Cold War. He did however fail to win over Georgy Malenkov, or Nikolai Bulganin who succeeded him, as Premier of the Soviet Union in February of 1955. As a moderate Conservative he left America, as the strongest and most productive nation in the world, but unfortunately because of his lack of diplomacy and love of golf, failed to prevent Cuba from slipping into the communist camp. WFLA inaugurated its broadcasting in the Tampa Bay area on February 14, 1955. The most popular music was referred to as good music, and although big bands were at their zenith in 1942, by 1947 and music critics will tell you that their time had passed. However, Benny Goodman was only 46 in 1955, Tommy Dorsey was 49 and Count Basie was 51. So, in many sheltered quarters they were still in vogue and perhaps always will be. I for one had my Hi-Fidelity 33 1/3 rpm multi stacked record player and a stash of vinyl long play recordings shipped to Africa. For me time stood still as I listened and entertained my friends. Some years later I met Harry James at the Crystal Ballroom in Disneyland. Those were the days…. Big on the scene was “Rhythm in Blues,” an offshoot of widespread African-American music, that had its beginnings in the ‘40s. It would soon become the window that Rock and Roll would come crashing through.

Listen, I was wanting to ask you a couple of things. Like about your daddy. What do you know about your daddy?” She turned back to the stove again, very busy, very intent on her imaginary project. “He has a big plane,” she said without looking at him. “He’s bery important with a big plane.” “Is that so?” She nodded. “I have news for you, Rose. It turns out I’m your daddy. How about that?” She looked over her shoulder at him. She didn’t look terribly impressed. “Where’s the plane?” Sean’s hearing was exceptional, despite the roar of jet engines for the past ten years and the blasting of rock bands in the O Club on top of that. He heard a muffled giggle he recognized as Rosie’s mother. The sneak. He leaned over to peek out the bedroom door, but he didn’t see her. “At Beale Air Force Base. That’s where the plane is kept when it’s not flying. Would you like to see it sometime?” Rosie nodded so vigorously her curls bounced and her tiara slid farther to one side. “Can I go for a wide in it?” “That’s not allowed, I’m afraid. You can go inside with me while it’s parked on the ground.” “My mommy goes in the helifropter.” “You mean helicopter?” he asked. Again she bobbed enthusiastically. “Uh-huh. Helifropter.” “She mentioned that.

Nathalie dropped into a crouch and fastened braces around her ankles, binding the soles of her feet with the broad bands of fabric holding the strange little knobs and springs and magnets (at least Inez thought they must be magnets). Each time a brace was clicked into place, a tiny green light on the clasp glinted. Inez cleared her throat, uncertain that Nathalie was even listening. “Perhaps you could ask after her and then message me which dome she’s in?” Nathalie

It was as if an invisible band started playing the sound track to a new life. I heard you. I wondered if this was how May felt when she was in high school. It must have been because it was her music. All the songs we'd listened to together, playing at once. The world she'd disappeared into was here. I looked up from my blush, away from Sky, whose eyes were still on me, and turned to Natalie and Hannah. I laughed out loud, full of the secret someone I could become. Hello, hello, hello.

It was as if an invisble band started playing the sound track to a new life. I heard you. I wondered if this was how May felt when she was in high school. It must have been because it was her music. All the songs we'd listened to together, playing at once. The world she'd disappeared into was here. I looked up from my blush, away from Sky, whose eyes were still on me, and turned to Natalie and Hannah. I laughed out loud, full of the secret someone I could become. Hello, hello, hello.

Watching Nicholson talking Towne was like listening to Bob Dylan playing with the Band.

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

Although these were easily the darkest days in Alfred’s life, they also were to become the most famous. The stories of his persevering against the Vikings transformed King Alfred into Alfred the Great. The story falls into a category that the modern ear can easily recognize and appreciate. From the legends of Robin Hood hiding out with his band of merry men in Sherwood Forest to the tales of men fighting in the underground French resistance during World War II, the modern listener has been well trained to be moved by the courageous nobility of continuing a campaign of resistance long after being driven into hiding. The seeming despair of a life of defiant resistance, while being hunted in one’s homeland, captures the imagination and takes on a romantic hue. But this was not a category of story that the Anglo-Saxon ear was accustomed to hearing. To his contemporaries, Alfred’s plight was an unqualified tragedy, utterly devoid of romanticism

