Music Connects Us Quotes

Music is powerful, my young friends,” she said. “It can connect us to memories. It can influence our mood and our responses to problems we might face.

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.

Would you like to?” he says. His voice is hardly audible above the wind— so low it’s barely a whisper. “Would I like to what?” My heart is roaring, rushing in my ears, and though there are still several inches between his hand and mine, there’s a zipping, humming energy that connects us, and from the heat flooding my body you would think we were pressed together, palm to palm, face to face. “Dance,” he says, at the same time closing those last few inches and finding my hand and pulling me closer, and at that second the song hits a high note and I confuse the two impressions, of his hand and the soaring, the lifting of the music. We dance.

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

“Would you like to?” he says. His voice is hardly audible above the wind—so low it’s barely a whisper. “Would I like to what?” My heart is roaring, rushing in my ears, and though there are still several inches between his hand and mine, there’s a zipping, humming energy that connects us, and from the heat flooding my body you would think we were pressed together, palm to palm, face to face. “Dance,” he says, at the same time closing those last few inches and finding my hand and pulling me closer, and at that second the song hits a high note and I confuse the two impressions, of his hand and the soaring, the lifting of the music. We dance.

We are all touched by music. Music connects us.

Experiencing connecting with someone in a way so meaningful, it shared just how connected all we beings were through a variety of sources. Music. Books. Art. Movies. The tragedy was, most didn’t recognize it and there were some of us with hate in their hearts about things they didn’t understand who would refuse to acknowledge it. I

To speak of creativity is to speak of profound intimacy. It is also to speak of our connecting to the Divine in us and of our bringing the Divine back to the community. This is true whether we understand our creativity to be begetting and nourishing our children, making music, doing theater, gardening, writing, teaching, running a business, painting, constructing houses, or sharing the healing arts of medicine and therapy.

We have come to love the music of proof. Logical connection for us is not some popular song about a finch, but a choral symphony, so difficult and so inspired that the conductor must exert all his energy to keep the performers under his control.

That music can connect us. There is joy in the world.

If you gotta leave before I come back, I want to thank you for sharing the music. Remember that you’re not alone, ever; that there’s always the music, connecting all of us, and the whole world, too.

The ear favours no particular “point of view.” We are enveloped by sound. It forms a seamless web around us. We say, “Music shall fill the air.” We never say, “Music shall fill a particular segment of the air.”We hear sounds from everywhere, without ever having to focus. Sounds come from “above,” from “below,” from in “front” of us, from “behind” us, from our “right,” from our “left.” We can‘t shut out sound automatically. We simply are not equipped with earlids. Where a visual space is an organised continuum of a uniformed connected kind, the ear world is a world of simultaneous relationships.

The connection being that in my head all language began in song and that the best stories inevitably reutrn to song, to a state of rapture. For years, I had assumed that throwing beautiful words at the page would make my prose feel true. But I had the process exactly backward. It was truth that lifted the language into beauty and toward song. It was a matter of doing what Joe Henry did, of pursuing characters into moments of emotional truth and slowing down. The result was a compression of sensual and psychological detail that released the rhythm and melody in language itself, what Longfellow called "the happy accidents of language.

Another important way in which the erotic connection functions is the open and fearless underlining of my capacity for joy, in the way my body stretches to music and opens into response, harkening to its deepest rhythms so every level upon which I sense also opens to the erotically satisfying experience whether it is dancing, building a bookcase, writing a poem, or examining an idea. That self-connection shared is a measure of the joy which I know myself to be capable of feeling, a reminder of my capacity for feeling. And that deep and irreplaceable knowledge of my capacity for joy comes to demand from all of my life that it be lived within the knowledge that such satisfaction is possible, and does not have to be called marriage, nor god, nor an afterlife. This is one reason why the erotic is so feared, and so often relegated to the bedroom alone, when it is recognized at all. For once we begin to feel deeply all the aspects of our lives, we begin to demand from ourselves and from our life-pursuits that they feel in accordance with that joy which we know ourselves to be capable of. Our erotic knowledge empowers us, becomes a lens through which we scrutinize all aspects of our existence, forcing us to evaluate those aspects honestly in terms of their relative meaning within our lives. And this is a grave responsibility, projected from within each of us, not to settle for the convenient, the shoddy, the conventionally expected, nor the merely safe.

When you love something like reading—or drawing or music or nature—it surrounds you with a sense of connection to something great. If you are lucky enough to know this, then your search for meaning involves whatever that Something is. It’s an alchemical blend of affinity and focus that takes us to a place within that feels as close as we ever get to “home.” It’s like pulling into our own train station after a long trip—joy, relief, a pleasant exhaustion.

We had nothing in common, except we both loved music. It was the first connection we had, and we depended on it to keep us together. We did a lot of work to meet in the middle. Music brought us together. So now music was stuck with us.

The differences which exist between every one of our real impressions -- differences which explain why a uniform depiction of life cannot bear much resemblance to the reality -- derive probably from the following cause: the slightest word that we have said, the most insignificant action that we have performed at anyone epoch of our life was surrounded by, and colored by the reflection of things which logically had no connection with it and which later have been separated from it by our intellect which could make nothing of it for its own rational purposes, things, however, in the midst of which -- here the pink reflection of the evening upon the flower-covered wall of a country restaurant, a feeling of hunger, the desire for women, the pleasure of luxury; here the blue volutes of the morning sea and, enveloped in them, phrases of music half emerging like the shoulders of water-nymphs -- the simplest act or gesture remains immured as within a thousand vessels, each one of them filled with things of a color, a scent, a temperature that are absolutely different one from another, vessels, moreover, which being disposed over the whole range of our years, during which we have never ceased to change if only in our dreams and our thoughts, are situated at the most various moral altitudes and give us the sensation of extraordinarily diverse atmospheres.

However, I don’t believe that those who pray are any more or less connected than those who don’t. We all have our own way of recognizing that infinite space within us, and for some it may be prayer. For others, it can be music, art, being in nature, or even pursuing knowledge and technology—whatever brings out our passion, creativity and purpose for living. In other words, it’s not prayer in and of itself that makes some of us more aware of our magnificence than others. Rather, it’s choosing to conduct our lives by connecting with our own internal passion, bringing out a Zen-like quality and giving our lives meaning and a feeling of unity.

Tyrants want us at each other's throats. We need each other even more. In isolation, it's so easy to think this is all there ever will be. Together we remember the beauty, the love, the humor, the music, the dance of life-- the belief that it is all a cycle, that it will not always be that way.

Trivia, as I’ve said before, shouldn’t really be called “trivia.” Facts about history, geography, books, movies, music—this is the stuff that used to be called good old-fashioned “general knowledge,” the stuff that everybody was supposed to remember from school, regardless of their career niche. We lost something the more we specialized—it started to drain away this vast pool of information that everybody knew. Knowledge was what connected us, and now it distinguishes us.

“Mathematics isn’t just science, it is poetry—our efforts to crystallize the unglimpsed connections between things. Poetry that bridges and magnifies the mysteries of the galaxy. But the signs and symbols and equations sentients employ to express these connections are not discoveries but the teasing out of secrets that have always existed. All our theories belong to nature, not to us. As in music, every combination of notes and chords, every melody has already been played and sung, somewhere, by someone—”

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.

How do I know that someone is enchanted? How does one learn the linguistic expression of enchantment? What does it connect up with? With the expression of bodily sensations? Do we ask someone what he feels in his breast and facial muscles in order to find out whether he is feeling enjoyment? But does that mean that there aren't any sensations after all which often return when one is enjoying music? Certainly not. (In some places he is near weeping, and he feels it in his throat.) A poem makes an impression on us as we read it.

You know that feeling of invincibility you sometimes get, especially when young and testing yourself - well that could be because actually know deep down that we are indeed eternal. We come into this world to live a life, to experience it, from somewhere else, some other plane, but we are programmed by all around us to deny or forget this - until one day we may remember again. That feeling of blissful reconnection with our source can be invoked through nature, beautiful writing or art or music, any detailed craft or work of discovery or personal dedication, meditation or other mentally balancing practice, or even through religious experience if there is a pure communion (not a pretence of it). But we should not yearn to return too soon, we should accept that we have come here for the duration of each life, and revel in the chance to learn and grow on this splendid planet. We can draw a deep sense of being-ness. peace, and love from this connection, which will sustain us through any trial. Once nurtured, this becomes stronger than any other connection, so of course our relationships here are most joyful when they allow us the personal freedom to spend time developing and celebrating that connection. Our deepest friendships form with those we can share such time and experiences with - discussing, meditating, immersing ourselves in nature, or creating our music, art, written or other works. Our journeys here are voyages of discovery, opening out the wonders within and all around. What better companions could we have than those who are able to fully share in such delights with us?

When you love something like reading—or drawing or music or nature—it surrounds you with a sense of connection to something great. If you are lucky enough to know this, then your search for meaning involves whatever that Something is. It’s an alchemical blend of affinity and focus that takes us to a place within that feels as close as we ever get to “home.

