Music Connects People Quotes

He took his pain and turned it into something beautiful. Into something that people connect to. And that's what good music does. It speaks to you. It changes you.

Most people write me off when they see me. They do not know my story. They say I am just an African. They judge me before they get to know me. What they do not know is The pride I have in the blood that runs through my veins; The pride I have in my rich culture and the history of my people; The pride I have in my strong family ties and the deep connection to my community; The pride I have in the African music, African art, and African dance; The pride I have in my name and the meaning behind it. Just as my name has meaning, I too will live my life with meaning. So you think I am nothing? Don’t worry about what I am now, For what I will be, I am gradually becoming. I will raise my head high wherever I go Because of my African pride, And nobody will take that away from me.

So I forced myself to step out of my comfort zone and go out and connect with people. I realised that no one knew me here. I could become whoever I wanted to be for these people, and that became my courage.

No matter who we are, no matter what our circumstances, our feelings and emotions are universal. And music has always been a great way to make people aware of that connection. It can help you open up a part of yourself and express feelings you didn't know you were feeling. It's risky to let that happen. But it's a risk you have to take-because only then will you find you're not alone.

Music may be the activity that prepared our pre-human ancestors for speech communication and for the very cognitive, representational flexibility necessary to become humans.

I’ve come to think that flourishing consists of putting yourself in situations in which you lose self-consciousness and become fused with other people, experiences, or tasks. It happens sometimes when you are lost in a hard challenge, or when an artist or a craftsman becomes one with the brush or the tool. It happens sometimes while you’re playing sports, or listening to music or lost in a story, or to some people when they feel enveloped by God’s love. And it happens most when we connect with other people. I’ve come to think that happiness isn’t really produced by conscious accomplishments. Happiness is a measure of how thickly the unconscious parts of our minds are intertwined with other people and with activities. Happiness is determined by how much information and affection flows through us covertly every day and year.

It's the best kind of devastating there is. He took his pain and he turned it into something beautiful. Into something that people connect to. And that's what good music does. It speaks to you. It changes you. What I'm trying to say is, it's just nice, I guess, knowing that someone else can put into words what I feel. That there are people who have been through things worse than I have, and they came out on the other side okay. Not only that, but they have made some kind of twisted, effed up sense of the completely senseless. They made it mean something. These songs tell me I'm not alone. If you look at it that way, music...music can see you through anything.

With our music, and music that we popularize, we try to reach out and remind people that, when taken out of the hands of a parasite, music is still a great lead into a democratic atmosphere of chaos, where moments of great freedom and where great friends could be found. And that in the world of rapidly dissolving authentic cultures, soul-searching through the music is something that connects you with the most authentic thing there - your savage heart.

That's one of the greatest things about music. You can sing a song to 85,000 people and they'll sing it back for 85,000 different reasons.

Music is about more than connecting notes. It connects people!

There is genuine Hip Hop; a message that connects, rocks a crowd, and motivates a people and then there is what is left... instead of Hip Hop we have Hip replacement.

When people sing together, community is created. Together we rejoice, we celebrate, we mourn and we comfort each other. Through music, we reach each other’s hearts and souls. Music allows us to find a connection. - Peter Yarrow

I live in nature where everything is connected, circular. The seasons are circular. The planet is circular, and so is the planet around the sun. The course of water over the earth is circular coming down from the sky and circulating through the world to spread life and then evaporating up again. I live in a circular teepee and build my fire in a circle. The life cycles of plants and animals are circular. I live outside where I can see this. The ancient people understood that our world is a circle, but we modern people have lost site of that. I don’t live inside buildings because buildings are dead places where nothing grows, where water doesn’t flow, and where life stops. I don’t want to live in a dead place. People say that I don’t live in a real world, but it’s modern Americans who live in a fake world, because they have stepped outside the natural circle of life. Do people live in circles today? No. They live in boxes. They wake up every morning in a box of their bedrooms because a box next to them started making beeping noises to tell them it was time to get up. They eat their breakfast out of a box and then they throw that box away into another box. Then they leave the box where they live and get into another box with wheels and drive to work, which is just another big box broken into little cubicle boxes where a bunch of people spend their days sitting and staring at the computer boxes in front of them. When the day is over, everyone gets into the box with wheels again and goes home to the house boxes and spends the evening staring at the television boxes for entertainment. They get their music from a box, they get their food from a box, they keep their clothing in a box, they live their lives in a box. Break out of the box! This not the way humanity lived for thousands of years.

When people touch, they no longer feel like strangers. It’s a feeling. When humans share feelings, they connect on an intimate level. It’s why I love music. It can go deeper than words. Rhythm is the heartbeat of your soul.

Many people don’t realize the connection between music and literature and I’m here to tell them that it does exist!

I would ask the reader to pause for a moment and ponder the statistics. Statistics are mere numbers; they need to be translated into human experience. What would a 90 percent mortality rate mean to the survivors and their society? The Black Death in Europe at its worst carried off 30 to 60 percent of the population. That was devastating enough. But the mortality rate wasn’t high enough to destroy European civilization. A 90 percent mortality rate is high enough: It does not just kill people; it annihilates societies; it destroys languages, religions, histories, and cultures. It chokes off the transmission of knowledge from one generation to the next. The survivors are deprived of that vital human connection to their past; they are robbed of their stories, their music and dance, their spiritual practices and beliefs—they are stripped of their very identity.

I mean, when you really think about it music is a great uniter. An incredible force. Something that people who differ on everything else can have in common. Plus there's the face that music is a total constant. That's why we have such a strong visceral connection to it, you know? Because a song can taking you back instantly to a moment, or a place, or even a person. No matter what else has changed in you or the world, that one song stays the same, just like that moment.

A lot of habitually creative people have preparation rituals linked to the setting in which they choose to start their day. By putting themselves into that environment, they start their creative day. The composer Igor Stravinsky did the same thing every morning when he entered his studio to work: He sat at the piano and played a Bach fugue. Perhaps he needed the ritual to feel like a musician, or the playing somehow connected him to musical notes, his vocabulary. Perhaps he was honoring his hero, Bach, and seeking his blessing for the day. Perhaps it was nothing more than a simple method to get his fingers moving, his motor running, his mind thinking music. But repeating the routine each day in the studio induced some click that got him started. In the end, there is no ideal condition for creativity. What works for one person is useless for another. The only criterion is this: Make it easy on yourself. Find a working environment where the prospect of wrestling with your muse doesn't scare you, doesn't shut you down. It should make you want to be there, and once you find it, stick with it. To get the creative habit, you need a working environment that's habit-forming. All preferred working states, no matter how eccentric, have one thing in common: When you enter into them, they compel you to get started.

I think of human existence as being like a two-story house. On the first floor people gather together to take their meals, watch television, and talk. The second floor contains private chambers, bedrooms where people go to read books, listen to music by themselves, and so on. Then there is a basement; this is a special place, and there are a number of things stored here. We don’t use this room much in our daily life, but sometimes we come in, vaguely hang around the place. Then, my thought is that underneath that basement room is yet another basement room. This one has a very special door, very difficult to figure out, and normally you can’t get in there—some people never get in at all. . . . You go in, wander about in the darkness, and experience things there you wouldn’t see in the normal parts of the house. You connect with your past there, because you have entered into your own soul. But then you come back. If you stay over there for long you can never get back to reality.

So when we say that Christians work from a gospel worldview, it does not mean that they are constantly speaking about Christian teaching in their work. Some people think of the gospel as something we are principally to “look at” in our work. This would mean that Christian musicians should play Christian music, Christian writers should write stories about conversion, and Christian businessmen and -women should work for companies that make Christian-themed products and services for Christian customers. Yes, some Christians in those fields would sometimes do well to do those things, but it is a mistake to think that the Christian worldview is operating only when we are doing such overtly Christian activities. Instead, think of the gospel as a set of glasses through which you “look” at everything else in the world. Christian artists, when they do this faithfully, will not be completely beholden either to profit or to naked self-expression; and they will tell the widest variety of stories. Christians in business will see profit as only one of several bottom lines; and they will work passionately for any kind of enterprise that serves the common good. The Christian writer can constantly be showing the destructiveness of making something besides God into the central thing, even without mentioning God directly.

No matter what I study, I can see patterns. I see the gestalt, the melody within the notes, in everything: mathematics and science, art and music, psychology and sociology. As I read the texts, I can think only that the authors are plodding along from one point to the next, groping for connections that they can’t see. They’re like a crowd of people unable to read music, peering at the score for a Bach sonata, trying to explain how one note leads to another. As glorious as these patterns are, they also whet my appetite for more. There are other patterns waiting to be discovered, gestalts of another scale entirely. With respect to those, I’m blind myself; all my sonatas are just isolated data points by comparison. I have no idea what form such gestalts might assume, but that’ll come in time. I want to find them, and comprehend them. I want this more than anything I’ve ever wanted before.

Stories allow you to experience places you could never go - the past, the future, or distant worlds. You can become a different ethnicity or gender. Even when you're reading all by yourself, you're sharing those stories as they unfold before you with countless people whom you've never met. We are alone, but we are connected.