It was decaffeinated jazz he sent to WJZ via Western Union lines from the Hotel Pennsylvania. A distant echo of New Orleans, yet it spoke to listeners.” The ’20s style was lively, rich with saxophone and violin and well-sprinkled with novelty tunes. Lopez was instantly identified by his theme, Nola, given a dexterous workout on the Lopez keyboard. Whiteman had Gershwin: his Rhapsody in Blue concert at Aeolian Hall on Feb. 12, 1924, established his reputation. And though Whiteman was slow to find his way into radio, he was a major force in band music of the ’20s. George Olsen was a master of popular music: his 1925 recording Who was a bestseller, followed by such period hits as The Varsity Drag, Because My Baby Don’t Mean Maybe Now, and Doin’ the Raccoon, a testament to the national passion for fur coats.

The leaders, drummer Carleton Coon and pianist Joe Sanders, had met in a music store and formed their group in 1918. They sang duets through megaphones: hot, roaring numbers, and Sanders’s bubbly greeting—“Howdja do, howdja do, you big ole raddio pooblic”—gave further evidence of the unstilting of America. The nation charged into the new era with music that had never been heard outside small bistros and smoky Harlem speakeasies. Radio was bringing these locations into thousands of homes, making such obscure regional groups as the Coon-Sanders Nighthawks national celebrities. Listeners with crystal sets were picking up WDAF from afar, and interest in the band spread well beyond the Midwest. Coon-Sanders took on road engagements: they were among the first bands to do one-night stands, engagements that were soon engrained in big band life.

My newfound listening skill was one most other musicians neglected. It wasn't that they couldn't listen as well as I could; they just didn't. I noticed that most musicians seemed to reserve their ears for themselves rather than open up their ears to the rest of the band. I found that when I listened to the other musicians more than I listened to myself, I played better.

Experimentation also proved serendipitous for Greg Koch and Steve Wagner, when they were putting together the Stone Brewing Co. in Escondido, California, north of San Diego. It was destined to become one of the most successful brewing startups of the 1990s. In The Craft of Stone Brewing Co. Koch and Wagner confess that the home-brewed ale that became Arrogant Bastard Ale and propelled Stone to fame in the craft brewing world, started with a mistake. Greg Koch recalls that Wagner exclaimed “Aw, hell!” as he brewed an ale on his brand spanking new home-brewing system. “I miscalculated and added the ingredients in the wrong percentages,” he told Koch. “And not just a little. There’s a lot of extra malt and hops in there.” Koch recalls suggesting they dump it, but Wagner decided to let it ferment and see what it tasted like. Greg Koch and Steve Wagner, founders of Stone Brewery. Photograph © Stone Brewing Co. They both loved the resulting hops bomb, but they didn’t know what to do with it. Koch was sure that nobody was “going to be able to handle it. I mean, we both loved it, but it was unlike anything else that was out there. We weren’t sure what we were going to do with it, but we knew we had to do something with it somewhere down the road.”20 Koch said the beer literally introduced itself as Arrogant Bastard Ale. It seemed ironic to me that a beer from southern California, the world of laid back surfers, should produce an ale with a name that many would identify with New York City. But such are the ironies of the craft brewing revolution. Arrogant Bastard was relegated to the closet for the first year of Stone Brewing Co.’s existence. The founders figured their more commercial brew would be Stone Pale Ale, but its first-year sales figures were not strong, and the company’s board of directors decided to release Arrogant Bastard. “They thought it would help us have more of a billboard effect; with more Stone bottles next to each other on a retail shelf, they become that much more visible, and it sends a message that we’re a respected, established brewery with a diverse range of beers,” Wagner writes. Once they decided to release the Arrogant Bastard, they decided to go all out. The copy on the back label of Arrogant Bastard has become famous in the beer world: Arrogant Bastard Ale Ar-ro-gance (ar’ogans) n. The act or quality of being arrogant; haughty; Undue assumption; overbearing conceit. This is an aggressive ale. You probably won’t like it. It is quite doubtful that you have the taste or sophistication to be able to appreciate an ale of this quality and depth. We would suggest that you stick to safer and more familiar territory—maybe something with a multi-million dollar ad campaign aimed at convincing you it’s made in a little brewery, or one that implies that their tasteless fizzy yellow beverage will give you more sex appeal. The label continues along these lines for a couple of hundred words. Some call it a brilliant piece of reverse psychology. But Koch insists he was just listening to the beer that had emerged from a mistake in Wagner’s kitchen. In addition to innovative beers and marketing, Koch and Wagner have also made their San Diego brewery a tourist destination, with the Stone Brewing Bistro & Gardens, with plans to add a hotel to the Stone empire.

