Music Festivals Quotes

WHO’S GOT A TAMPON? I JUST GOT MY PERIOD, I will announce loudly to nobody in particular in a women’s bathroom in a San Francisco restaurant, or to a co-ed dressing room of a music festival in Prague, or to the unsuspecting gatherers in a kitchen at a party in Sydney, Munich, or Cincinnati. Invariably, across the world, I have seen and heard the rustling of female hands through backpacks and purses, until the triumphant moment when a stranger fishes one out with a kind smile. No money is ever exchanged. The unspoken universal understanding is: Today, it is my turn to take the tampon. Tomorrow, it shall be yours. There is a constant, karmic tampon circle. It also exists, I’ve found, with Kleenex, cigarettes, and ballpoint pens.

Do you know anything about silent films?” “Sure,” I said. “The first ones were developed in the late nineteenth century and sometimes had live musical accompaniment, though it wasn’t until the 1920s that sound become truly incorporated into films, eventually making silent ones obsolete in cinema.” Bryan gaped, as though that was more than he’d been expecting. “Oh. Okay. Well, um, there’s a silent film festival downtown next week. Do you think you’d want to go?” I shook my head. “No, I don’t think so. I respect it as an art form but really don’t get much out of watching them.” “Huh. Okay.” He smoothed his hair back again, and I could almost see him groping for thoughts. Why on earth was he asking me about silent films? “What about Starship 30? It opens Friday. Do you want to see that?” “I don’t really like sci-fi either,” I said. It was true, I found it completely implausible. Bryan looked ready to rip that shaggy hair out. “Is there any movie out there you want to see?” I ran through a mental list of current entertainment. “No. Not really.” The bell rang, and with a shake of his head, Bryan slunk back to his desk. “That was weird,” I muttered. “He has bad taste in movies.” Glancing beside me, I was startled to see Julia with her head down on her desk while she shook with silent laughter. “What?” “That,” she gasped. “That was hilarious.” “What?” I said again. “Why?” “Sydney, he was asking you out!” I replayed the conversation. “No, he wasn’t. He was asking me about cinema.” She was laughing so hard that she had to wipe away a tear. “So he could find out what you wanted to see and take you out!” “Well, why didn’t he just say that?” “You are so adorably oblivious,” she said. “I hope I’m around the day you actually notice someone is interested in you.” I continued to be mystified, and she spent the rest of class bursting out with spontaneous giggles.

Life is an affair of mystery; shared with companions of music, dance and poetry.

Oh, if I had had a friend at this moment, a friend in an attic room, dreaming by candlelight and with a violin lying ready at his hand! How I should have slipped up to him in his quiet hour, noiselessly climbing the winding stair to take him by surprise, and then with talk and music we should have held heavenly festival throughout the night!

Boys are adorable. Boys trail off their sentences in an appealing way. Boys bring a knapsack to work. Boys get haircuts from their roommate, who “totally knows how to cut hair.” Boys can pack up their whole life in a duffel bag and move to Brooklyn for a gig if they need to. Boys have “gigs.” Boys are broke. And when they do have money, they spend it on a trip to Colorado to see a music festival. Boys don’t know how to adjust their conversation when they’re talking to their friends or to your parents. They put parents on the same level as their peers and roll their eyes when your dad makes a terrible pun. Boys let your parents pay for dinner when you all go out. It’s assumed.

His life was a festival of excess that could not be contained. Deafening music, eye-popping bright colors, sugar added to almost everything he ate. Quinn's life was a bullet in a barrel ready to explode.

The future says: Dear mortals; I know you are busy with your colourful lives; I have no wish to waste the little time that remains On arguments and heated debates; But before I can appear Please, close your eyes, sit still And listen carefully To what I am about to say; I haven't happened yet, but I will. I can't pretend it's going to be Business as usual. Things are going to change. I'm going to be unrecognisable. Please, don't open your eyes, not yet. I'm not trying to frighten you. All I ask is that you think of me Not as a wish or a nightmare, but as a story You have to tell yourselves - Not with an ending In which everyone lives happily ever after, Or a B-movie apocalypse, But maybe starting with the line 'To be continued...' And see what happens next. Remember this; I am not Written in stone But in time - So please don't shrug and say What can we do? It's too late, etc, etc, etc. Dear mortals, You are such strange creatures With your greed and your kindness, And your hearts like broken toys; You carry fear with you everywhere Like a tiny god In its box of shadows. You love festivals and music And good food. You lie to yourselves Because you're afraid of the dark. But the truth is: you are in my hands And I am in yours. We are in this together, Face to face and eye to eye; We're made for each other. Now those of you who are still here; Open your eyes and tell me what you see.