I knew a young fellow once, who was studying to play the bagpipes, and you would be surprised at the amount of opposition he had to contend with. Why, not even from the members of his own family did he receive what you could call active encouragement. His father was dead against the business from the beginning, and spoke quite unfeelingly on the subject. My friend used to get up early in the morning to practise, but he had to give that plan up, because of his sister. She was somewhat religiously inclined, and she said it seemed such an awful thing to begin the day like that. So he sat up at night instead, and played after the family had gone to bed, but that did not do, as it got the house such a bad name. People, going home late, would stop outside to listen, and then put it about all over the town, the next morning, that a fearful murder had been committed at Mr. Jefferson's the night before; and would describe how they had heard the victim's shrieks and the brutal oaths and curses of the murderer, followed by the prayer for mercy, and the last dying gurgle of the corpse. So they let him practise in the day-time, in the back-kitchen with all the doors shut; but his more successful passages could generally be heard in the sitting-room, in spite of these precautions, and would affect his mother almost to tears. She said it put her in mind of her poor father (he had been swallowed by a shark, poor man, while bathing off the coast of New Guinea - where the connection came in, she could not explain). Then they knocked up a little place for him at the bottom of the garden, about quarter of a mile from the house, and made him take the machine down there when he wanted to work it; and sometimes a visitor would come to the house who knew nothing of the matter, and they would forget to tell him all about it, and caution him, and he would go out for a stroll round the garden and suddenly get within earshot of those bagpipes, without being prepared for it, or knowing what it was. If he were a man of strong mind, it only gave him fits; but a person of mere average intellect it usually sent mad.

Our culture teaches us to focus on personal uniqueness, but at a deeper level we barely exist as individual organisms. Our brains are built to help us function as members of a tribe. We are part of that tribe even when we are by ourselves, whether listening to music (that other people created), watching a basketball game on television (our own muscles tensing as the players run and jump), or preparing a spreadsheet for a sales meeting (anticipating the boss’s reactions). Most of our energy is devoted to connecting with others.

Giving away free content, for me, was about the value of the music becoming the connection itself.

Shame is really easily understood as the fear of disconnection: Is there something about me that, if other people know it or see it, that I won’t be worthy of connection?”2

Faith is never connected to safe. There is no faith without tension. For a rubber band to function to it's elasticity, it has to experience a tension. Saints of God who has no tension has no function.

Discovering something new is like magic. Music is out there to be heard, and I am of the opinion that as many people as possible should hear it. All of it. Because music is powerful. It connects people.

I think of human existence as being like a two-story house. On the first floor people gather together to take their meals, watch television, and talk. The second floor contains private chambers, bedrooms where people go to read books, listen to music by themselves, and so on. Then there is a basement; this is a special place, and there are a number of things stored here. We don’t use this room much in our daily life, but sometimes we come in, vaguely hang around the place. Then, my thought is that underneath that basement room is yet another basement room. This one has a very special door, very difficult to figure out, and normally you can’t get in there—some people never get in at all. . . . You go in, wander about in the darkness, and experience things there you wouldn’t see in the normal parts of the house. You connect with your past there, because you have entered into your own soul. But then you come back. If you stay over there for long you can never get back to reality. My sense is that a novelist is someone who can consciously do that sort of thing.”29

He was sensitive, quiet. He liked parties that were small and intimate, where you could connect with people, hear one another’s thoughts, not parties with roaring music, meat markets where you couldn’t hear one another think.

But the longer he listened to the King Lear fantasia, the further he felt from any possibility of forming some definite opinion for himself. The musical expression of feeling was ceaselessly beginning, as if gathering itself up, but it fell apart at once into fragments of new beginnings of musical expressions and sometimes into extremely complex sounds, connected by nothing other than the mere whim of the composer. But these fragments of musical expressions, good ones on occasion, were unpleasant because they were totally unexpected and in no way prepared for. Gaiety, sadness, despair, tenderness and triumph appeared without justification, like a madman's feelings. And, just as with a madman, these feelings passed unexpectedly. All through the performance Levin felt like a deaf man watching people dance. He was in utter perplexity when the piece ended and felt great fatigue from such strained but in no way rewarded attention.

With theology as a code of dogmas which are to be believed, or at any rate repeated, under penalty of present or future punishment, or as a storehouse of anaesthetics for those who find the pains of life too hard to bear, I have nothing to do; and, so far as it may be possible, I shall avoid the expression of any opinion as to the objective truth or falsehood of the systems of theological speculation of which I may find occasion to speak. From my present point of view, theology is regarded as a natural product of the operations of the human mind, under the conditions of its existence, just as any other branch of science, or the arts of architecture, or music, or painting are such products. Like them, theology has a history. Like them also, it is to be met with in certain simple and rudimentary forms; and these can be connected by a multitude of gradations, which exist or have existed, among people of various ages and races, with the most highly developed theologies of past and present times.

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

I write because I have to write, like a singer who has to sing or a musician who has to make music. I write not so much as to have people read my writing, I write to connect, to engage, to feel less alone. I also write to allow others to feel related to what I’m writing about, to laugh, to cry, to identify within themselves similar feelings and to evoke a memory. I used to think my journey was so unique yet it’s not, and for that I am grateful. If I can’t be a rock star, then I will be a write star even if in my own eyes.

Life noise has become an atmospheric accompaniment that we have grown inured to, resulting in the outcome that all too often we are poor listeners, to speech or music. There are constant reminders in the workplace as to just how often most people are not paying particular attention to what is being said. People frequently simply don’t listen. They have lost the art of concentrated hearing—so fundamental to real human connection. Music alone restores the capacity to concentrate and liberate your brain to really listen and enjoy the process of engaged hearing.

Maybe a good goal would be to just at least always try to create something good. Like something that is connected to love in some way. Like the [musical] equivalent of…you can make a decision to be kind. You can make a decision to greet people kindly and make jokes with people and connect.

Remember when you were a little kid and you would look at the clouds in the sky as the sunlight bounced off them, and something that simple.. would make you feel a part of everything- and all alone at the same time. And that feeling is not something you can ever put into words, so you spend your whole life chasing it. Making music, taking pictures, painting, whatever. In the hope that other people will understand that sense or feeling. As creative entities, we look for signs of life outside ourselves. For a connection to alleviate the sense of solitude. That's why we all do what we do, whether we know it ourselves or not.

When the one-dimensional image becomes a living, breathing, three-dimensional human being, it fills your soul with reassurance that even our most cherished heroes are flesh and bone. I believe that people are inspired by people. That is why I feel the need to connect with my fans when they approach me. I’m a fan too.

Music continued to beguile Einstein. It was not so much an escape as it was a connection: to the harmony underlying the universe, to the creative genius of the great composers, and to other people who felt comfortable bonding with more than just words. He was awed, both in music and in physics, by the beauty of harmonies.

Rabbit had never understood music before as an agent of connection, as a way for people not only to feel within themselves but to feel among themselves, a language that brought common souls into conversation. Beethoven could talk to him and could talk to his father, and he and his father could talk Beethoven to each other.

You have been called to something much greater. You have been redeemed by Jesus and adopted into His family, then called to lead His church. You have been given the gift of musical art to tell the gospel and connect people’s hearts to their Savior. You have been made a teacher to mold people’s thinking about who God is and what He has done.

One interesting thing is the idea that people have of a kind of science of Aesthetics. I would almost like to talk of what could be meant by Aesthetics. You might think Aesthetics is a science telling us what's beautiful - almost too ridiculous for words. I suppose it ought to include also what sort of coffee tastes well. I see roughly this - there is a realm of utterance of delight, when you taste pleasant food or smell a pleasant smell, etc., then there is a realm of Art which is quite different, though often you may make the same face when you hear a piece of music as when you taste good food. (Though you may cry at something you like very much.) Supposing you meet someone in the street and he tells you he has lost his greatest friend, in a voice extremely expressive of his emotion. You might say: 'It was extraordinarily beautiful, the way he expressed himself.' Supposing you then asked: 'What similarity has my admiring this person with my eating vanilla ice and like it?' To compare them seems almost disgusting. (But you can connect them by intermediate cases.) Suppose someone says 'But this is a quite different kind of delight.' But did you learn two meanings of 'delight'? You use the same word on both occasions. There is some connection between these delights. Although in the first case the emotion of delight would in our judgement hardly count.

What the songs do,’ Shirley confides, ‘is take me into that world [of the past]; they take you back centuries. In a twelve-verse song, you can be transported, and I think that’s such a strength in a song, that it can take you on a journey. Sometimes you don’t even know what sort of journey you’ve gone on, because a lot of the meanings have eroded over the years, and you just get glimpses of lives. Not through the words of a great playwright or poet or author, but just through the minds and mirrors of ordinary people. I think one of the reasons the country’s in such trouble is that nobody’s connected to it, to their ancestors or what’s gone before. And if other people’s lives aren’t important, I don’t know how your own can be.

Pretty quickly, I stopped seeing the company as an engine of community. Instead, I saw it as a mythmaker offering only an illusion of belonging and meeting its customers' desire for connections in form, maybe, but surely not in substance. Once I came to this conclusion, I started to dig deeper into the company's other promises--great working conditions, musical discovery, fair treatment of farmer, and concern for the environment. Every time I went excavating, the stories turned out to be more complex, more heavily edited, and more ambiguous than I had first thought. Each time, it became clear that Starbucks fulfilled its many promises only in the thinnest, most transitory of ways and that people's desires went largely unfulfilled.

In fact, flow and religion have been intimately connected from earliest times. Many of the optimal experiences of mankind have taken place in the context of religious rituals. Not only art but drama, music, and dance had their origins in what we now would call “religious” settings; that is, activities aimed at connecting people with supernatural powers and entities. The same is true of games. One of the earliest ball games, a form of basketball played by the Maya, was part of their religious celebrations, and so were the original Olympic games. This connection is not surprising, because what we call religion is actually the oldest and most ambitious attempt to create order in consciousness. It therefore makes sense that religious rituals would be a profound source of enjoyment.