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. Yet whenever they came on the radio, almost no one changed the station.

The freak show was about to begin. Spotlights flooded the musicians powered by solar panels near a massive amplifier. The guitarist continued playing and the others joined in, playing a raucous crossover between hard rock and heavy metal. The one with long blond hair grabbed hold of the microphone and belted out a shattering cry that sounded like a call to battle. The crowd went pin drop silent to listen and then cheered in unison as the band played on. The front man sang piercing growls and low croons about the Knights in Stone, the protectors of the ancient forests, battling against the evil tree witches... Kayla's coven.

Human cultural supremacy over the surface of the earth is recent and not quite complete. If we could have listened at lower frequencies, below the limits of the human ear, we would have heard rumbles and groans of other whales—the finback and the blue—their songs competing in the lowest frequency bands with the recent sound of ships. Could these be other nonhuman cultures?

She presses play and Andrea listens to the song. A guitar starts playing, then another and then drums; it’s an unusual sound; it seems like rock music but is strange, somewhat gothic and punk. It’s a melodic song, though, and his foot taps the beat without him realizing. A man’s voice, full of sadness, sings the first words:   "When routine bites hard And ambitions are low And resentment rides high But emotions won’t grow And we're changing our ways Taking different roads..."   Andrea knows it! He hears the song arrive from his distant past with a suitcase full of memories. He sees himself as a child, sitting in the living room, his little legs dangling from a chair. His father has just received a new CD from abroad and couldn’t wait to receive it so Gina the caretaker has sent it on to him in Clusone. He’s really excited and tells mom all about it. She’s happy too. Barbara has pigtails and is eating a piece of focaccia with olives, sticking her fingers inside to take them out one by one. She’s tiny, five years old or maybe younger. Andrea sees the CD on the table and wonders what is so special about it. There's a very pale guy on the front, with dark hair and a strange fringe. His mouth is right up to the microphone and everything else is black. It’s written in a language that he can’t read, though he knows that it’s English. His parents are so happy that he decides to take it and have a listen. He snatches the disc and CD player and runs off. He runs very fast...   "Then love, love will tear us apart again" sings Ian Curtis, the voice of Joy Division, his parents’ favorite band. It’s a compilation that came out in 2000, containing a special song, "Love will tear us apart again." Andrea runs to a little girl that he loves very much. He has fun all day long with her in the mountains. He runs to his inseparable friend, his dear... "Susy!" he exclaims, eyes open wide. She smiles and nods. He

Really, really dead,” said the guard. And, “I think I shot him, too.” “You did,” Lucas said. “I think you hit him in the butt—that stopped him. Hell of a shot.” Greer had broken into a heavy sweat, looked like he might faint: “How many guys did he hurt?” Lucas said, “Three. At least three. All cops . . . man, you did so good. Listen, we . . .” He was suddenly aware of the distant sound of a band playing “Happy Days Are Here Again,” and said, “Is that the march? Are they marching?

As for the scenes we shared in the Piazza Unita that day in 1897, I can hear the music still, but all the rest is phantom. The last passenger liner sailed long ago. The schooners, steamboats and barges have disappeared. No tram has crossed the piazza for years. The Caffe Flora changed its name to Nazionale when the opportunity arose, and is now defunct. The Governor's Palace is now only the Palace of the Prefect and the Lloyd Austriaco headquarters, having metamorphosed into Lloyd Triestino when the Austrians left, are now government offices: wistfully the marble tritons blow their their horns, regretfully Neptune and Mercury linger upon their entablatures. Those silken and epauletted passengers, with all they represented, have vanished from the face of Europe, and I am left all alone listening to the band.

wrenching a shoe away from my foot. Another begins to tug at my underwear. This can’t be real. This must be a nightmare. My mind is white with fear. “Help! Don’t! Please! You’re hurting me!” I plead, but they don’t listen. Where is Jonah? I need Jonah! A gruff voice barks, “Put her on the table.” I screech in protest, “LET ME GO!” My futile demand, just like my cry for mercy, falls on deaf ears. “JONAH!” Four of the men band together and lift me into the air by my wrists and ankles. “You there! Maid! Clear some space!” Mariele looks on, frozen to the spot, her face a wide-eyed mask of shock and horror. “Are you deaf? Make some room!” The man with the walrus face is grabbing platters of food and shoving them into Mariele’s arms. I’m slammed onto the table and I cry out in pain. “MARIELE!” I struggle to get free, but they’re far too strong.