Yoga is not something a person practices with music or mirrors or any other distraction. It's purpose is less about samyoga than it is about viyoga, which is to say, it is more about disconnecting than it is about connecting which many Westerners find strange, until they hear it explained. The reason a person practices every day is to disconnect from their deep connection to suffering. The author of the ancient Yogatattva Upanishad believed that without the practice of yoga, it was entirely impossible to set the atman free. The atman, of course, is the soul. And just as the rani said, we are so burdened down by our daily worries that many of us have become no different than beasts. We walk around eating and drinking and caring very little about our purpose in this life. Some of us are not even very clever beasts. We are merely trudging through our work, yoked to some terrible master or job. The goal of yoga is to changed all of this; to remind the human who has become like an ox that their yoke and harness can be taken off, even if it's only for a few minutes a day, and that through silencing the mind, we can silence greed, and hunger, and desire as well.

Questions of Travel There are too many waterfalls here; the crowded streams hurry too rapidly down to the sea, and the pressure of so many clouds on the mountaintops makes them spill over the sides in soft slow-motion, turning to waterfalls under our very eyes. —For if those streaks, those mile-long, shiny, tearstains, aren't waterfalls yet, in a quick age or so, as ages go here, they probably will be. But if the streams and clouds keep travelling, travelling, the mountains look like the hulls of capsized ships, slime-hung and barnacled. Think of the long trip home. Should we have stayed at home and thought of here? Where should we be today? Is it right to be watching strangers in a play in this strangest of theatres? What childishness is it that while there's a breath of life in our bodies, we are determined to rush to see the sun the other way around? The tiniest green hummingbird in the world? To stare at some inexplicable old stonework, inexplicable and impenetrable, at any view, instantly seen and always, always delightful? Oh, must we dream our dreams and have them, too? And have we room for one more folded sunset, still quite warm? But surely it would have been a pity not to have seen the trees along this road, really exaggerated in their beauty, not to have seen them gesturing like noble pantomimists, robed in pink. —Not to have had to stop for gas and heard the sad, two-noted, wooden tune of disparate wooden clogs carelessly clacking over a grease-stained filling-station floor. (In another country the clogs would all be tested. Each pair there would have identical pitch.) —A pity not to have heard the other, less primitive music of the fat brown bird who sings above the broken gasoline pump in a bamboo church of Jesuit baroque: three towers, five silver crosses. —Yes, a pity not to have pondered, blurredly and inconclusively, on what connection can exist for centuries between the crudest wooden footwear and, careful and finicky, the whittled fantasies of wooden cages. —Never to have studied history in the weak calligraphy of songbirds' cages. —And never to have had to listen to rain so much like politicians' speeches: two hour of unrelenting oratory and then a sudden golden silence in which the traveller takes a notebook, writes: "Is it lack of imagination that makes us come to imagined places, not just stay at home? Or could Pascal have been entirely right about just sitting quietly in one's room? Continent, city, country, society: the choice is never wide and never free. And here, or there...No. Should we have stayed at home, wherever that may be?

I’d never been to Colombia. Yet in a way, I felt like I’d gone a dozen times. That’s because my parents kept Eric and me connected to their homeland. They played the music, prepared the foods, told us stories from their childhoods.

No matter what else we do with our lives, Maggie, music will soothe and calm us. Music will last, and outlast, and cast its spell and enter our souls and connect us across time and distance. We must believe this, both of us, all of us.

Mister Geoffrey, my experiment shows that the dynamo and the bulb are both working properly," I said. "So why won't the radio play?" "I don't know," he said. "Try connecting them here." He was pointing toward a socket on the radio labeled "AC," and when I shoved the wires inside, the radio came to life. We shouted with excitement. As I pedaled the bicycle, I could hear the great Billy Kaunda playing his happy music on Radio Two, and that made Geoffrey start to dance. "Keep pedaling," he said. "That's it, just keep pedaling." "Hey, I want to dance, too." "You'll have to wait your turn." Without realizing it, I'd just discovered the difference between alternating and direct current. Of course, I wouldn't know what this meant until much later. After a few minutes of pedaling this upside-down bike by hand, my arm grew tired and the radio slowly died. So I began thinking, "What can do the pedaling for us so Geoffrey and I can dance?

It fascinates me that when we lose one of our five senses, the remaining four strengthen and rally to make sense of the world we live in. Even by closing our eyes for a moment, we find ourselves paying closer attention to the sounds around us. Perhaps this is why music can resonate so deeply within us; somehow our isolated senses allow our brains the space and perspective to connect these really beautiful dots of our own hearts and souls. I wonder if the act of giving our other senses a break ca

I was not alone. The room was the same, unchanged in any way since I came into it. I could see along the floor, in the brilliant moonlight, my own footsteps marked where I had disturbed the long accumulation of dust. In the moonlight opposite me were three young women, ladies by their dress and manner. I thought at the time that I must be dreaming when I saw them, they threw no shadow on the floor. They came close to me, and looked at me for some time, and then whispered together. Two were dark, and had high aquiline noses, like the Count, and great dark, piercing eyes, that seemed to be almost red when contrasted with the pale yellow moon. The other was fair, as fair as can be, with great masses of golden hair and eyes like pale sapphires. I seemed somehow to know her face, and to know it in connection with some dreamy fear, but I could not recollect at the moment how or where. All three had brilliant white teeth that shone like pearls against the ruby of their voluptuous lips. There was something about them that made me uneasy, some longing and at the same time some deadly fear. I felt in my heart a wicked, burning desire that they would kiss me with those red lips. It is not good to note this down, lest some day it should meet Mina’s eyes and cause her pain, but it is the truth. They whispered together, and then they all three laughed, such a silvery, musical laugh, but as hard as though the sound never could have come through the softness of human lips. It was like the intolerable, tingling sweetness of waterglasses when played on by a cunning hand. The fair girl shook her head coquettishly, and the other two urged her on. One said, “Go on! You are first, and we shall follow. Yours is the right to begin.” The other added, “He is young and strong. There are kisses for us all.” I lay quiet, looking out from under my eyelashes in an agony of delightful anticipation. The fair girl advanced and bent over me till I could feel the movement of her breath upon me. Sweet it was in one sense, honey-sweet, and sent the same tingling through the nerves as her voice, but with a bitter underlying the sweet, a bitter offensiveness, as one smells in blood. I was afraid to raise my eyelids, but looked out and saw perfectly under the lashes. The girl went on her knees, and bent over me, simply gloating. There was a deliberate voluptuousness which was both thrilling and repulsive, and as she arched her neck she actually licked her lips like an animal, till I could see in the moonlight the moisture shining on the scarlet lips and on the red tongue as it lapped the white sharp teeth. Lower and lower went her head as the lips went below the range of my mouth and chin and seemed to fasten on my throat. Then she paused, and I could hear the churning sound of her tongue as it licked her teeth and lips, and I could feel the hot breath on my neck. Then the skin of my throat began to tingle as one’s flesh does when the hand that is to tickle it approaches nearer, nearer. I could feel the soft, shivering touch of the lips on the super sensitive skin of my throat, and the hard dents of two sharp teeth, just touching and pausing there. I closed my eyes in languorous ecstasy and waited, waited with beating heart.

Sometimes all you need is a little bit of Sunshine. I have learnt that Life is not about the walk that we have taken but the company, the experiences we have gathered. I have learnt that in each and every unknown path of our journey we get to know more of our own selves. I have learnt that Forgiveness comes from Love and knowledge that everyone has a story that we cannot fathom. I have learnt that Darkness only comes to lead us to Light while moulding our grey shades in the best silhouette of our soul. I have learnt that all it takes is a little word of encouragement or a pat on a shoulder to let a person know how valued that person truly is. I have learnt that most special moments and bonds can come with a time frame and as long as we have them we need to live that to its fullness and then just let that be. I have learnt that making connections isn't difficult but the easiest way to connect to one's own self. I have learnt that silence has so much more clutched up than words could ever open. I have learnt that sunsets are as beautiful as sunrises, nights are as dreamy as morns. I have learnt that sometimes Life takes a complete different turn to what we plan or expect but when seen from a distance that turn actually looks just the one meant to take us to our destination, where our souls embrace every walk taken so far to know, to accept all that we are. I have learnt that in a world where we could be anything, I chose to be Love. I have learnt that sometimes Love is not what we wait for or what we expect others to shower us with but what we embody and shower others with for Love is the Dream of a Dreamer, the Melody of a Music, the Sunshine of a Sun. And sometimes all you need is a little bit of Sunshine.