I noticed the cops too, standing there, unfazed, in the pulsing midst of the energy and excitement. It was one thing to be informed, but quite another to see with my own eyes, hear with my own ears, and feel in my soul the reaction from real people to me and my music. What I felt that night in Schenectady was not idol worship, it was love. It was the kind of love that comes from honest connection and recognition.

many people spend money they haven’t earned, to buy things they don’t want, to impress people they don’t like.” On the other hand, any true enjoyment serves to make us feel more deeply connected with everything else. Enjoying good food, music, sex, and books, enjoying pleasant physical surroundings and beautiful things, traveling to interesting places—all these enrich and enliven us. In the West, spirituality has been long

Maria Sherman: ...I also wonder if people who are loyalists to this music--ride or die Warped Tour every year--I imagine at a certain point they were sick of seeing bands they love blow up to an enormous size and no longer feel like their own. Not that you have to be younger to experience that but . . . there's such a feeling of ownership of this music that you connect to deeply. And after a while it's like, 'Okay, well it got too big. I'm out.

It dawned on her in that moment that what she had loved so much when she heard the harp’s music and then began to play in the midst of the storm was this sense or suggestion of a place, a world without such rules. A place where boundaries simply did not exist, but living things moved freely, in a limitless space, and yet were still connected to everything in much the same way the harp’s music enveloped all the people in the music room last night. Page: 159 - 160

I think of human existence as being like a two-story house. On the rst oor people gather together to take their meals, watch television, and talk. e second oor contains private chambers, bedrooms where people go to read books, listen to music by themselves, and so on. en there is a basement; this is a special place, and there are a number of things stored here. We don’t use this room much in our daily life, but some- times we come in, vaguely hang around the place. en, my thought is that underneath that basement room is yet another basement room. is one has a very special door, very di - cult to gure out, and normally you can’t get in there—some people never get in at all. . . . You go in, wander about in the darkness, and experience things there you wouldn’t see in the normal parts of the house. You connect with your past there, because you have entered into your own soul. But then you come back. If you stay over there for long you can never get back to reality.

In my generation, people had plenty of hobbies. Entertainment was an event that often took place outside the home, so we had to come up with ways to entertain ourselves. Many of us cooked from scratch, worked on our homes and cars, gardened, wrote stories, sang and played musical instruments, or practiced crafts such as knitting, cross-stitching, and painting. Such activities are creative and connect us with our life force. It didn’t matter much whether we were good or bad at what we did—the point was simply to enjoy doing it.

This process of merging with another individual in a duo or a larger group of musicians, or with an audience, is the essence of communication. There has to be a willingness to participate that comes from trusting or letting go to the energy and spirit of the music, whether you're a performer or a member of the audience. This communication is made possible by the silent rhythm that connects everyone. This is what allows for spontaneous magic to lift people into a state of perfect synchrony where everyone can perform and experience the music as one.

I woke a few moments ago from a fever and a host of interlocking fever dreams, one after the next. There was one where I was in London, walking through old abandoned formerly beautiful buildings, all of them about to be demolished. Sometimes I'd find myself walking past the enormous line of people waiting to attend the television memorial for a dead author friend of mine, but his memorial was a television spectacular with comedians and big band music. There was the one where I had accidentally connected my bank card to a portable printer and the little printer kept printing cash but on the wrong paper and at the wrong size, so my money had huge, incredibly detailed faces on it, works of art that could not be spent. Then I woke from one dream into another: I was asleep in the passenger seat of the car, and saw that we were driving through a densely populated town, and that the driver was also asleep. I tried hard to wake her up and failed, and knew that no one was in control, no one was at the wheel, and soon someone was going to be killed, and I was shouting and calling without effect; but I whimpered and snuffled enough in the real world that my wife stroked my face and said, "Honey? You're having a nightmare," and, finally, I woke for real. But I woke into a world in which, somewhere, I am still being driven through my life by a sleeping driver, in which money is only good as art, in which we can write the finest books but at the end the crowds will come out and say good-bye for the entertainment, in which the buildings and cities we inhabit will relentlessly be destroyed by progress and time: a world colored by dreams and illuminated by them, too.

New York is a place where the first movement is one of anxiety: so many stressed people — hundreds, thousands, millions — dashing through the streets, whose only purpose seems to be to keep the city going. No social connections, no friendliness. There, you don’t feel the weight of history or of what is to come: everything is in the here and now, in a permanent, futureless present. … Above all, you understand what it means to be alone in the middle of a crowd. You live with a premonition of catastrophe, but an elated premonition, hanging at the edge of madness.

Multiple-model agnosticism, then, is a way out of postmodernism which doesn't lead into the belief that, out of all the billions of people in the world, you are the only one who really gets it and everyone else are idiots. The problem is, however, that our models are too damned convincing, and it is a struggle to remember that they are models and not reality. Hence much of the work of the Discordians - bar the stuff included purely for shits and giggles - is aimed at shocking people into realising the extent to which they confuse their models with the actuality. The 23 Enigma is a good case in point. Wilson was basically training his readers to notice 23s everywhere and, as any Discordian will tell you, he did this very well indeed. The point is, however, that there is nothing special about the number in itself. It is the fact that it has been singled out and had meaning applied to it, and that Discordians have been trained to recognise it, which is significant. Had it been the number 47, or 18, or 65, the effect would have been the same. Indeed, in his later years Wilson admitted that it would have been much better if he had trained his readers to spot quarters on the ground instead of number 23s. Of course, Multiple-model agnosticism also allows you to consider the model which states that the above paragraph is mistaken, and that the number 23 is significant. Many Discordians have explored this model at length. As I understand it, that model doesn't lead to anywhere pleasant, but the curious are encouraged to explore it for themselves to see if that's true. The reason that the 23 Enigma is useful is because it demonstrates the amount of information that our models filter out. In actuality, the coincidental and synchronistic appearances of the number 23 are matched by coincidental and synchronistic appearances of every other number, even though our models fail to react to these. They are just models, after all, and models are significantly less detailed than what they represent. Reality itself is ablaze with infinite connections: every particle in the cosmos affects every other particle. It's Too Much, it really is, and seeing reality in all its innate finery would be so overpowering that you'd be in no state to nip down the shops when you need a pint of milk.

No one wants to learn an instrument, Rachel. It's grueling repetition. And besides, you're too old to start. Concert violinists who learn the traditional way begin when they're six or seven." Risa can't help but listen to the irritating conversation taking place between the well-dressed woman and her fashionably disheveled teenage daughter. "It's bad enough they'd be messing in my brain and giving me a NeuroWeave," the girl whines. "But why do I have to have the hands, too? I like my hands!" The mother laughs. "Honey, you've got your father's stubby, chubby little fingers. Trading up will only do you good in life, and it's common knowledge that a musical NeuroWeave requires muscle memory to complete the brain-body connection." "There are no muscles in the fingers!" the girl announces triumphantly. "I learned that in school." The mother gives her a long-suffering sigh. "Think of them like a pair of gloves, Rachel. Fancy silk gloves, like a princess wears." Risa can't stand it anymore. Making sure she's low enough so that her face can't be seen, she gets up, and as she walks past them, she says, "You'll have someone else's fingerprints.

Still, sometimes they leave behind a small memento, like Haida and the boxed set of Years of Pilgrimage. He probably didn’t simply forget it, but intentionally left it behind in Tsukuru’s apartment. And Tsukuru loved that music, for it connected him to Haida, and to Shiro. It was the vein that connected these three scattered people. A fragile, thin vein, but one that still had living, red blood coursing through it. The power of music made it possible. Whenever he listened to that music, particularly “Le mal du pays,” vivid memories of the two of them swept over him. At times it even felt like they were right beside him, quietly breathing.

The problem in both cases can be attributed to poor connections between the greenfield and the mainstream. Indeed, when people operate in silos, companies may miss innovation opportunities altogether. Game-changing innovations often cut across established channels or combine elements of existing capacity in new ways. CBS was once the world’s largest broadcaster and owned the world’s largest record company, yet it failed to invent music video, losing this opportunity to MTV. In the late 1990s, Gillette had a toothbrush unit (Oral B), an appliance unit (Braun), and a battery unit (Duracell), but lagged in introducing a battery-powered toothbrush.

The Thanksgiving special was titled Here Is Mariah Carey, and I was going to debut three new songs from Music Box: “Dreamlover,” “Anytime You Need a Friend,” and “Hero,” along with some of my known hits—“Emotions,” “Make It Happen,” and of course, “Vision of Love.” I had always written songs from an honest place, using my own lived experiences and dreams as a source. I also pushed my vocals to their extreme. I was also going to debut “Hero.” It’s always a risk to debut songs at a live show that people have not had the opportunity to connect with through radio repetition. Even though I wrote “Hero,” it wasn’t originally intended for me to perform.

The great ones, however, never get lost in those distractions. Biggie in particular was legendary for his ability to stay focused. There could be all sorts of things going on—drinks being passed, blunts being rolled, people trying to holler at him about various projects—but he’d just sit in a chair with his eyes closed, seemingly oblivious to all the chaos around him. That was his way of connecting to the stillness inside of him, so that when it was time to get behind the microphone, he wasn’t caught up in worrying about how his last record did or how this one might be received once it was released. No, when it was time to make a song, he was always able to connect with both the music he was hearing in his headphones and the poetry that was filling up his heart. The same way today artists like Jay Z or Lil Wayne are able to create entire songs without ever putting a word down on paper. Through being able to connect completely with the music, they are able to operate from that “zone” that the great ones are able to access. That might not sound like a big deal, but I’ve seen so many artists get sidetracked by those distractions. And when it’s time for them to get in the recording booth and execute their craft, their mind is somewhere else. Sure, they’re rapping along to the beat, but they’re not connected to it.