I was at ease in everything, to be sure, but at the same time satisfied with nothing. Each joy made me desire another. I went from festivity to festivity. On occasion I danced for nights on end, ever madder about people and life. At times, late on those nights when the dancing, the slight intoxication, my wild enthusiasm, everyone’s violent unrestraint would fill me with a tired and overwhelmed rapture, it would seem to me—at the breaking point of fatigue and for a second’s flash—that at last I understood the secret; I would rush forth anew. I ran on like that, always heaped with favors, never satiated, without knowing where to stop, until the day -- until the evening rather when the music stopped and the lights went out.

I was at ease in everything, to be sure, but at the same time satisfied with nothing. Each joy made me desire another. I went from festivity to festivity. On occasion I danced for nights on end, ever madder about people and life. At times, late on those nights when the dancing, the slight intoxication, my wild enthusiasm, everyone’s violent unrestraint would fill me with a tired and overwhelmed rapture, it would seem to me—at the breaking point of fatigue and for a second’s flash—that at last I understood the secret; I would rush forth anew. I ran on like that, always heaped with favors, never satiated, without knowing where to stop, until the day — until the evening rather when the music stopped and the lights went out.

Coachella is a festival fashion show where people dress up like hippies and pretend that Passion Pit is as good as the Rolling Stones.

Phish might’ve already given it away, but inside the white man rages a music festival for lumberjacks.

Words like “outdoor music festival” are why I am so glad summer in Chicago lasts approximately seven minutes.

Kropp, on the other hand, is more philosophical. He reckons that all declarations of war ought to be made into a kind of festival, with entrance tickets and music, like they have at bullfights. Then the ministers and generals of the two countries would have to come into the ring, wearing boxing shorts, and armed with rubber truncheons, and have a go at each other. Whoever is left on his feet, his country is declared the winner. That would be simpler and fairer than things are out here, where the wrong people are fighting each other.

He reakons that all declarations of war ought to be made into a kind of festival, with entrance tickets and music, like they have at bullfights. Then the ministers and generals of the two countries would have to come into the ring, wearing boxer shorts, and armed with rubber trunchons, and have a go at each other. Whoever is left on his feet, his country is declared the winner. That would be simpler and fairer than things are out here, where the wrong people are fighting each other.

It’s a much more beautiful city than I’d imagined, soaring gray buildings and grand, imposing architecture. Perhaps it’s the fact that the streets glitter with frost and there are snowflakes blowing in the air, but there’s a magical edge to it. It’s Christmas in two days; revelers spill onto the cobbled pavements from the bars and pubs, and it’s wall-to-wall festive music on the cab radio.

Every year when i travel around the world, i wonder if it’ll be diferent, maybe one year won’t come to the show or you’ll be less festival, but what i realized during ARTPOP is that we belong together and some stories have no end. I will follow you around the world as long as you’ll have me because i love making music, i love making art and i love, love meeting all you beautiful, creative people“.

Jimi, a red scarf around his head and wearing a white fringed and beaded leather shirt, looked almost like a mystical holy man in meditation. His eyes closed, his head back, he'd merged with his music, his Strat--played upside down since he's a lefty--his magic wand. Though he was surrounded by his band, he projected the feeling he was all alone. ... Tom Law of the Hog Farm (on Jimi's rendition of the national anthem): I felt like he was the defining poet of the festival with that piece of music. It was like taking you right into the heart of the beast and nailing it.

In itself that music festival was nothing special, these music festivals in our country are all alike, performing a most useful function especially for all those people who are chained to their labors, year in and year out, so naturally everybody comes flocking to the two or three music festivals per year, with their actual and their so-called amusements and distractions, these affairs are called music festivals because unlike the usual so-called country fairs they feature a band, an enormous attraction to the populace, that's all it is, but the organizers know that they can draw a much larger crowd by calling it a music festival rather than a country fair, so it has become the custom to call these events music festivals even if they are nothing more than country fairs, everybody attends these music festivals which usually begin early on Saturday night and end late on Sunday morning.