I went to the room in Great Jones Street, a small crooked room, cold as a penny, looking out on warehouses, trucks and rubble. There was snow on the windowledge. Some rags and an unloved ruffled shirt of mine had been stuffed into places where the window frame was warped and cold air entered. The refrigerator was unplugged, full of record albums, tapes, and old magazines. I went to the sink and turned on both taps all the way, drawing an intermittent trickle. Least is best. I tried the radio, picking up AM only at the top of the dial, FM not at all." The industrial loft buildings along Great Jones seemed misproportioned, broad structures half as tall as they should have been, as if deprived of light by the great skyscraper ranges to the north and south." Transparanoia owns this building," he said. She wanted to be lead singer in a coke-snorting hard-rock band but was prepared to be content beating a tambourine at studio parties. Her mind was exceptional, a fact she preferred to ignore. All she desired was the brute electricity of that sound. To make the men who made it. To keep moving. To forget everything. To be that sound. That was the only tide she heeded. She wanted to exist as music does, nowhere, beyond maps of language. Opal knew almost every important figure in the business, in the culture, in the various subcultures. But she had no talent as a performer, not the slightest, and so drifted along the jet trajectories from band to band, keeping near the fervers of her love, that obliterating sound, until we met eventually in Mexico, in somebody's sister's bed, where the tiny surprise of her name, dropping like a pebble on chrome, brought our incoherent night to proper conclusion, the first of all the rest, transactions in reciprocal tourism. She was beautiful in a neutral way, emitting no light, defining herself in terms of attrition, a skinny thing, near blond, far beyond recall from the hard-edged rhythms of her life, Southwestern woman, hard to remember and forget...There was never a moment between us that did not measure the extent of our true connection. To go harder, take more, die first.

There was a school here now, in Concourse C. Like educated children everywhere, the children in the airport school memorized abstractions: the airplanes outside once flew through the air. You could use an airplane to travel to the other side of the world, but—the schoolteacher was a man who’d had frequent-flyer status on two airlines—when you were on an airplane you had to turn off your electronic devices before takeoff and landing, devices such as the tiny flat machines that played music and the larger machines that opened up like books and had screens that hadn’t always been dark, the insides brimming with circuitry, and these machines were the portals into a worldwide network. Satellites beamed information down to Earth. Goods traveled in ships and airplanes across the world. There was no place on earth that was too far away to get to. They were told about the Internet, how it was everywhere and connected everything, how it was us. They were shown maps and globes, the lines of the borders that the Internet had transcended. This is the yellow mass of land in the shape of a mitten; this pin here on the wall is Severn City. That was Chicago. That was Detroit. The children understood dots on maps—here—but even the teenagers were confused by the lines. There had been countries, and borders. It was hard to explain.

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.

Human love is the shadow of the Great love; its child. And of all human loves, it is romantic love which has the most riveting effect upon our soul. Ageless and perennial, it is forever finding an outlet in poetry, music, dance, story-telling, and the media. We never tire of it. It commands attention at so many turns, such is the longing for its presence in our life. It is not by accident that it has such an unfailing pull on our psyche. If we cannot connect with visible human love, we will not be able to find the invisible Love. Human love is leading us, most of us unknowingly, straight to the divinity of our own nature. And that nature leads us, in turn, to the source of life itself.

It was all connected, this poetics of listening, word making, and dancing. There was power to transform, to lighten the heaviness of the burden of being human. That's how I came to understand the power of poetry and music. It was a tool, but more than a tool. Words and music evoked a state of mind that lifted us up when racial and historical despair threatened.

This inclination is a reflection of a person’s uniqueness. This uniqueness is not something merely poetic or philosophical—it is a scientific fact that genetically, every one of us is unique; our exact genetic makeup has never happened before and will never be repeated. This uniqueness is revealed to us through the preferences we innately feel for particular activities or subjects of study. Such inclinations can be toward music or mathematics, certain sports or games, solving puzzle-like problems, tinkering and building, or playing with words. With those who stand out by their later mastery, they experience this inclination more deeply and clearly than others. They experience it as an inner calling. It tends to dominate their thoughts and dreams. They find their way, by accident or sheer effort, to a career path in which this inclination can flourish. This intense connection and desire allows them to withstand the pain of the process—the self-doubts, the tedious hours of practice and study, the inevitable setbacks, the endless barbs from the envious. They develop a resiliency and confidence that others lack.

All of us believe you belong here,” I’d said to the Elizabeth Garrett Anderson girls as they sat, many of them looking a little awestruck, in the Gothic old-world dining hall at Oxford, surrounded by university professors and students who’d come out for the day to mentor them. I said something similar anytime we had kids visit the White House—teens we invited from the Standing Rock Sioux Reservation; children from local schools who showed up to work in the garden; high schoolers who came for our career days and workshops in fashion, music, and poetry; even kids I only got to give a quick but emphatic hug to in a rope line. The message was always the same. You belong. You matter. I think highly of you. An economist from a British university would later put out a study that looked at the test performances of Elizabeth Garrett Anderson students, finding that their overall scores jumped significantly after I’d started connecting with them—the equivalent of moving from a C average to an A. Any credit for improvement really belonged to the girls, their teachers, and the daily work they did together, but it also affirmed the idea that kids will invest more when they feel they’re being invested in. I understood that there was power in showing children my regard.

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

When I work with Godfrey, I don’t spend a lot of time looking at the image. I look at it once. Maybe twice, but not more than twice. Then I depend on the inaccuracy of my memory to create the appropriate distance between the music and the image. I knew right away that the image and the music could not be on top of each other, because then there would be no room for the spectators to invent a place for themselves. Of course, in commercials and propaganda films, the producers don’t want to leave a space: the strategy of propaganda is not to leave a space, not to leave any question. Commercials are propaganda tools in which image and music are locked together in order to make an explicit point, like “Buy these shoes” or “Go to this casino.” The strategy of art is precisely the opposite. I would describe it this way: When you listen to a piece of music and you look at an image at the same time, you are metaphorically making a journey to that image. It’s a metaphorical distance, but it’s a real one all the same, and it’s in that journey that the spectator forms a relationship to the music and the image. Without that, it’s all made for us and we don’t have to invent anything. In works like Godfrey’s, and in works, for that matter, like Bob Wilson’s, the spectators are supposed to invent something. They are supposed to tell the story of Einstein. In Godfrey’s movies Koyaanisqatsi and Powaqqatsi, the words in the title are the only words there are. The journey that we make from the armchair to the image is the process by which we make the image and the music our own. Without that, we have no personal connection. The idea of a personal interpretation comes about through traversing that distance.

animal and plant are the descending fifth and third of man, the inorganic kingdom being the lower octave. The full truth of this last simile will become clear to us only when, in the next book, we attempt to fathom the deep significance of music. There we shall see how the connected melody, progressing in high, light, and quick notes, is to be regarded in a certain sense as expressing the life and efforts of man, connected by reflection.

When you love something like reading - or drawing or music or nature - it surrounds you with a sense of connection to something great. If you are lucky enough to know this, then your search for meaning involves whatever that Something is. It's an alchemical blend of affinity and focus that takes us to a place within that feels as close as we ever get to "home." It's like pulling into our own train station after a long trip - joy, relief, a pleasant exhaustion.

The Dangers of Dating There is a new phenomenon that has hit our society. It is called dating, and everyone is doing it. Dating has turned into a huge money-maker. Now, we have television shows dedicated to dating. We have internet dating sites, speed dating, and music that encourages it all over the world. Unfortunately, the Bible doesn’t say anything about dating. I realize there are many happily married couples whose marriages are a result of dating, but I want you to understand that there is great danger in dating. I’m not referring to courting or a betrothal. I’m referring to worldly dating, which consists of premarital sex, deep emotional connections, a great deal of kissing, and heavy petting, etc. This system of dating is recreational in nature, and it has no real purpose besides fulfilling lust, loneliness, and perversion. Never forget that it’s satan who convinces us to fill a legitimate need, illegitimately. Nonetheless, let’s examine some of these dangers now.

Jivamukti Yoga is a path to enlightenment through compassion for all beings. Jivamukti is a Sanskrit word that means to live liberated in joyful, musical harmony with the Earth. The Earth does not belong to us—we belong to the Earth. Let us celebrate our connection to life by not enslaving animals and exploiting the Earth, and attain freedom and happiness for ourselves in the process. For surely, the best way to uplift our own lives is to do all we can to uplift the lives of others. Go vegan!

Recently a group of researchers conducted a computer analysis of three decades of hit songs. The researchers reported a statistically significant trend toward narcissism and hostility in popular music. In line with their hypothesis, they found a decrease in usages such as we and us and an increase in I and me. The researchers also reported a decline in words related to social connection and positive emotions, and an increase in words related to anger and antisocial behavior, such as hate or kill.

Pleasure activists seek to understand and learn from the politics and power dynamics inside of everything that makes us feel good. This includes sex and the erotic, drugs, fashion, humor, passion work, connection, reading, cooking and/or eating, music and other arts, and so much more. Pleasure activists believe that by tapping into the potential goodness in each of us we can generate justice and liberation, growing a healing abundance where we have been socialized to believe only scarcity exists.

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.