I was inspired by their intergenerational relationships and annoyed that in the US, many of our elder Black liberals in the mainstream media condemned our music for its profane language, and young Black people too easily dismissed the messy yet rich traditions that made us possible. For many of us in the beginning, “Black Lives Matter” was a response to violence or a non-indictment; South Africa demonstrated that we deserved much more. I felt completely politically undone and inadequate. I’d been reading so much history but had not quite yet developed a political analysis connected to any tradition of organizing. I was getting smarter, not necessarily getting free.

I realized that music was a force that brought people together and gave them power. People living outside society need a sound to believe in. A sound that cannot be owned or emulated by squares. It inspires the marginalized and the rebels. It gives a soundtrack to their walk that only they understand. It speaks for people who might not otherwise have a voice. It dawned on me that music was not just a fun-to-play-beautiful-thing to trip people out and make ’em happy. I thought of the old jazz guys I knew who couldn’t catch a break, and how the music they played was a personal voice for each of them, one that no rich person could ever silence. I had a deep desire to connect with it, I knew there was no faking it, you had to live the notes.

Music brought the war in Vietnam right into our bedrooms. Songs we heard from America made us interested in politics; they were history lessons in a palatable, exciting form. We demonstrated against the Vietnam and Korean wars, discussed sexual liberation, censorship and pornography and read books by Timothy Leary, Hubert Selby Jr (Last Exit to Brooklyn) and Marshall McLuhan because we'd heard all these people referred to in songs or interviews with musicians. [...] Music, politics, literature, art all crossed over and fed into each other. There were some great magazines around too [...] Even though we couldn’t afford to travel, we felt connected to other countries because ideas and events from those places reached us through music and magazines.

Millions have been taught that if they don’t believe, if they don’t accept in the right way, that is, the way the person telling them the Gospel does, and they were hit by a car and died later that same day, God would have no choice but to punish them forever in conscious torment in hell. God would, in essence, become a fundamentally different being to them in that moment of death, a different being to them forever. A loving heavenly Father who will go to extraordinary lengths to have a relationship with them would, in the blink of an eye, become a cruel, mean, vicious tormenter who would ensure that they had no escape from an endless future of agony. Does God become somebody totally different the moment you die? That kind of God is simply devastating. Psychologically crushing. We can’t bear it. No one can. And that is the secret deep in the heart of many people, especially Christians: they don’t love God. They can’t, because the God they’ve been presented with and taught about can’t be loved. That God is terrifying and traumatizing and unbearable. And so there are conferences about how churches can be more “relevant” and “missional” and “welcoming,” and there are vast resources, many, many books and films, for those who want to “reach out” and “connect” and “build relationships” with people who aren’t part of the church. And that can be helpful. But at the heart of it, we have to ask: Just what kind of God is behind all this? Because if something is wrong with your God, if your God is loving one second and cruel the next, if your God will punish people for all of eternity for sins committed in a few short years, no amount of clever marketing or compelling language or good music or great coffee will be able to disguise that one, true, glaring, untenable, unacceptable, awful reality.[32]

Invisible Touch (Atlantic; 1986) is the group’s undisputed masterpiece. It’s an epic meditation on intangibility, at the same time it deepens and enriches the meaning of the preceding three albums. It has a resonance that keeps coming back at the listener, and the music is so beautiful that it’s almost impossible to shake off because every song makes some connection about the unknown or the spaces between people (“Invisible Touch”), questioning authoritative control whether by domineering lovers or by government (“Land of Confusion”) or by meaningless repetition (“Tonight Tonight Tonight”). All in all it ranks with the finest rock ’n’ roll achievements of the decade and the mastermind behind this album, along of course with the brilliant ensemble playing of Banks, Collins and Rutherford, is Hugh Padgham, who has never found as clear and crisp and modern a sound as this. You can practically hear every nuance of every instrument.

Cairo: the future city, the new metropole of plants cascading from solar-paneled roofs to tree-lined avenues with white washed facades abut careful restorations and integrated innovations all shining together in a chorus of new and old. Civil initiatives will soon find easy housing in the abandoned architectural prizes of Downtown, the river will be flooded with public transportation, the shaded spaces underneath bridges and flyovers will flower into common land connected by tramways to dignified schools and clean hospitals and eclectic bookshops and public parks humming with music in the evenings. The revolution has begun and people, every day, are supplanting the regime with their energy and initiative in this cement super colony that for decades of state failure has held itself together with a collective supraintelligence keeping it from collapse. Something here, in Cairo's combination of permanence and piety and proximity, bound people together.

Music is an art form whose medium is sound and silence. Its common elements are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike; "art of the Muses"). The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to personal interpretation, and occasionally controversial. Within the arts, music may be classified as a performing art, a fine art, and auditory art. It may also be divided among art music and folk music. There is also a strong connection between music and mathematics. Music may be played and heard live, may be part of a dramatic work or film, or may be recorded. To many people in many cultures, music is an important part of their way of life. Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, "There is no noise, only sound. Musicologist Jean-Jacques Nattiez summarizes the relativist, post-modern viewpoint: "The border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus ... By all accounts there is no single and intercultural universal concept defining what music might be.

How do you build peaks? You create a positive moment with elements of elevation, insight, pride, and/ or connection. We’ll explore those final three elements later, but for now, let’s focus on elevation. To elevate a moment, do three things: First, boost sensory appeal. Second, raise the stakes. Third, break the script. (Breaking the script means to violate expectations about an experience—the next chapter is devoted to the concept.) Moments of elevation need not have all three elements but most have at least two. Boosting sensory appeal is about “turning up the volume” on reality. Things look better or taste better or sound better or feel better than they usually do. Weddings have flowers and food and music and dancing. (And they need not be superexpensive—see the footnote for more.IV) The Popsicle Hotline offers sweet treats delivered on silver trays by white-gloved waiters. The Trial of Human Nature is conducted in a real courtroom. It’s amazing how many times people actually wear different clothes to peak events: graduation robes and wedding dresses and home-team colors. At Hillsdale High, the lawyers wore suits and the witnesses came in costume. A peak means something special is happening; it should look different. To raise the stakes is to add an element of productive pressure: a competition, a game, a performance, a deadline, a public commitment. Consider the pregame jitters at a basketball game, or the sweaty-hands thrill of taking the stage at Signing Day, or the pressure of the oral defense at Hillsdale High’s Senior Exhibition. Remember how the teacher Susan Bedford said that, in designing the Trial, she and Greg Jouriles were deliberately trying to “up the ante” for their students. They made their students conduct the Trial in front of a jury that included the principal and varsity quarterback. That’s pressure. One simple diagnostic to gauge whether you’ve transcended the ordinary is if people feel the need to pull out their cameras. If they take pictures, it must be a special occasion. (Not counting the selfie addict, who thinks his face is a special occasion.) Our instinct to capture a moment says: I want to remember this. That’s a moment of elevation.

He could tell Fleming he was a musician but he could not communicate what the music said to him or said to the people he played it for. The music told itself, it made some obscure connection for which there were no words. The music was its own story, but a man could dip into the vast reservoir of folk and blues lines and phrases and images and construct his own story: though upon performing it and without it losing any relevance to his own life it now belonged to the audience as well. It was something he could not fathom. The old songs with juryrigged verses like bodies cobbled up out of bones from a thousand skeletons. Songs about death and lost love and rambling down the line because sometimes down the line was the only place left. Songs that treated the most desperate of loss with a dark sardonic humour. "I'm going where the climate suits my clothes", the song said, not saying the frustration and despair that created it, saying that in the sheer lonesomeness of the sound, in the old man's driving banjo. There was an eerie timelessness about it that said it could have been written a thousand years ago, or it could have been an unfinished song about events that had not yet played themselves out.

In one sense we are all unique, absolutely one-of-a-kind individual creations; but in a much more profound way, each of us has come about as the result of a "long choosing." This is a phrase from writer Wendell Berry, whose book Remembering describes the main character, Andy Catlett’s, struggle with a sudden bout of amnesia. To those acquainted with Berry’s stories about Port William, Kentucky, Andy is a familiar figure, having grown up in the town’s rich web of family and neighborhood relationships. His disorientation begins during a cross-country plane trip to a scientific conference, where he is caught up in the security lines and body searches now a familiar part of the post-9/11 reality. In this world every stranger in an airport terminal is a potential enemy, someone to be kept at a safe distance. Somehow Andy makes it back to his home in rural Kentucky, but he is rough shape. He has literally forgotten who he is, and wanders about town looking for clues. His memories—and his sense of self—return only when in a confused dream state he sees his ancestors, walking together in an endless line. To Andy they are a "long dance of men and women behind, most of whom he never knew, . . . who, choosing one another, chose him.” In other words Andy Catlett is not a self-made man living in an isolated blip of a town, but he and his home are the sum of hundreds of courtships and conceptions, choices and chances, errors and hopes. We like to imagine that we are unique, absolutely unprecedented. But here is the truth: not just the tilt of our noses or the color of our bodies, but far more intimate characteristics–the shape of our feet or an inner tendency towards joy or sadness–have belonged to other people before we came along to inherit them. We came about because they decided to marry one person and not the other, to have six children instead of three, to move to a city instead of staying on the farm. It is remarkable to think of someone walking down the streets of sixteenth-century Amsterdam with my fingers and kneecaps, my tendency toward melancholy and my aptitude for music. We live within a web of holy obligation. We are connected to people of the world today, and to other invisible people: the unknown number of generations yet to be born. One of the most important things we can do, in the way we care for the earth and in the way we care for our local church life, is to recognize their potential presence. (pp.117-118)

I step up to a podium and speak to the audience as if I were addressing a rally. But just as I begin, a tall figure in the fifth row stands up and says, "Excuse me, Jesus..." I lean forward to search the blackness for the voice. The figure raises a pistol and fires a shot that echoes all over the auditorium. The place goes nuts. People scream. I smash the blood pack under my shirt and collapse on the floor as the figure dashes out the nearest exit. A couple of audience members actually run after him like it's real. The stage goes to red and the electric guitars start to wail. It's fucking brilliant. There's no time for the audience to recover. Onstage it's chaos: fifty teenagers keen and scream, choristers dressed as cops, paramedics, and reporters dash on trying to restore order, but only complicating things. And in the middle of it all is me, lying in a pool of blood. This, this, this is what being an actor is about. To be able to elicit such a strong reaction from hundreds of people at once - that power is awesome and irresistible and humbling. If you want to think I'm needy because I love applause, go ahead. But I know that the reason I perform is for moments like these, moments when you connect with an audience and take them somewhere.