Amma wanted her daughter to be free, feminist and powerful Later she took her on personal development courses for children to give her the confidence and articulacy to flourish in any setting Big mistake Mum, Yazz said at fourteen when she was pitching to go to Reading Music Festival with her friends, it would be to the detriment of my juvenile development if you curtailed my activities at this critical stage in my journey towards becoming the independent-minded and fully self-expressed adult you expect me to be, I mean, do you really want me rebelling against your old-fashioned rules by running away from the safety of my home to live on the streets and having to resort to prostitution to survive and thereafter drug addiction, crime, anorexia and abusive relationships with exploitative bastards twice my age before my early demise in a crack house? Amma fretted the whole weekend her little girl way away

Yet, there is a Chennai that hasn’t changed and never will. Women still wake up at the crack of dawn and draw the kolam—the rice-flour design—outside their doorstep. Men don’t consider it old-fashioned to wear a dhoti, which is usually matched with a modest pair of Bata chappals. The day still begins with coffee and lunch ends with curd rice. Girls are sent to Carnatic music classes. The music festival continues to be held in the month of December. Tamarind rice is still a delicacy—and its preparation still an art form. It’s the marriage between tradition and transformation that makes Chennai unique. In a place like Delhi, you’ll have to hunt for tradition. In Kolkata, you’ll itch for transformation. Mumbai is only about transformation. It is Chennai alone that firmly holds its customs close to the chest, as if it were a box of priceless jewels handed down by ancestors, even as the city embraces change.

With a clamor of bells that set the swallows soaring, the Festival of Summer came to the city. Omelas, bright-towered by the sea. The rigging of the boats in harbor sparkled with flags. In the streets between houses with red roofs and painted walls, between old moss-grown gardens and under avenues of trees, past great parks and public buildings, processions moved. Some were decorous: old people in long stiff robes of mauve and grey, grave master workmen, quiet, merry women carrying their babies and chatting as they walked. In other streets the music beat faster, a shimmering of gong and tambourine, and the people went dancing, the procession was a dance.

The feast lasted nine days, the last three becoming a continuous circle dance accompanied by songs and music. Noemi always stayed on the belvedere among the banquet remains. ... No, she didn't dance, she didn't laugh, but it was enough for her to see people enjoying themselves, because she too hoped to take part in the festival of life.

The Boston Globe: The Woodstock Music and Art Festival will surely go down in history as a mass event of great and positive significance in the life of the country ... That this many young people could assemble so peaceably and with such good humor in a mile-square area ... speaks volumes about their dedication to the ideal of respect for the dignity of the individual ... In a nation beset with a crescendo of violence, this is a vibrantly hopeful sign. If violence is infectious, so, happily, is nonviolence.

Annwyl: dear Iesu Mawr: great Jesus Hwyl fawr am nawr: good-bye for now Diolch i Dduw: Thank God Dw i’n dy garu di: I love you Owain Glyndŵr: a Welsh ruler, a figure of Welsh nationalism, and the last native Welshman to hold the title Prince of Wales. He lived from 1349–1416 Eistedfodd: a festival of Welsh literature, music, dancing, and acting

Anchoring the country's southwest is Finland's former capital, Turku. This striking seafaring city stretches along the broad Aurajoki from its Gothic cathedral to its medieval castle and vibrant harbour. Turku challenges Helsinki's cultural pre-eminence with cutting-edge galleries, museums and restaurants, and music festivals that electrify the summer air.

I come from the heart land of New Zealand. A place where men are men and there is no such thing as a latte. Where a day’s work is only done one way. THE HARD WAY. Where the vehicle you drive doesn’t symbolize who you are. A place where a beer is a beer and it comes only one way, ICE COLD. Yes the great land I like to call home the Waikato but yes all this beauty comes at a price obviously where men actually act like men not knob head; makeup wearing, tight jean wearing homos there will always be a shortage of real women. So just as the last generation of real men, almost every weekend we head into every bar, club, party or music festival we can in the hopes of finding a real women. Don’t get me wrong, bars clubs a music fests are the best fun ever. And I drink alcohol like it’s going out of fashion not that we care about fashion round here. See you in the heart land

While in the United States and Europe "revolution" was an excuse to sell pop music, stage protests, and hold festivals, it was being played for keeps in Asia. Young people were not just challenging their elders but pushing them aside, expelling, imprisoning, and in many cases executing them, all the while extolling the young as the righteous vanguard, their very youth a badge of purity. They were, by definition, forward-thinking. And in Hue they were armed.