About three-four years ago I was vacationing in Paris and I had a dream one night and in this dream I saw a full song: a guitar being played by this hands, a voice coming out from the ether, singing "baby, baby, I miss you." It led me to the firm belief, it reconfirmed my ideals that music comes from the universe. It doesn't come from us artists, the inspiration is out there. It comes from the ether, from collective consciousness and at best we are skilled presenters and it belongs to all of us. It's this most amazing feeling, this intuitive connection, that connects all beings on this planet

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.

A Puritan twist in our nature makes us think that anything good for us must be twice as good if it's hard to swallow. Learning Greek and Latin used to play the role of character builder, since they were considered to be as exhausting and unrewarding as digging a trench in the morning and filling it up in the afternoon. It was what made a man, or a woman -- or more likely a robot -- of you. Now math serves that purpose in many schools: your task is to try to follow rules that make sense, perhaps, to some higher beings; and in the end to accept your failure with humbled pride. As you limp off with your aching mind and bruised soul, you know that nothing in later life will ever be as difficult. What a perverse fate for one of our kind's greatest triumphs! Think how absurd it would be were music treated this way (for math and music are both excursions into sensuous structure): suffer through playing your scales, and when you're an adult you'll never have to listen to music again. And this is mathematics we're talking about, the language in which, Galileo said, the Book of the World is written. This is mathematics, which reaches down into our deepest intuitions and outward toward the nature of the universe -- mathematics, which explains the atoms as well as the stars in their courses, and lets us see into the ways that rivers and arteries branch. For mathematics itself is the study of connections: how things ideally must and, in fact, do sort together -- beyond, around, and within us. It doesn't just help us to balance our checkbooks; it leads us to see the balances hidden in the tumble of events, and the shapes of those quiet symmetries behind the random clatter of things. At the same time, we come to savor it, like music, wholly for itself. Applied or pure, mathematics gives whoever enjoys it a matchless self-confidence, along with a sense of partaking in truths that follow neither from persuasion nor faith but stand foursquare on their own. This is why it appeals to what we will come back to again and again: our **architectural instinct** -- as deep in us as any of our urges.

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.

I can remember starving in a small room in a strange city shades pulled down, listening to classical music I was young I was so young it hurt like a knife inside because there was no alternative except to hide as long as possible- not in self-pity but with dismay at my limited chance: trying to connect. the old composers-Mozart, Bach, Beethoven, Brahms were the only ones who spoke to me and they were dead. finally, starved and beaten, I had to go into the streets to be interviewd for low-paying and monotonous jobs by strange men behind desks men without eyes men without faces who would take my hours break them piss on them. now I work for the editors the readers the critics but still hang around and drink with Mozart, Bach, Brahms and the Bee some buddies some men sometimes all we need to be able to continue alone are the dead rattling the walls that close us in.

Here is New York. This is why I stay. I stay to hear the jazz musicians playing in the parks, and to browse the tables of books for sale on the street. I stay for a drink in a quiet bar, lit by golden autumn light, and for Film Forum double features in black and white. I stay for egg creams, for the amateur opera singers practicing with their windows open so we all can listen. For the Chinese grandmothers dancing by the East River, snapping red fans in their hands. For the music of shopkeepers throwing open their gates. I stay for the unexpected spectacle, and the chance encounter, and for those tough seagulls gliding inland on rainy days to remind us that Manhattan is an island, a potential space both separate and connected. Most of all, I stay because I need New York. I can't live anywhere else, so I hold on to what remains. We've lost a lot, but there's so much left worth fighting for. And while I stay, I fight.

The scientific world-picture vouchsafe a very complete understanding of all that happens—it makes it just a little too understandable. It allows you to imagine the total display as that of a mechanical clock-work, which for all that science knows could go on just the same as it does, without there being consciousness, will, endeavour, pain and delight and responsibility connected with it—though they actually are. And the reason for this disconcerting situation is just this, that, for the purpose of constructing the picture of the external world, we have used the greatly simplifying device of cutting our own personality out, removing it; hence it it gone, it has evaporated, it is ostensibly not needed. In particular, and most importantly, this is the reason why the scientific world-view contains of itself no ethical values, no aesthetical values, not a word about our own ultimate scope or destination, and no God, if you please. Whence came I, whither go I? Science cannot tell us a word about why music delights us, of why and how an old song can move us to tears. Science, we believe, can, in principle, describe in full detail all that happens in the latter case in our sensorium and 'motorium' from the moment the waves of compression and dilation reach our ear to the moment when certain glands secrete a salty fluid that emerges from our eyes. But of the feelings of delight and sorrow that accompany the process science is completely ignorant—and therefore reticent. Science is reticent too when it is a question of the great Unity—the One of Parmenides—of which we all somehow form part, to which we belong. The most popular name for it in our time is God—with a capital 'G'. Science is, very usually, branded as being atheistic. After what we said, this is not astonishing. If its world-picture does not even contain blue, yellow, bitter, sweet—beauty, delight and sorrow—, if personality is cut out of it by agreement, how should it contain the most sublime idea that presents itself to human mind?

He spent a little time with me on the stairs and told me his vision of what he wanted to do with the studio. He dreamed of amassing musicians from all over the world in Woodstock and they would sit in a field in a circle and play and play. It didn’t matter what key or tempo or what melody, they would keep on playing through their discordance until they found a common language. Eventually they would record this abstract universal language of music in his new studio. “The language of peace. You dig?” I did. I can’t remember if I actually went into the studio, but Jimi never accomplished his dream. In September I went with my sister and Annie to Paris. Sandy Daley had an airline connection and helped us get cheap tickets. Paris had already changed in a year, as had I. It seemed as if the whole of the world was slowly being stripped of innocence. Or maybe I was seeing a little too clearly. As we walked down the boulevard Montparnasse I saw a headline that filled me with sorrow: Jimi Hendrix est mort. 27 ans. I knew what the words meant.

The identification we feel towards the places where we live or were born can give us an anchor in a chaotic world and strengthen our connections to family, community, and the generations that preceded and will follow us. At their best, such feelings are a celebration of culture and all that comes with it in the form of literature, language, music, food, folktales, and even the wildlife we associate with our homelands--the eagle in America, for instance, or in the Czech Republic what's left of our lions, wolves, and bears. There is, however, a tipping point, where loyalty to one's own tribe curdles into resentment and hatred, then aggression towards others. That's when Fascism enters the picture, trailed by an assortment of woes, up to and including the Holocaust and global war. Because of that history, postwar statesmen established organizations to make it harder for deluded nationalists to trample on the rights of neighbors. These bodies include the United Nations--hence Truman's speech--and regional institutions in Europe, Africa, Asia, and the Americas.

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)

Dear Kid President: Kids are awesome because: •     They inspire us to believe in our dreams. •     They know that what really matters in life is hugs, animals, kindness, friendship, and love! •     For kids, words like “can’t,” “don’t,” and “stop” are the real bad words. •     Kids don’t declare wars (except the occasional thumb war, which is harmless). •     Their official language is laughter. •     They believe in things that they can’t see but know are real. •     Kids look beyond race, religion, and ethnicity to recognize that we’re all connected. •     They remind us that life is precious, play is important, and art, dance, and music make the world better. •     They color outside the lines, can turn anything into a toy, and feel lots of feelings. •     Kids are awesome because we are awesome, and if we look deep enough, we’d see that we are all still kids. I believe with all my heart that we should try to be more like kids instead of making them more like us! Let’s listen to their concerns, learn from their wisdom, and be inspired by their imagination. When we empower kids, we change the world. There’s more JOY, more HOPE, more POSSIBILITY. Kids aren’t who we were; they’re who we could be! Kid Ideas + Kid Leadership + Kid Lunches = Awesomesauce!

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.