The attachment voids experienced by immigrant children are profound. The hardworking parents are focused on supporting their families economically and, unfamiliar with the language and customs of their new society, they are not able to orient their children with authority or confidence. Peers are often the only people available for such children to latch on to. Thrust into a peer-oriented culture, immigrant families may quickly disintegrate. The gulf between child and parent can widen to the point that becomes unbridgeable. Parents of these children lose their dignity, their power, and their lead. Peers ultimately replace parents and gangs increasingly replace families. Again, immigration or the necessary relocation of people displaced by war or economic misery is not the problem. Transplanted to peer-driven North American society, traditional cultures succumb. We fail our immigrants because of our own societal failure to preserve the child-parent relationship. In some parts of the country one still sees families, often from Asia, join together in multigenerational groups for outings. Parents, grandparents, and even frail great-grandparents mingle, laugh, and socialize with their children and their children's offspring. Sadly, one sees this only among relatively recent immigrants. As youth become incorporated into North American society, their connections with their elders fade. They distance themselves from their families. Their icons become the artificially created and hypersexualized figures mass-marketed by Hollywood and the U.S. music industry. They rapidly become alienated from the cultures that have sustained their ancestors for generation after generation. As we observe the rapid dissolution of immigrant families under the influence of the peer-oriented society, we witness, as if on fast-forward video, the cultural meltdown we ourselves have suffered in the past half century. It would be encouraging to believe that other parts of the world will successfully resist the trend toward peer orientation. The opposite is likely to be the case as the global economy exerts its corrosive influences on traditional cultures on other continents. Problems of teenage alienation are now widely encountered in countries that have most closely followed upon the American model — Britain, Australia, and Japan. We may predict similar patterns elsewhere to result from economic changes and massive population shifts. For example, stress-related disorders are proliferating among Russian children. According to a report in the New York Times, since the collapse of the Soviet Union a little over a decade ago, nearly a third of Russia's estimated 143 million people — about 45 million — have changed residences. Peer orientation threatens to become one of the least welcome of all American cultural exports.

Some more likable people talked to me for a moment. But what was I to make of their words, which like all spoken human words seemed so meaningless in comparison with the heavenly musical phrase that had just been occupying me? I was really like an angel fallen from the delights of Paradise into the most insignificant reality. And just as certain creatures are the last examples of a form of life which nature has abandoned, I wondered whether music were not the sole example of the form which might have served—had language, the forms of words, the possibility of analyzing ideas, never been invented—for the communication of souls. Music is like a possibility which has never been developed, humanity having taken different paths, those of language, spoken and written. But this return to the unanalyzed was so intoxicating that on leaving its Paradise contact with other, more or less intelligent beings seemed to me extraordinarily insignificant. I might have remembered certain human beings during the music, have involved them with it; or rather, I had really connected the memory of only one person with the music, Albertine. And the final phrase of the andante seemed to me so sublime that I said to myself it was a pity that Albertine should not know—and if she had known, would not have understood—what an honor it was for her to be connected with something so splendid which brought us together, and with whose moving voice she had seemed to speak. But once the music ceased, the people who were there seemed too colorless for words.

What we need is a Tools to Help You Co-habit With Your Suffering Day. I don’t think that’s going to happen any time soon. In the meantime, though, here are my tools. Share. They might help others. Talk. Don’t keep it to yourself. There’s a great saying in Narcotics Anonymous: an addict alone is in bad company. Let people in. It’s scary and sometimes it can go wrong, but when you manage to connect with people, it’s magic. Let people go. (The toxic ones.) They don’t need to know – just gently withdraw. Learn to say no. I struggled so much with this, but when I started to do it, it was one of the most liberating things that ever happened to me. Learn to say yes. As I’ve got older, I’ve become quite ‘safe’. I am trying more and more to take myself out of my comfort zone. Find purpose. It can be anything – a charity, volunteering … Accept that Life is a roller coaster. Ups and downs. Accept yourself. Even the bits you really don’t like – you can work on those. No one is perfect. Try not to judge. If I’m judging people, it says more about where I am than about them. It’s at that point that I probably need to talk to someone … Music is a mood-altering drug. Some songs can make you cry, but some can make you really euphoric. I choose to mostly listen to the latter. Exercise. There is science to back me up here. Exercise is a no-brainer for mood enhancement. Look after something. Let something need you for its survival. It doesn’t have to be kids. It can be an animal, a houseplant, anything. And last but not least … Faith. I’m not sure what I believe in, but I do feel that when I pray, my prayers are being heard. Not always answered, but heard. And that’s enough.

Consider a world in which cause and effect are erratic. Sometimes the first precedes the second, sometimes the second the first. Or perhaps cause lies forever in the past while effect in the future, but future and past are entwined. On the terrace of the Bundesterrasse is a striking view: the river Aare below and the Bernese Alps above. A man stands there just now, absently emptying his pockets and weeping. Without reason, his friends have abandoned him. No one calls any more, no one meets him for supper or beer at the tavern, no one invites him to their home. For twenty years he has been the ideal friend to his friends, generous, interested, soft-spoken, affectionate. What could have happened? A week from this moment on the terrace, the same man begins acting the goat, insulting everyone, wearing smelly clothes, stingy with money, allowing no one to come to his apartment on Laupenstrasse. Which was cause and which effect, which future and which past? In Zürich, strict laws have recently been approved by the Council. Pistols may not be sold to the public. Banks and trading houses must be audited. All visitors, whether entering Zürich by boat on the river Limmat or by rail on the Selnau line, must be searched for contraband. The civil military is doubled. One month after the crackdown, Zürich is ripped by the worst crimes in its history. In daylight, people are murdered in the Weinplatz, paintings are stolen from the Kunsthaus, liquor is drunk in the pews of the Münsterhof. Are these criminal acts not misplaced in time? Or perhaps the new laws were action rather than reaction? A young woman sits near a fountain in the Botanischer Garten. She comes here every Sunday to smell the white double violets, the musk rose, the matted pink gillyflowers. Suddenly, her heart soars, she blushes, she paces anxiously, she becomes happy for no reason. Days later, she meets a young man and is smitten with love. Are the two events not connected? But by what bizarre connection, by what twist in time, by what reversed logic? In this acausal world, scientists are helpless. Their predictions become postdictions. Their equations become justifications, their logic, illogic. Scientists turn reckless and mutter like gamblers who cannot stop betting. Scientists are buffoons, not because they are rational but because the cosmos is irrational. Or perhaps it is not because the cosmos is irrational but because they are rational. Who can say which, in an acausal world? In this world, artists are joyous. Unpredictability is the life of their paintings, their music, their novels. They delight in events not forecasted, happenings without explanation, retrospective. Most people have learned how to live in the moment. The argument goes that if the past has uncertain effect on the present, there is no need to dwell on the past. And if the present has little effect on the future, present actions need not be weighed for their consequence. Rather, each act is an island in time, to be judged on its own. Families comfort a dying uncle not because of a likely inheritance, but because he is loved at that moment. Employees are hired not because of their résumés, but because of their good sense in interviews. Clerks trampled by their bosses fight back at each insult, with no fear for their future. It is a world of impulse. It is a world of sincerity. It is a world in which every word spoken speaks just to that moment, every glance given has only one meaning, each touch has no past or no future, each kiss is a kiss of immediacy.

This is the part of the book where the author usually sums it all up in a conclusion chapter and announces, “I did it!” I suppose I could have titled it “The Finale,” but that’s just not me. I don’t think you ever reach a point in life (or in writing!) where you get to say that. It ain’t over till it’s over. I want to be an eternal student, always pushing myself to learn more, fear less, fight harder. What lies in the future? Truthfully, I don’t know. For some people, that’s a scary thought. They like their life mapped out and scheduled down to the second. Not me. Not anymore. I take comfort in knowing not everything is definite. There’s where you find the excitement, in the unknown, uncharted, spaces. If I take the lead in my life, I expect that things will keep changing, progressing, moving. That’s the joy for me. Where will I go next? What doors will open? What doors will close? All I can tell you is that I will be performing and connecting with people--be it through dance, movies, music, or speaking. I want to inspire and create. I love the phrase “I’m created to create.” That’s what I feel like, and that’s what makes me the happiest. I’m building a house right now--my own extreme home makeover. I love the process of tearing something down and rebuilding it, creating something from nothing and bringing my artistic vision to it. I will always be someone who likes getting his hands dirty. But the blueprint of my life has completely changed from the time I was a little boy dreaming about fame. It’s broadened and widened. I want variety in my life; I like my days filled with new and different things. I love exploring the world, meeting new people, learning new crafts and art. It’s why you might often read what I’m up to and scratch your head: “I didn’t know Derek did that.” I probably didn’t before, but I do now.