Ultimately, the roast turkey must be regarded as a monument to Boomer's love. Look at it now, plump and glossy, floating across Idaho as if it were a mammoth, mutated seed pod. Hear how it backfires as it passes the silver mines, perhaps in tribute to the origin of the knives and forks of splendid sterling that a roast turkey and a roast turkey alone possesses the charisma to draw forth into festivity from dark cupboards. See how it glides through the potato fields, familiarly at home among potatoes but with an air of expectation, as if waiting for the flood of gravy. The roast turkey carries with it, in its chubby hold, a sizable portion of our primitive and pagan luggage. Primitive and pagan? Us? We of the laser, we of the microchip, we of the Union Theological Seminary and Time magazine? Of course. At least twice a year, do not millions upon millions of us cybernetic Christians and fax machine Jews participate in a ritual, a highly stylized ceremony that takes place around a large dead bird? And is not this animal sacrificed, as in days of yore, to catch the attention of a divine spirit, to show gratitude for blessings bestowed, and to petition for blessings coveted? The turkey, slain, slowly cooked over our gas or electric fires, is the central figure at our holy feast. It is the totem animal that brings our tribe together. And because it is an awkward, intractable creature, the serving of it establishes and reinforces the tribal hierarchy. There are but two legs, two wings, a certain amount of white meat, a given quantity of dark. Who gets which piece; who, in fact, slices the bird and distributes its limbs and organs, underscores quite emphatically the rank of each member in the gathering. Consider that the legs of this bird are called 'drumsticks,' after the ritual objects employed to extract the music from the most aboriginal and sacred of instruments. Our ancestors, kept their drums in public, but the sticks, being more actively magical, usually were stored in places known only to the shaman, the medicine man, the high priest, of the Wise Old Woman. The wing of the fowl gives symbolic flight to the soul, but with the drumstick is evoked the best of the pulse of the heart of the universe. Few of us nowadays participate in the actual hunting and killing of the turkey, but almost all of us watch, frequently with deep emotion, the reenactment of those events. We watch it on TV sets immediately before the communal meal. For what are footballs if not metaphorical turkeys, flying up and down a meadow? And what is a touchdown if not a kill, achieved by one or the other of two opposing tribes? To our applause, great young hungers from Alabama or Notre Dame slay the bird. Then, the Wise Old Woman, in the guise of Grandma, calls us to the table, where we, pretending to be no longer primitive, systematically rip the bird asunder. Was Boomer Petaway aware of the totemic implications when, to impress his beloved, he fabricated an outsize Thanksgiving centerpiece? No, not consciously. If and when the last veil dropped, he might comprehend what he had wrought. For the present, however, he was as ignorant as Can o' Beans, Spoon, and Dirty Sock were, before Painted Stick and Conch Shell drew their attention to similar affairs. Nevertheless, it was Boomer who piloted the gobble-stilled butterball across Idaho, who negotiated it through the natural carving knives of the Sawtooth Mountains, who once or twice parked it in wilderness rest stops, causing adjacent flora to assume the appearance of parsley.

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

The carillon is, after all, the music of the people. Elsewhere, in the glittering capitals, public festivals are celebrated with fireworks, that magical offering that can thrill the very soul. Here, in the meditative land of Flanders, among the damp mists so antagonistic to the brilliance of fire, the carillon takes their place. It is a display of fireworks that one hears: flares, rockets, showers, a thousand sparks of sound which colour the air for visionary eyes alerted by hearing.

It seems to begin before dawn with the Muslims, when a mosque at the edge of the mangrove forest softly announces, in a lullaby voice, the morning call to prayer. Not to be outdone, the local Christians soon crank up pop-sounding hymns that last anywhere from one to three hours. This is followed by cheerful, though overamplified, kazoo-like refrain from the Hindu temple that reminds Less of the ice cream truck from his childhood. Then comes a later call to prayer. Then the Christians decide to ring some bronze bells. And so on. There are sermons and live singers and thunderous drum performances. In this way, the faiths alternate throughout the day, as at a music festival, growing louder and louder until, during the outright cacophony of sunset, the Muslims, who began the whole thing, declare victory by projecting not only the evening call to prayer but the prayer itself in its entirety. After that, the jungle falls to silence. Perhaps this is the Buddhists' sole contribution. Every morning, it starts again.

Y'know, when I first started listening to punk rock music, I used to get my fucking ass kicked for it! I was known as a fucking freak! But now I'm amongst many many many freaks here with me tonight! - Billie Joe Armstrong,Stay The Night, Reading Festival 2013

Slowly the bluish spring moon climbs the houses, sliding up the minarets into the clicking palm-trees, and with it the city seems to uncurl like some hibernating animal dug out of its winter earth, to stretch and begin to drink in the music of the three-day festival.