Life is pretty short yet magnanimous if we know just how to live right. It isn't that easy, it takes a lot of our soul, sometimes too many broken pieces to finally come together in binding a masterpiece that smiles like a solitary star forever gazing around at the music of an eternal cosmos. The most brutal yet beautiful truth about Life is that It is marked, marked with Time where every moment takes us closer to death, it doesn't have to sound or feel bad or scary because death is the most inevitable truth in this mortal world. While the knowledge of death jolts our mind with the uncertainty of Life, clutches us in the emotion of fear to think of pain or the loss of bonds, when we acknowledge that as a part of our souls' journey and take every moment as our precious gift, a blessing to experience this Life with its beautiful garden of emotions blossoming with wonderful smiles that we can paint on others, then we make our Life magnanimous, then we make even the very face of death as that of an angel coming to take us to a different voyage, soaked in a lot of memories and experiences beautifully binding our soul. I have realised that when we live each day as if it's the last day of our life, we become more loving and gentle to everyone around and especially to our own selves. We forgive and love more openly, we grace and embrace every opportunity we get to be kind, to stay in touch with everything that truly matters. I have realised that when we rise every morning with gratitude knowing that the breath of air still passes through our body, just in the mere understanding that we have one more day to experience Life once again, we stay more compassionate towards everything and everyone around and invest more of our selves into everything and everyone that truly connect and resonate with our soul. I have realised that when we consciously try to be good and kind, no matter however bad or suffocating a situation is we always end up taking everything at its best holding on to the firm grip of goodness, accepting everything as a part of our souls' lesson or just a turn of Time or Fate and that shapes into our strength and roots our core with the truest understanding of Life, the simple act of going on and letting go. Letting go of anything and everything that chains our Soul while going on with a Heart open to Love and a Soul ready to absorb all that falls along the pathway of this adventure called Life. I have realised that when we are kind and do anything good for another person, that gives us the most special happiness, something so pure that even our hearts don't know how deep that joy permeates inside our soul. I have realised that at the end of the day we do good not because of others but because of our own selves, for if tomorrow death comes to grace me I hope to smile and say I have Lived, loved unconditionally and embraced forgiveness, kindness and goodness and all the other colours of Love with every breath I caught, I have lived a Life magnanimous. So each time someone's unkind towards you, hold back and smile, and try to give your warmth to that person. Because Kindness is not a declaration of who deserves it, it's a statement of who you are. So each time some pieces of your heart lay scattered, hold them up and embrace everyone of them with Love. Because Love is not a magic potion that is spilled from a hollow space, it's a breath of eternity that flows through the tunnel of your soul. So each time Life puts up a question of your Happiness, answer back with a Smile of Peace. Because Happiness is not what you look for in others, it's what you create in every passing moment, with the power of Life, that is pretty short when we see how counted it stands in days but actually turns out absolutely incredibly magnanimous when loved and lived in moments.

The mood at the table is convivial throughout the meal. A dried-sausage and prosciutto plate gives way to briny sardines, which give way to truffle-covered gnocchi topped with a plethora of herbs. Richness cut with acidity, herbaceousness and cool breezes at every turn. A simple ricotta and lemon fettuccine topped with sharp pecorino is the perfect counterpoint. I am not driving, and apparently Anjana isn't, either, so we both order a Cynar and soda. "How can we digest all the pasta without another digestif?" we exclaim to the waiter, giddily. Meat, carbs, sunshine, and lingering music coming from across the plaza have stirred us up, and soon our dessert--- some sort of chocolate cake with walnuts--- arrives. It's dense in that fudgey way a flourless concoction can be, like it has molded itself into the perfection of pure chocolate. The crunch of the walnuts is a counterweight, drawing me deeper into the flavor. I haven't been inspired by food like this in a long time, despite spending so much time thinking about food. The atmosphere at work has sucked so much of the joy out of thinking about recipes, but I find myself taking little notes on my phone for recipe experimentation when I get home. The realization jolts me. I've always felt like I have the perfect job for a creative who happens to also be left-brained. Recipes are an intriguing puzzle every single time. Today's fettuccine is the perfect example. The tartness of the lemon paired with the smooth pasta and pillowy ricotta is the no-brainer part. But the trickier puzzle piece--- the one that is necessary to connect the rest of the puzzle to the whole--- is the light grating of the pecorino on top. That tang, that edge, that cutting spice works in tangent with the lemon to give the dish its power. Lemon alone wouldn't have been enough. Pecorino alone wouldn't have been enough. The dish is so simple, but it has to fit together perfectly to work. These little moments, these exciting eurekas, are the elation I normally get in my job.

Although a youth culture was in evidence by the 1950s, the first obvious and dramatic manifestation of a culture generated by peer-orientation was the hippie counterculture of the 1960s and 1970s. The Canadian media theorist Marshall McLuhan called it “the new tribalism of the Electric Age.” Hair and dress and music played a significant part in shaping this culture, but what defined it more than anything was its glorification of the peer attachment that gave rise to it. Friends took precedence over family. Physical contact and connection with peers were pursued; the brotherhood of the pop tribe was declared, as in the generation-based “Woodstock nation.” The peer group was the true home. “Don't trust anyone over thirty” became the byword of youth who went far beyond a healthy critique of their elders to a militant rejection of tradition. The degeneration of that culture into alienation and drug use, on the one hand, and its co-optation for commercial purposes by the very mainstream institutions it was rebelling against were almost predictable. The wisdom of well-seasoned cultures has accumulated over hundreds and sometimes thousands of years. Healthy cultures also contain rituals and customs and ways of doing things that protect us from ourselves and safeguard values important to human life, even when we are not conscious of what such values are. An evolved culture needs to have some art and music that one can grow into, symbols that convey deeper meanings to existence and models that inspire greatness. Most important of all, a culture must protect its essence and its ability to reproduce itself — the attachment of children to their parents. The culture generated by peer orientation contains no wisdom, does not protect its members from themselves, creates only fleeting fads, and worships idols hollow of value or meaning. It symbolizes only the undeveloped ego of callow youth and destroys child-parent attachments. We may observe the cheapening of cultural values with each new peer-oriented generation. For all its self-delusion and smug isolation from the adult world, the Woodstock “tribe” still embraced universal values of peace, freedom, and brotherhood. Today's mass musical gatherings are about little more than style, ego, tribal exuberance, and dollars.

Only then comes the fourth and last movement, the Adagio, the final farewell. It takes the form of a prayer, Mahler's last chorale, his closing hymn, so to speak; and it prays for the restoration of life, of tonality, of faith. This is tonality unashamed, presented in all aspects ranging from the diatonic simplicity of the hymn tune that opens it through every possible chromatic ambiguity. It's also a passionate prayer, moving from one climax to another, each more searing than the last. But there are no solutions. And between these surges of prayer there is intermittently a sudden coolness, a wide-spaced transparency, like an icy burning — a Zen-like immobility of pure meditation. This is a whole other world of prayer, of egoless acceptance. But again, there are no solutions. "Heftig ausbrechend!" he writes, as again the despairing chorale breaks out with greatly magnified intensity. This is the dual Mahler, flinging himself back into his burning Christian prayer, then again freezing into his Eastern one. This vacillation is his final duality. In the very last return of the hymn he is close to prostration; it is all he can give in prayer, a sobbing, sacrificial last try. But suddenly this climax fails, unachieved — the one that might have worked, that might have brought solutions. This last desperate reach falls short of its goal, subsides into a hint of resignation, then another hint, then into resignation itself. And so we come to the final incredible page. And this page, I think, is the closest we have ever come, in any work of art, to experiencing the very act of dying, of giving it all up. The slowness of this page is terrifying: Adagissimo, he writes, the slowest possible musical direction; and then langsam (slow), ersterbend (dying away), zögernd (hesitat-ing); and as if all those were not enough to indicate the near stoppage of time, he adds äusserst langsam (extremely slow) in the very last bars. It is terrifying, and paralyzing, as the strands of sound disintegrate. We hold on to them, hovering between hope and submission. And one by one, these spidery strands connecting us to life melt away, vanish from our fingers even as we hold them. We cling to them as they dematerialize; we are holding two-then one. One, and suddenly none. For a petrifying moment there is only silence. Then again, a strand, a broken strand, two strands, one ... none. We are half in love with easeful death ... now more than ever seems it rich to die, to cease upon the midnight with no pain ... And in ceasing, we lose it all. But in letting go, we have gained everything.

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.

The 50-inch TCL Roku TV balances picture quality and value for money. And this is also what happens when America’s top TV brand and the world’s most popular streaming services content instantly and from one single place. You have everything on the Roku from live TV to game console or if you wish choose from over 1500 streaming channels. This is also the widest selection any smart TV has ever had. Find that perfect movie or TV show easily across top streaming channels by title, actor or director with the acclaimed Roku ‘Search’ feature. On the Roku, you will find more than 200,000 streaming movies and shows that you can choose from. The Remote is simple and puts control into the users’ hands and lets you instantly choose your preferred content from anywhere. Use the Roku Mobile app on your smartphone or tablet to control your Roku TV. Cast your personal media, videos and photos and even music to the big screen. With a 120 Hz refresh rate, the TV displays images at 1080p. It has a built-in wireless and not one, but three HDMI ports that provide a high definition multimedia interface. Wired calls the TCL Roku TV ‘The First Smart TV worth using’. The TCL TV has a Roku box built into it. It is a smart TV that includes the Roku operating system, which is also the favorite OS for most users. The OS is considered as one of the best compared to all the other products and definitely better than any other smart TVs. Recently, the Roku TV was displayed at the prestigious CES 2018 with a brand new OS. We all know a lot about Roku and there are lots of Roku fans across the United States. The recently released series of Roku OS 8 comes with some new and improved features. All Roku TVs have a ‘Tuner’ input that enables you to plug into an antenna and look for channels. In the new Roku TV, the ‘Tuner’ input is available on the Home screen itself; which makes it very easy to navigate to it without fumbling Once you select the ‘Tuner’ input it takes you to the last tuned channel You will also get a preview of what is playing right now The Roku OS 8 also comes with a Smart Guide where you will get a 14-day preview of what is available on all the channels that the Roku TV has scanned for Scroll through the Smart Guide to find out your next programming on the list The experience is fluid with no judder or lag; users will be able to scan through the Smart Guide very easily All you have to do is use the HD antenna and the Roku TV will pop up all the entertainment information In addition to the Smart Guide, there is also a new feature called ‘More Ways to Watch’ Anytime Roku identifies a content that is on the Smart Guide, which is also available on other Roku channels it is marked with a ‘*’. This indicates that there are more ways to watch a single programming content You also don’t have to wait to watch your favorite programming Wherever you see the ‘*’at any time on the Smart Guide, hit the ‘Ok’ button on your remote and watch it on another Roku channel instantly The pricing for the channel or programming is also displayed If you have a Roku set top box that is connected to a different TV (other than the Roku), there is a new feature in the ‘Search’ where Roku will tell you the channel on which a particular programming is available with the precise timing. The Roku OS 8 has already been pushed out to all the players and TVs. The same OS 8 version is available for Roku Set top boxes as well. If any problem in Roku setup, please call us @+1-877-302-5260

The band is the only thread keeping us three connected. If we lose that, I don't know what's left.