It must be disheartening work learning a musical instrument. You would think that Society, for its own sake, would do all it could to assist a man to acquire the art of playing a musical instrument. But it doesn’t! I knew a young fellow once, who was studying to play the bagpipes, and you would be surprised at the amount of opposition he had to contend with. Why, not even from the members of his own family did he receive what you could call active encouragement. His father was dead against the business from the beginning, and spoke quite unfeelingly on the subject. My friend used to get up early in the morning to practise, but he had to give that plan up, because of his sister. She was somewhat religiously inclined, and she said it seemed such an awful thing to begin the day like that. So he sat up at night instead, and played after the family had gone to bed, but that did not do, as it got the house such a bad name. People, going home late, would stop outside to listen, and then put it about all over the town, the next morning, that a fearful murder had been committed at Mr. Jefferson’s the night before; and would describe how they had heard the victim’s shrieks and the brutal oaths and curses of the murderer, followed by the prayer for mercy, and the last dying gurgle of the corpse. So they let him practise in the day-time, in the back-kitchen with all the doors shut; but his more successful passages could generally be heard in the sitting-room, in spite of these precautions, and would affect his mother almost to tears. She said it put her in mind of her poor father (he had been swallowed by a shark, poor man, while bathing off the coast of New Guinea — where the connection came in, she could not explain). Then they knocked up a little place for him at the bottom of the garden, about quarter of a mile from the house, and made him take the machine down there when he wanted to work it; and sometimes a visitor would come to the house who knew nothing of the matter, and they would forget to tell him all about it, and caution him, and he would go out for a stroll round the garden and suddenly get within earshot of those bagpipes, without being prepared for it, or knowing what it was. If he were a man of strong mind, it only gave him fits; but a person of mere average intellect it usually sent mad. There is, it must be confessed, something very sad about the early efforts of an amateur in bagpipes.

Beyoncé and Rihanna were pop stars. Pop stars were musical performers whose celebrity had exploded to the point where they could be identified by single words. You could say BEYONCÉ or RIHANNA to almost anyone anywhere in the industrialized world and it would conjure a vague neurological image of either Beyoncé or Rihanna. Their songs were about the same six subjects of all songs by all pop stars: love, celebrity, fucking, heartbreak, money and buying ugly shit. It was the Twenty-First Century. It was the Internet. Fame was everything. Traditional money had been debased by mass production. Traditional money had ceased to be about an exchange of humiliation for food and shelter. Traditional money had become the equivalent of a fantasy world in which different hunks of vampiric plastic made emphatic arguments about why they should cross the threshold of your home. There was nothing left to buy. Fame was everything because traditional money had failed. Fame was everything because fame was the world’s last valid currency. Beyoncé and Rihanna were part of a popular entertainment industry which deluged people with images of grotesque success. The unspoken ideology of popular entertainment was that its customers could end up as famous as the performers. They only needed to try hard enough and believe in their dreams. Like all pop stars, Beyoncé and Rihanna existed off the illusion that their fame was a shared experience with their fans. Their fans weren’t consumers. Their fans were fellow travelers on a journey through life. In 2013, this connection between the famous and their fans was fostered on Twitter. Beyoncé and Rihanna were tweeting. Their millions of fans were tweeting back. They too could achieve their dreams. Of course, neither Beyoncé nor Rihanna used Twitter. They had assistants and handlers who packaged their tweets for maximum profit and exposure. Fame could purchase the illusion of being an Internet user without the purchaser ever touching a mobile phone or a computer. That was a difference between the rich and the poor. The poor were doomed to the Internet, which was a wonderful resource for watching shitty television, experiencing angst about other people’s salaries, and casting doubt on key tenets of Mormonism and Scientology. If Beyoncé or Rihanna were asked about how to be like them and gave an honest answer, it would have sounded like this: “You can’t. You won’t. You are nothing like me. I am a powerful mixture of untamed ambition, early childhood trauma and genetic mystery. I am a portal in the vacuum of space. The formula for my creation is impossible to replicate. The One True God made me and will never make the like again. You are nothing like me.

me to be honest about his failings as well as his strengths. She is one of the smartest and most grounded people I have ever met. “There are parts of his life and personality that are extremely messy, and that’s the truth,” she told me early on. “You shouldn’t whitewash it. He’s good at spin, but he also has a remarkable story, and I’d like to see that it’s all told truthfully.” I leave it to the reader to assess whether I have succeeded in this mission. I’m sure there are players in this drama who will remember some of the events differently or think that I sometimes got trapped in Jobs’s distortion field. As happened when I wrote a book about Henry Kissinger, which in some ways was good preparation for this project, I found that people had such strong positive and negative emotions about Jobs that the Rashomon effect was often evident. But I’ve done the best I can to balance conflicting accounts fairly and be transparent about the sources I used. This is a book about the roller-coaster life and searingly intense personality of a creative entrepreneur whose passion for perfection and ferocious drive revolutionized six industries: personal computers, animated movies, music, phones, tablet computing, and digital publishing. You might even add a seventh, retail stores, which Jobs did not quite revolutionize but did reimagine. In addition, he opened the way for a new market for digital content based on apps rather than just websites. Along the way he produced not only transforming products but also, on his second try, a lasting company, endowed with his DNA, that is filled with creative designers and daredevil engineers who could carry forward his vision. In August 2011, right before he stepped down as CEO, the enterprise he started in his parents’ garage became the world’s most valuable company. This is also, I hope, a book about innovation. At a time when the United States is seeking ways to sustain its innovative edge, and when societies around the world are trying to build creative digital-age economies, Jobs stands as the ultimate icon of inventiveness, imagination, and sustained innovation. He knew that the best way to create value in the twenty-first century was to connect creativity with technology, so he built a company where leaps of the imagination were combined with remarkable feats of engineering. He and his colleagues at Apple were able to think differently: They developed not merely modest product advances based on focus groups, but whole new devices and services that consumers did not yet know they needed. He was not a model boss or human being, tidily packaged for emulation. Driven by demons, he could drive those around him to fury and despair. But his personality and passions and products were all interrelated, just as Apple’s hardware and software tended to be, as if part of an integrated system. His tale is thus both instructive and cautionary, filled with lessons about innovation, character, leadership, and values.

A woman paralyzed by her own selfishness and triviality, a woman who knew she should love her life more than she did but couldn’t seem to love her life beyond a few odd inconsequential incidents. It is, in fact, time to start dating again. But Dan has no idea what that means for a gay man well into his thirties who has neither money nor abs. - if you’re delivering a song, there are instances when the veil of the ordinary falls away and you are, fleetingly, a supernatural being, with music rampaging through you and soaring out into a crowd. You connect, you’re giving it, you’re the living sweat-slicked manifestation of music itself, the crowd feels it as piercingly as you do. Always, almost always, you “spot a girl. She doesn’t need to be pretty. She’s the love of somebody’s life (you hope she is), and for those few seconds she’s the love of yours, you’re singing to her and she’s singing back to you, by raising her arms over her head and swinging her hips, adoring you or, rather, adoring some being who is you and the song combined, able to touch her everywhere. It’s the briefest of love affairs. - Isabel is embarrassed about her sadness. She’s embarrassed about being embarrassed about her sadness, she who has love and money. She tries looking discreetly into her bag for a Kleenex, without anything that could be called frantic rummaging. She ponders the prospect that decadent unhappiness might, in its way, be worse than genuine, legitimate despair. Which is, as she knows, a decadent question to pose at all. - members of a biological aristocracy - Dan is taken by a tremor of scorn twisted up with painful affection, as if they were two names for the same emotion - but that’s my narcissism speaking ive been working on the idea that there are other people in the world - Beyond lust there’s a purity, you know? Does it ever get to be too late? If neither of you abuses the dog (should they finally get a dog?) or leaves the children in the car on a hot day. Does it ever become irreparable? If so, when? How do you, how does any“one, know when they cross over from working through this to it’s too late? Is there (she suspects there must be) an interlude during which you’re so bored or disappointed or ambushed by regret that it is, truly, too late? Or, more to the point, do we arrive at it’s too late over and over again, only to return to working through this before it’s too late arrives, yet again? Do you think we ever really survive our childhoods? Most mothers think their children are amazing and singular people. Most mothers are wrong about that. You’re beautiful in your own skin. You brought with you into the world some kind of human amazingness, and you can depend on it, always. Please try not to ever let anybody talk you out of that. She says, “You’re not in love with me.” “Trust me. I’ve had a lot of experience at not being in love with people. I’ve been not in love with pretty much everybody, all my life.” She wonders how many women think more kindly and, all right, more lustfully toward their husbands after they’ve left them. Maybe someone’s done a study. “If you’re determined to be insulted.