Are you a chamber-music aficionado? Or do you like rock so raucous it makes your ears bleed? Whatever your pleasure, Finland has a music festival to suit. Savonlinna’s castle is the dramatic setting for a month-long opera festival; fiddlers gather at Kaustinen for full-scale folk; Pori, Espoo and Tampere attract thousands of jazz fans; Seinäjoki flashes sequins and high heels during its five-day tango festival; Turku's Ruisrock is one of several kicking rock festivals; and the Sibelius Festival in Lahti ushers in autumn with classical grace.

The festive music died down and the granite pillars were replaced with rotted wooden beams as he continued down the alleyways. The scent of fresh flowers turned to mold, and the colorful mosiacs of honor and nobility were nonexistent. Run-down tenements were shadowed by its surrounding buildings, as if the capital itself wanted to conceal its existence.

The wires noted how all four Beatles attended Bob Dylan’s Royal Festival Hall appearance, captured by D. A. Pennebaker’s Don’t Look Back documentary. Dylan’s recent Bringing It All Back Home featured a side of electric rock, and this would be his last acoustic-only tour. Convulsed over Dylan’s identity, his British audience parsed every lyric, mistrusting his flirtation with rock ’n’ roll more for its flight from literary pretense than inexplicable lack of explicit social protest. The Beatles’ attendance conferred royal approval of Dylan’s vexing persona, whichever guise it took. With the publication of Lennon’s second book, A Spaniard in the Works, the Dylan rivalry intensified. Spaniard was both hastier than its predecessor and more ambitious, with more wordplay by the pound.

If the early English and LA punk bands shared a common sound, the New York bands just shared the same clubs. As such, while the English scene never became known as the '100 Club' sound, CBGBs was the solitary common component in the New York bands' development, transcended once they had outgrown the need to play the club. Even their supposed musical heritage was not exactly common -- the Ramones preferring the Dolls/Stooges to Television's Velvets/Coltrane to Blondie's Stones/Brit-Rock. Though the scene had been built up as a single movement, when commercial implications began to sink in, the differences that separated the bands became far more important than the similarities which had previously bound them together. In the two years following the summer 1975 festival, CBGBs had become something of an ideological battleground, if not between the bands then between their critical proponents. The divisions between a dozen bands, all playing the same club, all suffering the same hardships, all sharing the same love of certain central bands in the history of rock & roll, should not have been that great. But the small scene very quickly partitioned into art-rockers and exponents of a pure let's-rock aesthetic.

She began to take exercise far too late, embarking on tiny cycling tours to music festivals, or flower shows, or doing the rounds of churches – there were so many spires in her uninspiring adopted home. Three kids, one episiotomy, two continents, many phobias, lots of depressions. Old fat lady's underwear. It was all a curse upon cycling, which she'd taken up for what reason? Believe it or not, not even the bulbous seventies there were still bulbous, middle-aged women such as she, who thought that the principle of cycling meant something. They cycled and they ate in health-food restaurants like Cranks or Ceres, their cussedness aimed at appeasing the Earth Goddess herself. They almost fucking overdosed on grated carrot; while sipping fucking prune juice. They invented being environmentally-conscious, with their vegetable-buying co-operatives which gave them an excuse to put gumboots on in town.

They told me they were headed for a planet the name of which I had not heard before, and they talked among themselves, gaily and happily, but in such a way that I did not seem to be left out. From their talk I gained the fact that some form of art was being presented at the festival on this planet. The art form was not alone of music or painting, but was composed of sound and color and emotion and form and other qualities for which there seem to be no words in the language of the Earth, and which I do not entirely recognize, only gaining the very faintest inkling of what they were talking of in this particular regard. I gained the impression of a three-dimensional symphony, although this is not entirely the right expression, which had been composed, not by a single being, but by a team of beings. They talked of the art form enthusiastically and I seemed to understand that it would last for not only several hours, but for days, and that it was an experience rather than a listening or seeing and that the spectators or audience did not merely sit and listen, but could, if they wished, and must, to get the most out of it, be participants.