COLE STOPPED by his office that morning to pick up the calling logs before heading on to stay with the girl. His friend at the phone company had faxed twenty-six pages of outgoing and incoming phone numbers, some of which were identified, but many of which were not. Cole would have to go through the numbers one by one, but the girl would probably help. Cole liked the girl. She was funny and smart and laughed at his jokes. All the major food groups. When he let himself in, she was stretched out on the couch, watching TV with the iPod plugged in her ears. Cole said, “How can you watch TV and listen to that at the same time?” She wiggled his iPod. “Did they stop making music in 1990?” You see? Funny. “I have to make a couple of calls, then I want you to help me with something.” She sat up, interested. “What?” “Phone numbers. We have to build a phone tree tracing the calls to and from the phones Pike found. We’ll trace the calls from phone to phone until we identify someone who can help us find Vahnich. Sound like fun?” “No.” “It’s like connect the dots. Even you can do it.” She gave him the finger. Cole thought she was great.

I’M SITTING at the counter in my favorite New York diner, tucking into eggs over easy with hash browns—very English, the breakfast fry-up, but very American, too. I’m washing it down with cranberry juice—caffeine is probably the only vice I don’t have—and someone turns on the radio. Most of the time, I don’t hear music. My brain just tunes it out. We’re all bombarded with some sort of music on a daily basis—in shops, TV commercials, restaurants, lifts—most of it simply noise pollution, deadening us to the real joy of music. So I only listen when I really want to. But the Puerto Rican waitress has turned on a Spanish channel, and a seductive salsa rhythm seeps into the room. It’s a charanga band—a traditional group that uses flute and violin over the standard latin rhythm section of congas, bongos, and timbales—and now I’m half-listening. Then the violinist takes a solo, and I’m hooked. He’s a great, inspired player. The band is playing a simple three-chord vamp, and he follows the chords closely, and yet still manages to come up with witty, ingenious, melodic twists. And the way he plays with the time! Dragging a phrase, and then ending it right on the beat. Setting up syncopations—accents that go against the beat—and then turning them around, playing them backwards. Then he hits an unexpected high note, and it’s like a shaft of light going right through my body, filling me with warmth. Without even thinking, I cry out—“Yeah!” or “All right!” or something—and I marvel at the way that music, after all these years, can still surprise me. The guy next to me just goes on munching his cheeseburger. But something special has happened, even if I’m the only one who knows it. The band on the radio are most likely second- or third-generation Puerto Ricans who were raised uptown, way uptown—in the Bronx—in a different world from me. But through the music, they’ve connected with an Englishman way downtown, in a way that would otherwise never happen.

Maybe we can get away from our yes/no world of classical music, stop thinking in terms of pop versus serious, and refuse to ghettoize movie music…. Maybe, as we encourage our to sing in their personal voice, we can also bring back the music taken away from us. If you are very fortunate, music will take you to all those places and states of being that physicist are trying to explain/prove - parallel universe, non-linear times, and the vast majority of things that exist but we cannot see/hear, that connect us from today into the very reason we love music, the heart of the matter. Charles Ives made a distinction between the Unknown, and the In-Known the latter being what we profoundly sense but cannot prove or even explain. Just widen your embrace and listen without prejudice. What is the sound of it? No metaphors. No similes. No false criteria. No imposed walls: a gateway to the thing that is infinite, curved, expanding, and imploding - that always existed and will always exist as long as humans walk the earth. It is right there invisible to they eye, yet palpable to your ear, your mind, and your heart. It is called music. It is yours, and because it is yours, it is great.

Practicing spirituality is what brings healing and creates resilience. For me, spirituality is about connecting with God, and I do that most often through nature, community, and music. We all have to define spirituality in a way that inspires us.

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.

Essential to the order of things is the principle of correspondences. Hidden connections underlie diverse phenomena that impress the mind with similar qualities and associations, such as colour, shape, weight, movement and even names with similar sounds and spellings. The material world, operating as it does according to God's design, can be studied to understand His will (‘as above, so below’). The universe becomes a multilayered tableau of symbols. Chemicals and stars, for alchemists and astrologers, are symbolic and can be aligned with other symbols – mathematical, alphabetical, mythic and cosmic – all considered to be mystical. Humanity's divine spark inspires us to seek reunion with the Divinity. Toward this end, the Hermetist employs alchemy, astrology and magic too. Magical formulae are based on the correspondences already noted: a ritual to induce creativity might be addressed to the Sun and might entail lamps, gold, ‘Apollonian’ music and a sunny mood.

A couple of weeks before, while going over a Variety list of the most popular songs of 1935 and earlier, to use for the picture’s sound track – which was going to consist only of vintage recording played not as score but as source music – my eye stopped on a .933 standard, words by E.Y. (“Yip”) Harburg (with producer Billy Rose), music by Harold Arlen, the team responsible for “Over the Rainbow”, among many notable others, together and separately. Legend had it that the fabulous Ms. Dorothy Parker contributed a couple of lines. There were just two words that popped out at me from the title of the Arlen-Harburg song, “It’s Only a Paper Moon”. Not only did the sentiment of the song encapsulate metaphorically the main relationship in our story – Say, it’s only a paper moon Sailing over a cardboard sea But it wouldn’t be make-believe If you believed in me – the last two words of the title also seemed to me a damn good movie title. Alvin and Polly agreed, but when I tried to take it to Frank Yablans, he wasn’t at all impressed and asked me what it meant. I tried to explain. He said that he didn’t “want us to have our first argument,” so why didn’t we table this conversation until the movie was finished? Peter Bart called after a while to remind me that, after all, the title Addie Pray was associated with a bestselling novel. I asked how many copies it had sold in hardcover. Peter said over a hundred thousand. That was a lot of books but not a lot of moviegoers. I made that point a bit sarcastically and Peter laughed dryly. The next day I called Orson Welles in Rome, where he was editing a film. It was a bad connection so we had to speak slowly and yell: “Orson! What do you think of this title?!” I paused a beat or two, then said very clearly, slowly and with no particular emphasis or inflection: “Paper …Moon!” There was a silence for several moments, and then Orson said, loudly, “That title is so good, you don’t even need to make the picture! Just release the title! Armed with that reaction, I called Alvin and said, “You remember those cardboard crescent moons they have at amusement parks – you sit in the moon and have a picture taken?” (Polly had an antique photo of her parents in one of them.) We already had an amusement park sequence in the script so, I continued to Alvin, “Let’s add a scene with one of those moons, then we can call the damn picture Paper Moon!” And this led eventually to a part of the ending, in which we used the photo Addie had taken of herself as a parting gift to Moze – alone in the moon because he was too busy with Trixie to sit with his daughter – that she leaves on the truck seat when he drops her off at her aunt’s house. … After the huge popular success of the picture – four Oscar nominations (for Tatum, Madeline Kahn, the script, the sound) and Tatum won Best Supporting Actress (though she was the lead) – the studio proposed that we do a sequel, using the second half of the novel, keeping Tatum and casting Mae West as the old lady; they suggested we call the new film Harvest Moon. I declined. Later, a television series was proposed, and although I didn’t want to be involved (Alvin Sargent became story editor), I agreed to approve the final casting, which ended up being Jodie Foster and Chris Connolly, both also blondes. When Frank Yablans double-checked about my involvement, I passed again, saying I didn’t think the show would work in color – too cute – and suggested they title the series The Adventures of Addie Pray. But Frank said, “Are you kidding!? We’re calling it Paper Moon - that’s a million-dollar title!” The series ran thirteen episodes.

You could say that the advice here is to connect everything you require of your children in behavior and belief to the story of redemption. When your child questions the rules, don’t puff up your chest and tell him he better obey or else; talk to him about a loving Redeemer, who not only created him but shed his blood for him so that he could know and do what is right. When your child wonders about what is right and what is wrong, don’t just threaten him with the law of God; woo him with the sweet music of the grace of God. When she is struggling with what God says is right, don’t talk of God as just a judge, but as a helper and a friend who meets us in our weakness with forgiveness, wisdom, and strength. Blow your child away with God’s patience, mercy, and love. Talk again and again about how he willingly exercises his power for our help, benefit, and rescue. Go beyond enforcing your authority and point to his authority, and go beyond pointing to his authority to pointing your children to his grace.