When we are sold perfume, we are accustomed to also being sold the idea of a life we will never have. Coty's Chypre enabled Guerlain to create Mitsouko; Coty's Emeraude of 1921 was the bedrock on which Shalimar was built and Coty's L'Origan become the godmother of L'heure bleue, also by Guerlain. Some people dedicate themselves to making life beautiful. With instinctual good taste, magpie tendencies and a flair for color, they weave painfully exquisite tableaux, defining the look of an era. Paul Poiret was one such person. After his success, he went bust in 1929 and had to sell his leftover clothing stock as rags. Swept out of the picture by a new generation of designers, his style too ornate and Aladdinesque, Poiret ended his days as a street painter and died in poverty. It was Poiret who saw that symbolic nomenclature could turn us into frenzied followers, transforming our desire to own a perfume into desperation. The beauty industry has always been brilliant at turning insecurities into commercial opportunities. Readers could buy the cologne to relax during times of anxiety or revive themselves from strain. Particularly in the 1930s, releases came thick and fast, intended to give the impression of bounty, the provision of beauty to all women in the nation. Giving perfumes as a gift even came under the Soviet definition of kulturnost or "cultured behavior", including to aunts and teachers on International Women's Day. Mitsouko is a heartening scent to war when alone or rather, when not wanting to feel lonely. Using fragrance as part of a considered daily ritual, the territorial marking of our possessions and because it offers us a retrospective sense of naughtiness. You can never tell who is going to be a Nr. 5 wearer. No. 5 has the precision of well-cut clothes and that special appeal which comes from a clean, bare room free of the knick-knacks that would otherwise give away its age. Its versatility may well be connected to its abstraction. Gardenia perfumes are not usually the more esoteric or intellectual on the shelves but exist for those times when we demand simply to smell gorgeous. You can depend on the perfume industry to make light of the world's woes. No matter how bad things get, few obstacles can block the shimmer and glitz of a new fragrance. Perfume became so fashionable as a means of reinvention and recovery that the neurology department at Columbia University experimented with the administration of jasmine and tuberose perfumes, in conjunction with symphony music, to treat anxiety, hysteria and nightmares. Scent enthusiasts cared less for the nuances of a composition and more for the impact a scent would have in society. In Ancient Rome, the Stoics were concerned about the use of fragrance by women as a mask for seducing men or as a vehicle of deception. The Roman satirist Juvenal talked of women buying scent with adultery in mind and such fears were still around in the 1940s and they are here with us today. Similarly, in crime fiction, fragrance is often the thing that gives the perpetrator away. Specifically in film noir, scent gets associated with misdemeanors. With Opium, the drugs tag was simply the bait. What YSL was really marketing, with some genius, was perfume as me time: a daily opportunity to get languid and to care sod-all about anything or anyone else.

Americans might be the loneliest, most desperate, and intensely depressed culture that ever existed. Americans’ ability to own their houses, drive their own cars, and sit alone in front of their televisions sets and personal computer screens results in inconspicuous Americans living largely in isolation of one another. Insulated Americans understandably crave a sense of shared experience, a means to cross the universe, to be part of a chain of love. Americans yearn for social contact. The broad halo effect proffered by music enables lonely people to feel linked to the artist as well as connected to other fans of the appreciated musician. For many Americans, the circle of life begins and ends with a musical accompaniment, because music exemplifies what they feel in their hearts, what they perceive with their eyes and mind, personifies their ring of doubts and fears, voices the illustrative majesty of their hopes, and shares with other people the splendor of their most vivid dreams. The collective intones of music exemplifies the cultural nimbus of Americans’ auspicious spirituality.

If you had an Internet connection and lived in North America at the time, you may have seen it. Vasquez is the man behind the “Double Rainbow” video, which at last check had 38 million views. In the clip, Vasquez pans his camera back and forth to show twin rainbows he’d discovered outside his house, first whispering in awe, then escalating in volume and emotion as he’s swept away in the moment. He hoots with delight, monologues about the rainbows’ beauty, sobs, and eventually waxes existential. “What does it mean?” Vasquez crows into the camera toward the end of the clip, voice filled with tears of sheer joy, marveling at rainbows like no man ever has or probably ever will again. It’s hard to watch without cracking up. That same month, the viral blog BuzzFeed boosted a different YouTuber’s visibility. Michelle Phan, a 23-year-old Vietnamese American makeup artist, posted a home video tutorial about how to apply makeup to re-create music star Lady Gaga’s look from the recently popular music video “Bad Romance.” BuzzFeed gushed, its followers shared, and Lady Gaga’s massive fanbase caught wind of the young Asian girl who taught you how to transform into Gaga. Once again, the Internet took the video and ran with it. Phan’s clip eventually clocked in at roughly the same number of views as “Double Rainbow.” These two YouTube sensations shared a spotlight in the same summer. Tens of millions of people watched them, because of a couple of superconnectors. So where are Vasquez and Phan now? Bear Vasquez has posted more than 1,300 videos now, inspired by the runaway success of “Double Rainbow.” But most of them have been completely ignored. After Kimmel and the subsequent media flurry, Vasquez spent the next few years trying to recapture the magic—and inadvertent comedy—of that moment. But his monologues about wild turkeys or clips of himself swimming in lakes just don’t seem to find their way to the chuckling masses like “Double Rainbow” did. He sells “Double Rainbow” T-shirts. And wears them. Today, Michelle Phan is widely considered the cosmetic queen of the Internet, and is the second-most-watched female YouTuber in the world. Her videos have a collective 800 million views. She amassed 5 million YouTube subscribers, and became the official video makeup artist for Lancôme, one of the largest cosmetics brands in the world. Phan has since founded the beauty-sample delivery company Ipsy.com, which has more than 150,000 paying subscribers, and created her own line of Sephora cosmetics. She continues to run her video business—now a full-blown production company—which has brought in millions of dollars from advertising. She’s shot to the top of a hypercompetitive industry at an improbably young age. And she’s still climbing. Bear Vasquez is still cheerful. But he’s not been able to capitalize on his one-time success. Michelle Phan could be the next Estée Lauder. This chapter is about what she did differently.

The transmission of culture assures the survival of the particular forms given to our existence and expression as human beings. It goes much beyond our customs and traditions and symbols to include how we express ourselves in gestures and language, the way we adorn ourselves in dress and decoration, what and how and when we celebrate. Culture also defines our rituals around contact and connection, greetings and good-byes, belonging and loyalty, love and intimacy. Central to any culture is its food — how food is prepared and eaten, the attitudes toward food, and the functions food serves. The music people make and the music they listen to is an integral part of any culture. The transmission of culture is, normally, an automatic part of child-rearing. In addition to facilitating dependence, shielding against external stress, and giving birth to independence, attachment also is the conduit of culture. As long as the child is properly attaching to the adults responsible, the culture flows into the child. To put it another way, the attaching child becomes spontaneously informed, in the sense of absorbing the cultural forms of the adult. According to Howard Gardner, a leading American developmentalist, more is spontaneously absorbed from the parents in the first four years of life than during all the rest of a person's formal education put together. When attachment is working, the transmission of culture does not require deliberate instruction or teaching on the part of the adult or even conscious learning on the part of the child. The child's hunger for connection and inclination to seek cues from adults take care of it. If the child is helped to attain genuine individuality and a mature independence of mind, the passing down of culture from one generation to another is not a process of mindless imitation or blind obedience.

Children displaced from their families, unconnected to their teachers, and not yet mature enough to relate to one another as separate beings, automatically regroup to satisfy their instinctive drive for attachment. The culture of the group is either invented or borrowed from the peer culture at large. It does not take children very long to know what tribe they belong to, what the rules are, whom they can talk to, and whom they must keep at a distance. Despite our attempts to teach our children respect for individual differences and to instill in them a sense of belonging to a cohesive civilization, we are fragmenting at an alarming rate into tribal chaos. Our very own children are leading the way. The time we as parents and educators spend trying to teach our children social tolerance, acceptance, and etiquette would be much better invested in cultivating a connection with them. Children nurtured in traditional hierarchies of attachment are not nearly as susceptible to the spontaneous forces of tribalization. The social values we wish to inculcate can be transmitted only across existing lines of attachment. The culture created by peer orientation does not mix well with other cultures. Because peer orientation exists unto itself, so does the culture it creates. It operates much more like a cult than a culture. Immature beings who embrace the culture generated by peer orientation become cut off from people of other cultures. Peer-oriented youth actually glory in excluding traditional values and historical connections. People from differing cultures that have been transmitted vertically retain the capacity to relate to one another respectfully, even if in practice that capacity is often overwhelmed by the historical or political conflicts in which human beings become caught up. Beneath the particular cultural expressions they can mutually recognize the universality of human values and cherish the richness of diversity. Peer-oriented kids are, however, inclined to hang out with one another exclusively. They set themselves apart from those not like them. As our peer-oriented children reach adolescence, many parents find themselves feeling as if their very own children are barely recognizable with their tribal music, clothing, language, rituals, and body decorations. “Tattooing and piercing, once shocking, are now merely generational signposts in a culture that constantly redraws the line between acceptable and disallowed behavior,” a Canadian journalist pointed out in 2003. Many of our children are growing up bereft of the universal culture that produced the timeless creations of humankind: The Bhagavad Gita; the writings of Rumi and Dante, Shakespeare and Cervantes and Faulkner, or of the best and most innovative of living authors; the music of Beethoven and Mahler; or even the great translations of the Bible. They know only what is current and popular, appreciate only what they can share with their peers. True universality in the positive sense of mutual respect, curiosity, and shared human values does not require a globalized culture created by peer-orientation. It requires psychological maturity — a maturity that cannot result from didactic education, only from healthy development. Only adults can help children grow up in this way. And only in healthy relationships with adult mentors — parents, teachers, elders, artistic, musical and intellectual creators — can children receive their birthright, the universal and age-honored cultural legacy of humankind. Only in such relationships can they fully develop their own capacities for free and individual and fresh cultural expression.

I feel like unstable people gravitate toward you (myself included). I want nothing more than for you to make a connection with a normal, boring person who still has good taste in music.