Men," said the little prince, "set out on their way in express trains, but they do not know what they are looking for. Then they rush about, and get excited, and turn round and round..." And he added: "It is not worth the trouble..." [...] "I am thirsty for this water," said the little prince. "Give me some of it to drink..." And I understood what he had been looking for. I raised the bucket to his lips. He drank, his eyes closed. It was as sweet as some special festival treat. This water was indeed a different thing from ordinary nourishment. Its sweetness was born of the walk under the stars, the song of the pulley, the effort of my arms. It was good for the heart, like a present. When I was a little bou, the lights of the Christmas tree, the music of the Midnight Mass, the tenderness of smiling faces, used to make up, so the radiance of the gifts I received. "The men where you live," said the little prince, "raised five thousand roses in the same garden - and they do not find in it what they are looking for. [...] And yet what they are looking for could be found in one single rose, or in a little water." "Yes, that is true," I said. And the little prince added: "But the eyes are blind. One must look with the heart...

The End” It is time for me to go, mother; I am going. When in the paling darkness of the lonely dawn you stretch out your arms for your baby in the bed, I shall say, “Baby is not there!”—mother, I am going. I shall become a delicate draught of air and caress you; and I shall be ripples in the water when you bathe, and kiss you and kiss you again. In the gusty night when the rain patters on the leaves you will hear my whisper in your bed, and my laughter will flash with the lightning through the open window into your room. If you lie awake, thinking of your baby till late into the night, I shall sing to you from the stars, “Sleep, mother, sleep.” On the straying moonbeams I shall steal over your bed, and lie upon your bosom while you sleep. I shall become a dream, and through the little opening of your eyelids I shall slip into the depths of your sleep; and when you wake up and look round startled, like a twinkling firefly I shall flit out into the darkness. When, on the great festival of puja, the neighbours’ children come and play about the house, I shall melt into the music of the flute and throb in your heart all day. Dear auntie will come with puja-presents and will ask, “Where is our baby, sister?” Mother, you will tell her softly, “He is in the pupils of my eyes, he is in my body and in my soul.

This sound, which like all music--indeed, like all pleasure--I had been numbly unresponsive to for months, pierced my heart like a dagger, and in a flood of swift recollection I thought of all the joys the house had known: the children who had rushed through its rooms, the festivals, the love and work, the honestly earned slumber, the voices and the nimble commotion, the perennial tribe of cats and dogs and birds, "laughter and ability and Sighing, And Frocks and Curls." All this I realized was more than I could ever abandon, even as what I had set out so deliberately to do was more than I could inflict on those memories, and upon those, so close to me, with whom the memories were bound. And just as powerfully I realized I could not commit this desecration on myself.

There was gray train smoke over the town most days, it smelled of travel, of transcontinental trains about to flash by, of important things about to happen. The train smell sounded the ‘A’ for Lamptown and then a treble chord of frying hamburger and onions and boiling coffee was struck by Hermann Bauer's kitchen, with a sostenuto of stale beer from Delaney's back door. These were all busy smells and seemed a 6 to 6 smell, a working town's smell, to be exchanged at the last factory whistle for the festival night odors of popcorn, Spearmint chewing gum, barber-shop pomades, and the faint smell of far-off damp cloverfields. Mornings the cloverfields retreated when the first Columbus local roared through the town. Bauer’s coffee pot boiled over again, and the factory’s night watchmen filed into Delaney’s for their morning beer.

Of all the old festivals, however, that of Christmas awakens the strongest and most heartfelt associations. There is a tone of solemn and sacred feeling that blends with our conviviality, and lifts the spirit to a state of hallowed and elevated enjoyment. The services of the church about this season are extremely tender and inspiring. They dwell on the beautiful story of the origin of our faith, and the pastoral scenes that accompanied its announcement. They gradually increase in fervor and pathos during the season of Advent, until they break forth in full jubilee on the morning that brought peace and goodwill to men. I do not know a grander effect of music on the moral feelings than to hear the full choir and the pealing organ performing a Christmas anthem in a cathedral, and filling every part of the vast pile with triumphant harmony.