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.

Fifty Best Rock Documentaries Chicago Blues (1972) B. B. King: The Life of Riley (2014) Devil at the Crossroads (2019) BBC: Dancing in the Street: Whole Lotta Shakin’ (1996) BBC: Story of American Folk Music (2014) The Weavers: Wasn’t That a Time! (1982) PBS: The March on Washington (2013) BBC: Beach Boys: Wouldn’t It Be Nice (2005) The Wrecking Crew (2008) What’s Happening! The Beatles in the U.S.A. (1964) BBC: Blues Britannia (2009) Rolling Stones: Charlie Is My Darling—Ireland 1965 (2012) Bob Dylan: Dont Look Back (1967) BBC: The Motown Invasion (2011) Rolling Stones: Sympathy for the Devil (1968) BBC: Summer of Love: How Hippies Changed the World (2017) Gimme Shelter (1970) Rumble: The Indians Who Rocked the World (2017) Cocksucker Blues (1972) John Lennon & the Plastic Ono Band: Sweet Toronto (1971) John and Yoko: Above Us Only Sky (2018) Gimme Some Truth: The Making of John Lennon’s “Imagine” Album (2000) Echo in the Canyon (2018) BBC: Prog Rock Britannia (2009) BBC: Hotel California: LA from the Byrds to the Eagles (2007) The Allman Brothers Band: After the Crash (2016) BBC: Sweet Home Alabama: The Southern Rock Saga (2012) Ain’t in It for My Health: A Film About Levon Helm (2010) BBC: Kings of Glam (2006) Super Duper Alice Cooper (2014) New York Dolls: All Dolled Up (2005) End of the Century: The Story of the Ramones (2004) Fillmore: The Last Days (1972) Gimme Danger: The Stooges (2016) George Clinton: The Mothership Connection (1998) Fleetwood Mac: Rumours (1997) The Who: The Kids Are Alright (1979) The Clash: New Year’s Day ’77 (2015) The Decline of Western Civilization (1981) U2: Rattle and Hum (1988) Neil Young: Year of the Horse (1997) Ginger Baker: Beware of Mr. Baker (2012) AC/DC: Dirty Deeds (2012) Grateful Dead: Long, Strange Trip (2017) No Direction Home: Bob Dylan (2005) Hip-Hop Evolution (2016) Joan Jett: Bad Reputation (2018) David Crosby: Remember My Name (2019) Zappa (2020) Summer of Soul (2021)

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

Joan Joyce is the real deal, a fierce competitor and one of the greatest athletes and coaches in sports history. Tony Renzoni’s moving tribute to Joan shows us why she is a champion in sports and in life. —Billie Jean King, sports icon and equality pioneer The story is all true. Joan Joyce was a tremendous pitcher, as talented as anyone who ever played. [responding to a newspaper account of his early 1960s match-ups against Joan Joyce] —Ted Williams, Hall of Famer and Boston Red Sox great, December 30, 1999 Joan Joyce is truly the greatest female athlete in sports history. And a great coach as well. Tony Renzoni’s well-researched book is a touching tribute to this phenomenal athlete. I highly recommend this book! —Bobby Valentine, former MLB player and manager Quotes for Historic Connecticut Music Venues: From the Coliseum to the Shaboo: I would like to thank Tony Renzoni for giving me the opportunity to write the foreword to his wonderful book. I highly recommend Connecticut Music Venues: From the Coliseum to Shaboo to music lovers everywhere! —Felix Cavaliere, Legendary Hall of Famer (Young Rascals/Rascals, Solo) As the promoter of the concerts in many of the music venues in this book, I hope you enjoy living the special memories this book will give you. —Jim Koplik, Live Nation president, Connecticut and Upstate New York Tony Renzoni has captured the soul and spirit of decades of the Connecticut live music scene, from the wild and wooly perspective of the music venues that housed it. A great read! —Christine Ohlman, the “Beehive Queen,” recording artist/songwriter Tony Renzoni has written a very thoughtful and well-researched tribute to the artists of Connecticut, and we are proud to have Gene included among them. —Lynne Pitney, wife of Gene Pitney Our Alice Cooper band recorded the Billion Dollars Babies album in a mansion in Greenwich. Over the years, there have been many great musicians from Connecticut, and the local scene is rich with good music. Tony Renzoni’s book captures all of that and more. Sit back and enjoy the ride. —Dennis Dunaway, hall of famer and co-founder of the Alice Cooper band. Rock ’n’ Roll music fans from coast to coast will connect to events in this book. Strongly recommended! —Judith Fisher Freed, estate of Alan Freed

Within the ballet of human connection, attraction emerges not with the first step, but in the prelude of interaction—a symphony that draws us into the performance, where the heart feels the music long before the eyes behold the dance.

Recreation for Seniors: Enhancing Physical, Emotional & Social Well-Being Introduction: Recreation for senior citizens is a range of activities designed to promote physical, emotional, and social well-being. These activities focus on gentle exercise, cognitive stimulation, and fostering social connections. Some of these activities include yoga, arts & craft, gardening, music & dance, games and group outings. Importance: Recreation for senior citizens is important as it directly impacts their overall well-being in several ways: Physical Health: Engaging in physical activities, even low-impact ones, helps seniors maintain mobility, balance, strength, and cardiovascular health, reducing the risk of falls and chronic diseases. Mental Health: Recreational activities stimulate cognitive functions, which can help delay the onset of dementia and Alzheimer’s. They also improve memory, concentration, and problem-solving skills. Emotional Well-being: Participating in enjoyable activities helps reduce feelings of loneliness, depression, and anxiety, fostering a sense of belonging, purpose and joy in daily life. Conclusion: Recreation enriches seniors’ lives by offering opportunities for creativity, learning, and fun. It provides structure to their days and gives them something to look forward to, leading to a happier, more fulfilling lifestyle. Why Second Innings House: At Second Innings House, we know how important recreational activities are for seniors. We offer a range of fun and engaging programs that help our residents stay active, happy, and connected. Our activities aren’t just for our residents – other seniors from the community are welcome to join in through a simple subscription plan at our Senior Social Centre. Whether it’s yoga, arts, or social games, every activity is designed to improve well-being and create a sense of belonging. Join us at Second Innings House Senior Social Centre, where seniors can enjoy each day, stay connected, and live life to the fullest! Second Innings House, a home away from home!

Long before I ever saw him coming into Connie Sue’s salon, a friend of mine in high school was always talking about a guy named Jeptha. She was very sweet. She went to the Pentecostal church and dressed very conservatively--hair down to her booty, skirts, little makeup. We had history class together, and she used to let me put mascara on her. “He’s a dream,” she used to say. I could tell she had a crush on this guy, and I’d just roll my eyes and shake my head. I doubt it, I’d say to myself, after the thousandth time she’d talked about Jeptha and called him dreamy again. I was familiar with the name but not the actual guy, and it wasn’t until the glide-by at Connie Sue’s that I came face-to-face with the dream. Whoops! I mean, with Jeptha. I didn’t think a whole lot more about him until I saw him again a couple of weeks later at a music club called Edge of Madness. There was no drinking, just music, and lots of kids hanging out. The Jeptha came up to me during a break in the music and introduced himself. “Hi. I’m Jeptha Robertson. Are you Jessica?” Connie Sue had told him my name and a little bit about me, but I guess he wanted to make sure. “Hi,” I said, and smiled back. “My dad is the Duck Commander,” he offered. Who? I didn’t answer because I didn’t know what to say. I had no idea who or what the Duck Commander was. “You don’t know who the Duck Commander is?” I shook my head no. I’m sure I looked as confused as I felt. Obviously, I am missing something, and I should know who the Duck Commander is. “You don’t know who Phil Robertson is?” No, again. We chatted a little, and I could see he was trying to connect with me. Then he pulled out his best line: “Do you like my plaid pants?” I looked at the familiar logo on his shirt and pants and thought to myself, Wow, you must really like Abercrombie and Fitch. Surprised, I looked down and beheld his brown, green, and white plaid pants. You couldn’t miss them. They definitely stood out in the crowd. “Yeah,” I said, my voice trailing off. I wasn’t quite sure what else to say. Now at least I know who the dream is, I thought. And he is pretty cute.

broken praise job Lyrics from Music Inspired by The Story If one more person takes my hand And tries to say they understand, Tells me there's a bigger plan that I'm not meant to see. If one more person dares suggest That I held something unconfessed, Tries to make the dots connect from righteousness to easy street… Well I, I won't deny that I've relied on some assumptions. A man's honest life entitles him to something, But who am I to make demands of the God of Abraham? And who are you that you would choose to answer me with mercy new? How many more will wander past To find me here among the ashes? Will you hold me? Will you stay So I can raise this broken praise to you? Who else will see my suffering As one more opportunity To educate; to help me see all my flawed theology? If one more well-intentioned friend tries to tie up my loose ends Hoping to, with rug and broom, sweep awkward moments from the room… But I, I can't forget that I have begged just like a madman For my chance to die and never have to face the morning. But you were the One who filled my cup And you were the One who let it spill. So blessed be your holy name if you never fill it up again. If this is where my story ends, just give me one more breath to say hallelujah.