You said to get involved with people, that I can’t learn about connections in a vacuum.” I agreed. “So what’s not working?” She pulled a long list from her purse. “This,” Linda said, “is a list I put together of all the involvements I’ve had in the past few months. And nothing’s happening.” I read the list, which looked something like this: Dancing lessons: ballroom, disco, and line Sports: sailing, rollerblading, golf, and tennis Music: opera, modern, and piano lessons Art: ceramics and museums Spiritual: Bible study, worship, and missions Career: Ongoing training, night school to earn an MBA “What are you grinning at?” Linda asked me. I wasn’t even aware I was smiling. I told her, “This is a proud moment for me. I’ve never met a real live renaissance woman.” “Now I’m really confused,” Linda said. I explained, “Linda, this is the most well-rounded, comprehensive, and exhausting list I’ve ever seen. I can’t imagine how you can even get up in the mornings. But it’s not solving your problem. “These are all great activities, designed to develop you and help you in your life. But each of them is primarily functional, rather than relational. Their goal is competence in some skill, or recreation, or learning more about God’s creation. But relationship isn’t the goal. These are ‘doing’ things, not ‘connecting’ things.” Linda started to get it. “You know, I’ve noticed that I am talking to people at these activities. But all the talk is about tennis or management theories. I’ve wondered when someone in the classroom was going to ask me about my emotional and spiritual life.” “Don’t hold your breath,” I said.

The stab that I'd take with this situation the moment I felt ready I spoke to my mother lately when I'm old be fore I marrid by that I didnt what i expected from her instead she didnt notice the pain that i'd eexperianced through. To heal myself I forgave her,accepted my situation learn to live positive in it.In the side of forgive the group of men that raped me continueosly I decided to live my home town to start new life another town where I meet with my soul partner God provided with handsome suitable guy as I had issued with men it took God's misterious ways to connect us he's my friend and prayer partner God blessed us with two sons and one doughter, he continue on helping us on raising our kids again i deed decision of raing our kids for myself by being house wife thanks God and my husband to be succed i 'm not perfect but i tried with God help and my closest friends,family it heppening.As i developed anger, sensitive and other unneeded personality throught my issue activities like body training,blogging,podcusting,reading bible and other booksk,being author,listing music special gospel help me to be in right position.The thing i can ask or say to other to other people is "Women Please love and protect your kids let stop this take quick action to help them if you see suspetious thing be close to them in a way that you manage to see if there's something not right heppen to them cause sometimes they will not tell you like on my case in any reason usualy strangers or rapist make them not say anything or your communication with them is not strong enough or any reason they make them shut To the community let protect each other be your sisters or brothers keeper on your neighborhood or in house report the susptious act cause tomorrow will heppen in your house.Men you are the master protector not rapist stand your ground as God do trusted you with kids and women protect them stop taking advantage who ever does that.To those who like me the victim of rape I'm your girl to use alcohol,drugs and sex edict throw shame and unclean feeling is not solution it only running away act ask yourself that how long you'll runing away with cancer that eating you alive,face by allowing God to be your sim card, rica him and let him operate in you by rebuid you make you a new creation spiritual by acepting Jesus Christ as lord and your savior, healer and believe that God raised him from death in your special prayer with your mouth loud as confesion as I deed you'll be safe 100% in his arms like I am your story will change completly as mine finely no one knows you better dont allow situation explain you you beautiful handsome valueble God love you more than every one and he cares about you I love you'll take care of yourself youre the hero &herous.

My task is to show and prove that every work of art - and music as its pinnacle - is a gigantic incredibly vibrating transmitter. This transmitter through brilliant people gives our body, spirit a gigantic connection with the idea of cosmicity, significance, harmony, inner content. It's the most important.

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

Connected Among the people, in the crowd Laughing, joking, all aloud You catch my eye, turn your head We hear each other, not what’s said With our friends, and strangers too In all we are, there’s only you Music, chatter, lost in sound Through all that is, we two are bound Far away, or by your side The blessed bond, forever tied I feel your heart, I know my place Connected still, cross time and space

We didn't dance together. We danced our own dance, our own space. But we felt the connection. We were three people in communion with the music. The music sang and we sang back, loudly, with our bodies. For a moment, all the superficiality of the world; all its banal cruelty, wokeness, and mundane distractions—everything faded. Our souls reverberated with the purity of music, the release of dance, and the separate yet united communion of disparate people in that single experience.

Because each of us lives on in the people we connect with, whether through music, or love, or a shared dream.

For several minutes, Alethea and I stood spellbound with delight as we watched a speedy amoeba-like cloud made up of black dots shape-shift through the air. Hundreds of starlings syncopated a midair dance. Where words so often get in the way, a shared visceral experience of wonder bonded us. For the rest of the evening, Alethea and I could recount the experience. My daughter and I had, as it were, “a moment.” Scientists are still uncertain about what drives this aviary phenomenon known as murmuration, but our fascination with it reflects, I believe, this human yearning to sync up. We rarely experience that kind of selfless, unplanned collective improvisation, and yet many of us long to feel connected to something greater than ourselves that bonds us with other people. That longing leads us to participate in organized sports, performing arts, dance, musical bands and ensembles, and ventures. If you have that longing, heed it. We need it.

Over the last few decades there have been some fascinating studies that revealed that people who get a physical reaction from music might have structural differences in their brain. Some people have a physical response while others will just hear the songs, enjoy it, but it doesn’t transport them anywhere. Brain scans have shown that the people who get a more palpable response have a higher volume of fibres that connect their auditory cortex to the areas associated with emotional processing, which means the two areas communicate better. They also tend to have a higher prefrontal cortex, which is involved in certain areas of understanding, like interpreting the world more metaphorically, and that obviously helps them develop not just a natural gift interpreting music, but also creating it.

Music is for everyone. It’s not—or at least shouldn’t be—an elitist, aristocratic club that you need a membership card to appreciate: it’s a language, it’s a means of connecting us that is beyond color, beyond race, beyond the shape of your face or the size of your stock portfolio. Musicians of color, however, are severely underrepresented in the classical music world—and that’s one of the reasons I wanted to write this book. Look up the statistics: 1.8 percent of musicians performing in classical symphonies are Black; 12 percent are people of color. But for me, day to day, performance by performance, it wasn’t about being a statistic: it was about trying to live my life and play the music that I loved, and often being

If you are playing music in any situation and not connecting with people's emotions, what are you actually doing?

Even then, I could still appreciate the moment of simply making sounds with a group of people. There is another place you go to in those instances, and it feels vast, refreshing, like you're creating your own air to breathe. And even though it's never going to happen again and there's a palpable sense of mediocrity, there's still a connection that you wouldn't have otherwise, to the sound, to the people.

To stand in the pit, shoulder to shoulder, sweating and singing with people you hardly know is an amazing thing. “I’m such a bad singer that I hardly sing around my own home but I have no trouble screeching at the top of my lungs in a huge stadium. In that sense a Springsteen concert is kind of a religious thing. Everyone knows what and when to sing, when to raise their arms, to pogo-dance, when to be silent and respectful. The music of course also makes you feel connected to something ‘higher’.

For instance, is fear ever a legitimate response to crisis? Is there any truth at all to fear? In my experience, fear is an Ego feeling out of control. In times of true crisis, there’s no time for fear, only action. It’s only thinking about it afterwards or anticipating it, that we feel fear. Also, one of the qualities of being in the presence of truth is its accompanying energy of fearlessness. Are fear, gloom and doom, attempting to control, empowered responses? As the world heats up literally and figuratively, it’s time to learn how to better handle our emotional energies during times of crisis and change. In my experience, most of our emotional responses to crisis is not usually about the event, but another one. This applies to collective events, where I consistently witness people going into fear and “concern” spirals for days on end. Ditto for building stories about “dark times”. I expect this will make me unpopular, but here goes: If you’re having an emotion about a catastrophe that lasts longer than a few minutes, and you’re not bringing food and supplies, or in it, it’s probably about something else. Either conditioning you’ve inherited from the collective, like a Pavlovian response that says “okay, when this type of event happens we get sad/fearful/despairing/bitter. Ok, now go!,” or it’s a deeper wound of your own being triggered, or you’re not grounded and centered in your own energy. If it’s not happening to you, it’s not personal. It is what is. Don’t generate more Ego energy for the collective by dwelling in disaster. Either find a way to help, pitch in if that’s your thing, or connect with your light. Either benefit all. For the Empaths who feel everything, I love what Martha Beck says. When she witnesses someone going through something tough, to avoid taking it on, in a nutshell she says, ‘This is their journey. I’ll have my time to go through xyz, but now is not my time. Everyone gets their time.’ Don’t worry, you’ll have your time to feel your own personal crisis or tragedy. Won’t you want people who are strong in their light around? Joining in with another’s or the world’s misery helps no one. It only creates more fear and misery. If you’re not baking someone a cake, better to ground, root and center. Take a walk in nature. Listen to uplifting music. Focus on your furthering your calling. The fact is: the more focus we place on external events, feeding them with fearful thoughts and “concern”, the more distracted we become from our internal reality, where, with awareness, we can liberate our self -which benefits everyone. Once we stop the fear and warring within our selves we are able to be inspired and take action from a place of grace, not from absorbing external fear energies or being mired in our own wounding. When we run on old fear conditioning- that it’s a dangerous, scary world; we’re ill-equipped for survival; we’re weak and can’t change; other people are doing this horrible thing to us- we are not only denying our light so weakening our selves, but we are not being honest. We are powerful. We are eternal. We are in charge of our experience. When we own our light it benefits everyone.