After I paid my admission fee, I saw that the reptile enclosures were kept perfectly clean--the snakes glistened. I kept rescued animals myself at home. I knew zoos, and I knew the variety of nightmares they can fall into. But I saw not a sign of external parasites on these animals, no old food rotting in the cages, no feces or shed skin left unattended. So I enjoyed myself. I toured around, learned about the snakes, and fed the kangaroos. It was a brilliant, sunlit day. “There will be a show at the crocodile enclosures in five minutes,” a voice announced on the PA system. “Five minutes.” That sounded good to me. I noticed the crocodiles before I noticed the man. There was a whole line of crocodilians: alligators, freshwater crocodiles, and one big saltie. Amazing, modern-day dinosaurs. I didn’t know much about them, but I knew that they had existed unchanged for millions of years. They were a message from our past, from the dawn of time, among the most ancient creatures on the planet. Then I saw the man. A tall, solid twentysomething (he appeared younger than he was, and had actually turned twenty-nine that February), dressed in a khaki shirt and shorts, barefoot, with blond flyaway hair underneath a big Akubra hat and a black-banded wristwatch on his left wrist. Even though he was big and muscular, there was something kind and approachable about him too. I stood among the fifteen or twenty other park visitors and listened to him talk. “They can live as long as or even longer than us,” he said, walking casually past the big saltwater croc’s pond. “They can hold their breath underwater for hours.” He approached the water’s edge with a piece of meat. The crocodile lunged out of the water and snapped the meat from his hand. “This male croc is territorial,” he explained, “and females become really aggressive when they lay eggs in a nest.” He knelt beside the croc that had just tried to nail him. “Crocodiles are such good mothers.” Every inch of this man, every movement and word exuded his passion for the crocodilians he passed among. I couldn’t help but notice that he never tried to big-note himself. He was there to make sure his audience admired the crocs, not himself. I recognized his passion, because I felt some of it myself. I spoke the same way about cougars as this Australian zookeeper spoke about crocs. When I heard there would be a special guided tour of the Crocodile Environmental Park, I was first in line for a ticket. I had to hear more. This man was on fire with enthusiasm, and I felt I really connected with him, like I was meeting a kindred spirit. What was the young zookeeper’s name? Irwin. Steve Irwin.

inquiries. You will feel it in the music and cherish it as the most magical part of the jazz idiom. If you don’t, you can always leave the jazz club and check out a rock or pop covers band. That’s perfect entertainment for people who want to live in the realm of perfect replication. Jazz, in

That leaves the category of pasture-raised chickens. It seems they’re living the poultry dream—and, according to Jason, we could be, too. I nod as I take another swallow of beer. I don’t say that it sounds like an enormous amount of work or that we live in arguably one of the harshest climates in the continental United States. Nor do I point out that having spent our entire careers jockeying keyboards to make a living, we are not farmers. So while I don’t exactly tune him out, I become a passive listener. A very passive listener. Poultry isn’t exactly the foreplay talk I was hoping for, so instead I just enjoy the rhythm and cadence of his voice. I hear something about pastured hens for- aging on fresh grasses producing healthier, delicious eggs with less fat and cholesterol, something about the local food movement and its ability to remake America’s food system. I signal the server for a second beer and let it all wash over me with an occasional nod until an utterly un-ignorable statement pulls me out. “This is the kind of farm I want to start.” Now I’m listening. In fact, I’m listening so hard I realize that this particular corner of the restaurant is a convergence point for the piped-in music from two separate rooms, and they’re competing against each other like dueling mariachi bands.

We have extremely different tastes in music. He likes Radiohead, and the kind of whiney hipster music that I don’t think Republicans are even allowed to listen to. And if we dare like it even a little, the band will be really insulted that any Republican is a fan and issue a statement that said Republican needs to stop listening and or using their music immediately.

The time has come for women and men to band together to jointly create gender harmony. We must gather in mixed group to plumb new depths of relational awareness, courageous truth-telling, compassionate listening, empathic sensitivity, and mutual healing.