Wildlife is and should be useless in the same way art, music, poetry and even sports are useless. They are useless in the sense that they do nothing more than raise our spirits, make us laugh or cry, frighten, disturb and delight us. They connect us not just to what’s weird, different, other, but to a world where we humans do not matter nearly as much as we like to think. And that should be enough.

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.

Finding Favor in God’s Eyes Noah found favor in the eyes of the LORD…. Noah did everything just as God commanded him. —GENESIS 6:8,22     One way to find favor with God is to love His little children. In the New Testament we read where Jesus loved the young children and warned us as adults to be careful not to harm the little children. As a grandparent, I can gain favor with God by being kind and gentle with the little ones in our family. What an honor to be a part of the spiritual development of any child. In government, sports, business, medicine, education, theater, and music—there are those who rise to the top of their professions and are honored because they find favor through their actions, personalities, efforts, or sometimes just because of their social connections. They might be known for very amazing and noble accomplishments like running a nonprofit, discovering a new cancer drug, teaching those thought unteachable, or singing the most beautiful aria the world has ever heard. These are all remarkable reasons to have favor among men. But have you ever thought how much richer life would be to have God find favor with you as a parent, a grandparent? I stand in awe when I think of God finding favor with me, but He does. Noah lived in a world much like today’s, a world full of sin. Humanity hasn’t changed much over the centuries—we just give sin a different name. Yet through all this wickedness, Noah was a person who lived a godly life. His life was pleasing to God even during those evil days. Noah didn’t find favor because of his individual goodness but through his obedience to God. We are also judged according to the same standard—that of our personal faith and obedience. Even though Noah was upright and blameless before God, he wasn’t perfect. God recognized that Noah’s life reflected a genuine faith, but not always a perfect faith. Do you sometimes feel all alone in your walk with God? I know I do. Noah found that it wasn’t the surroundings of his life that kept him in close fellowship with God, but it was the heart of Noah that qualified him to find friendship with God. It isn’t important to find favor from our fellow humans. God’s favor is so much more rewarding. Somehow God’s favor with me is passed down through the favor from my grandchildren. As we live in this very difficult time of history, I might ask, “Do I find favor in God’s sight?” God gives us grace to live victoriously: “He gives us more grace” (James 4:6).

The unifying theme I found while reading each chapter as I arranged them for the book was that we are all connected to the timelessness of music and the passion it arouses in all of us. We strive to be more than we are and to make a worthwhile contribution in the world, in much the same way 2CELLOS are doing through their music. This is perhaps the best quality that makes us CELLOGIRLS.

The pull of music, literature or painting on us is like the plucking of a string. Literally, in the case of music. Sometimes gently, sometimes vigorously, but it always causes a reaction. Our innate response brings us in synchronized harmony with the elements in nature—from the smallest atomic particle to the largest heavenly body. We’re connected through these vibrations to nature and to each other. So, really, everything’s connected

While he was in school, we needed to pay our bills. I had to get a job. I'd majored in music (piano). I had no business credentials, connections, or confidence, so I started as a secretary to a retail sales broker at Smith Barney in midtown Manhattan. It was the era of Liar's Poker, Bonfire of the Vanities, and Working Girl. Working on Wall Street was exciting. I started taking business courses at night and I had a boss who believed in me, which allowed me to bridge from secretary to investment banker. This rarely happens. Later I became an equity research analyst and subsequently cofounded the investment firm Rose Park Advisors with Clayton Christensen, a professor at Harvard Business School. When I walked onto Wall Street through the secretarial side door, and then walked off Wall Street to become an entrepreneur, I was a disruptor. "Disruptive innovation" is a term coined by Christensen to describe an innovation at the low end of the market that eventually upends an industry. In my case, I had started at the bottom and climbed to the top—now I wanted to upend my own career. No wonder my friend thought I'd lost my sanity. According to Christensen's theory, disruptors secure their initial foothold at the low end of the market, offering inferior, low-margin products. At first, the disrupter's position is weak. For example, when Toyota entered the U.S. market in the 1950s, it introduced the Corona, a small, cheap, no-frills car that appealed to first-time car buyers on a tight budget.

I want to tell a great many stories, and to build connections between people and each other, and across worlds and times. Those connections may become “the creative genes” that will present us with worlds no one has ever experienced before.

Our harmonies anchor to one another the way they have since I was in grade school, each of us building in dynamic as the chorus swells into a blend so achingly right. I wish we could secure this same sense of unity outside of song. Because it's here, with my heart open and my voice lifted, that I feel the most connected to the family God gave me. No matter the differences between us, our frustrations, tensions offenses, or grief, when the four of us sing together, all the chaos in our world is forced to yield as we merge into one with the music.

You, too, can have your own little slice of paradise; all you have to do is destroy that paradise in the process. This kind of banal desire, and the greed that sold it, has been Florida’s true destruction. Developers pitted man versus nature, not as it had been before as a struggle for survival out in a harsh and remote wilderness, but as a struggle to uphold a false hierarchy of creation. Humans are more important than animals, they said. The soil is ours to scourge and conquer. Marketing has convinced us that trivial luxuries are more important than the natural world, as if we are not part of the natural world ourselves, as if our consumption is not a bid against our own interests, one in favor of concrete and routine against the unwieldy and awe-inspiring, monotony against biodiversity, pesticides against night music, the greed of a few against life itself on our planet. Dozens of species go extinct every day, with perhaps a million more under threat of extinction within our lifetime. Corporate greed tells us this doesn’t merit our attention. If you feel bad, cut back on your own, because it’s certainly not their fault. Such PR sleight of hand shifts the blame, feeds our guilt, inflames our anxiety, convinces us to consume more and more, until we give up caring, if we ever cared at all. Without thinking, we have become numb to the quiet collapse going on around us. Everything is connected. A species dying is a piece of our world dying. If the world dies, we die, too.

Charlie Watts has always been the bed that I lie on musically, and to see that note about how to “rectify” his sound seems extraordinary. But like Stu, Charlie had come to rhythm and blues because of its jazz connection. A few days later I write, Charlie swings very nicely but can’t rock. Fabulous guy though.… He had not got rock and roll down at that time. I wanted him to hit it a little harder. He was still too jazz for me. We knew he was a great drummer, but in order to play with the Stones, Charlie went and studied Jimmy Reed and Earl Phillips, who was the drummer for Jimmy Reed, just to get the feel of it. That sparse, minimalized thing. And he’s always retained it. Charlie was the drummer we wanted, but first off, could we afford him, and second off, would he give up some of his jazz ways for us?

A tool. A compass. A key that leads to other things.” “What other things?” Ishqa was terrible at this. What was it about six-hundred-year life spans that made one so frustratingly bad at communication? “You are aware of how magic works,” he said. “That it is like rivers running beneath our world, different streams of different substances. Solarie magic, Valtain magic, and our Fey magic.” “And the deeper levels beneath them,” I added. Ishqa nodded. “Yes. The deep magic that is still connected to you, even if that connection had been severed and stitched over. The very same magic that your lover drew from, that… Reshaye drew from.” He rarely spoke of Reshaye—of Aefe—by name. He never seemed to know which term to use. “But,” he went on, “magic is far more complicated than those four levels. None of us know how many different streams lurk beneath the surface of our world, or what they are capable of. Even the extensive modifications that humans and Fey have done to tap into deeper streams merely allow us to reach a fraction of what exists. And for many years—millennia—the Fey had no interest in learning more about those powers. The humans, at least, always strove to innovate. We… thought such things were blasphemous and unnatural. That is, until Caduan took power. He saw how we could use magical innovations to strengthen our civilization and help our people—end hunger, cure illness, even advance art and music.

We were first invited to Tubesteak Connection by Spider, who manned the door. The DJ, Bus Station John, played ecstatic sets of arcane disco, hi-NRG, Italo and boogie. He was in his forties, and wore a thick mustache, muttonchops, flat cap. Bus Station John gave the appearance he might be prickly, but he called us child. He was there to bear witness, to testify, using rare tracks from what he called ‘the golden age of gay,’ the period between Stonewall and AIDS. The music was our time machine. We were conscious the discs he put on the turntable may have come from the collections of deceased gay men.

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. If we look

There are many levels at which music can call to people, enter them, alter them---and this is as true for demented patients as it is for the rest of us. We bond when we sing together, sharing the specific affects and connections of a song; but bonding is deeper, more primal, if we dance together, coordinating our bodies and not just our voices.