As already suggested, when the individual first learns who it is that he must now accept a his own, he is likely, at the very least, to feel some ambivalence; for these others will not only be patently stigmatized, and thus not like the normal person he knows himself to be, but ma also have other attributes with which he finds it difficult to associate himself. What may end up as a freemasonry may begin with a shudder. A newly blind girl on a visit to The Lighthouse [probably the Chicago Lighthouse, one of the oldest social service agencies in Chicago serving the blind or visually impaired] directly from leaving the hospital provides an illustration: „My questions about a guide dog were politely turned aside. Another sighted worker took me in tow to show me around. We visited the Braille library; the classrooms; the clubrooms where the blind members of the music and dramatic groups meet; the recreation hall where on festive occasion the blind play together; the cafeteria, where all the blind gather to eat together; the huge workshops where the blind earn a subsistence income by making mops and brooms, weaving rugs, caning chairs. As we moved from room to room, I could hear the shuffling of feet, the muted voices, the tap-tap-tapping of canes. Here was the safe, segregated world of the sightless — a completely different world, I was assured by the social worker, from the one I had just left…. I was expected to join this world. To give up my profession and to earn my living making mops. The Lighthouse would be happy to teach me how to make mops. I was to spend the rest of my life making mops with other blind people, eating with other blind people, dancing with other blind people. I became nauseated with fear, as the picture grew in my mind. Never had I come upon such destructive segregation.“ (p.37)

Odd Fellows Chamber Music for 2013 will be in October this year To Participants in the Odd Fellows Youth Chamber Music Project: Because an elevator is being installed at the Lodge, probably during August, we have to change the date: Instead of the two-week August program, we will be holding a weekend Baroque Festival in October, with an emphasis on Bach. There will be groups of all sizes and levels. The Program will take place on October 19th and 20th, 2013. We will rehearse from 9:30 AM to 12 Noon, and from 1 PM to 5PM, on Saturday. We’ll be feeding you during the lunch break. The performance will be at 3 PM on Sunday October 20th. Reception after. We’ll still be keeping one person on each part, and without Conductors. We will be sending out applications soon. Probably the deadline will be July 1st. Hope you all can make it. If you know of anyone who has played in the past who hasn’t gotten this invitation, please have them contact us. We’re trying not leave anyone out. Cathy O’Connor Ted Seitz Reality has a well-known liberal bias.

Let the nations be glad and sing for joy…. —Psalm 67:4 (KJV) My wife was poring over a map of Europe. “Look, Danny. My homeland is a tiny little country. I had no idea it was so small.” “I know, you could put maybe half a dozen Irelands inside the state of Texas.” It may be small, but Ireland has made a huge impression on the world. More than a dozen US presidents and some thirty-four million Americans trace their roots to Ireland, including my own auburn bride. Officially, Saint Patrick’s Day honors the missionary who came to Ireland about 1,600 years ago. There he started hundreds of churches and baptized thousands, thus raising the moral profile of Ireland. But most of his life is a mystery and forgotten. Unofficially, Saint Patrick’s Day is everybody’s opportunity to be Irish for a day, regardless of religion or nationality. By the simple act of wearing green, I can be lucky or bonny or practice a bit of blarney. In short, I can be happy for a day. There are many ways to celebrate the day. Some daring types dye their hair green or wear shamrock tattoos. Others march in parades or attend Irish festivals, where they dance an Irish jig or enjoy an Irish stew. More serious types demonstrate for green causes or go to spiritual retreats, where they pray for missionaries. Yes, I will wear green today, so I don’t get pinched. And I will listen to some fine Irish music, starting with my favorite, “Danny Boy.” I will also pray for some of my former students who are currently missionaries in Ireland. Most of all, I will try to be happy for the day. That’s what it’s really all about, isn’t it? And if I can be happy for one day, why not every day? There is much to be happy about, God. Help me find a reason to sing with joy every day. —Daniel Schantz Digging Deeper: Ps 16:9; Is 55:12

You’re right: if there’s sentient life behind the border, it probably won’t share my goals. Unlike the people in this room, who all want exactly the same things in life as I do, and have precisely the same tastes in food, art, music, and sex. Unlike the people of Schur, and Cartan, and Zapata — who I came here in the hope of protecting, after losing my own home — who doubtless celebrate all the same festivals, delight in the same songs and stories, and gather every fortieth night to watch actors perform the same plays, in the same language, from the same undisputed canon, as the people I left behind. “If there’s sentient life behind the border, of course we couldn’t empathize with it. These creatures are unlikely to possess cute mammalian neonate faces, or anything else we might mistake for human features. None of us could have the imagination to get over such insurmountable barriers, or the wit to apply such difficult abstractions as the General Intelligence theorem — though since every twelve-year-old on my home world was required to master that result, it must be universally known on this side of the border. “You’re right: we should give up responsibility for making any difficult moral judgments, and surrender to the dictates of natural selection. Evolution cares so much about our happiness that no one who’s obeyed an inherited urge has ever suffered a moment’s regret for it. History is full of joyful case studies of people who followed their natural instincts at every opportunity — fucking whoever they could, stealing whatever they could, destroying anything that stood in their way — and the verdict is unanimous: any behavior that ever helped someone disseminate their genes is a recipe for unalloyed contentment, both for the practitioners, and for everyone around them.

Many a time when I sat in the balcony, or hanging garden, on which my window opened, I have watched her rising in the air on her radiant wings, and in a few moments groups of infants below, catching sight of her, would soar upward with joyous sounds of greeting; clustering and sporting around her, so that she seemed a very centre of innocent delight. When I have walked with her amidst the rocks and valleys without the city, the elk-deer would scent or see her from afar, come bounding up, eager for the caress of her hand, or follow her footsteps, till dismissed by some musical whisper that the creature had learned to comprehend. It is the fashion among the virgin Gy-ei to wear on their foreheads a circlet, or coronet, with gems resembling opals, arranged in four points or rays like stars. These are lustreless in ordinary use, but if touched by the vril wand they take a clear lambent flame, which illuminates, yet not burns. This serves as an ornament in their festivities, and as a lamp, if, in their wanderings beyond their artificial lights, they have to traverse the dark. There are times, when I have seen Zee’s thoughtful majesty of face lighted up by this crowning halo, that I could scarcely believe her to be a creature of mortal birth, and bent my head before her as the vision of a being among the celestial orders. But never once did my heart feel for this lofty type of the noblest womanhood a sentiment of human love. Is it that, among the race I belong to, man’s pride so far influences his passions that woman loses to him her special charm of woman if he feels her to be in all things eminently superior to himself? But by what strange infatuation could this peerless daughter of a race which, in the supremacy of its powers and the felicity of its conditions, ranked all other races in the category of barbarians, have deigned to honour me with her preference?

And if you wish to receive of the ancient city an impression with which the modern one can no longer furnish you, climb—on the morning of some grand festival, beneath the rising sun of Easter or of Pentecost—climb upon some elevated point, whence you command the entire capital; and be present at the wakening of the chimes. Behold, at a signal given from heaven, for it is the sun which gives it, all those churches quiver simultaneously. First come scattered strokes, running from one church to another, as when musicians give warning that they are about to begin. Then, all at once, behold!—for it seems at times, as though the ear also possessed a sight of its own,—behold, rising from each bell tower, something like a column of sound, a cloud of harmony. First, the vibration of each bell mounts straight upwards, pure and, so to speak, isolated from the others, into the splendid morning sky; then, little by little, as they swell they melt together, mingle, are lost in each other, and amalgamate in a magnificent concert. It is no longer anything but a mass of sonorous vibrations incessantly sent forth from the numerous belfries; floats, undulates, bounds, whirls over the city, and prolongs far beyond the horizon the deafening circle of its oscillations. Nevertheless, this sea of harmony is not a chaos; great and profound as it is, it has not lost its transparency; you behold the windings of each group of notes which escapes from the belfries. You can follow the dialogue, by turns grave and shrill, of the treble and the bass; you can see the octaves leap from one tower to another; you watch them spring forth, winged, light, and whistling, from the silver bell, to fall, broken and limping from the bell of wood; you admire in their midst the rich gamut which incessantly ascends and re-ascends the seven bells of Saint-Eustache; you see light and rapid notes running across it, executing three or four luminous zigzags, and vanishing like flashes of lightning. Yonder is the Abbey of Saint-Martin, a shrill, cracked singer; here the gruff and gloomy voice of the Bastille; at the other end, the great tower of the Louvre, with its bass. The royal chime of the palace scatters on all sides, and without relaxation, resplendent trills, upon which fall, at regular intervals, the heavy strokes from the belfry of Notre-Dame, which makes them sparkle like the anvil under the hammer. At intervals you behold the passage of sounds of all forms which come from the triple peal of Saint-Germain-des-Prés. Then, again, from time to time, this mass of sublime noises opens and gives passage to the beats of the Ave Maria, which bursts forth and sparkles like an aigrette of stars. Below, in the very depths of the concert, you confusedly distinguish the interior chanting of the churches, which exhales through the vibrating pores of their vaulted roofs. Assuredly, this is an opera which it is worth the trouble of listening to. Ordinarily, the noise which escapes from Paris by day is the city speaking; by night, it is the city breathing; in this case, it is the city singing. Lend an ear, then, to this concert of bell towers; spread over all the murmur of half a million men, the eternal plaint of the river, the infinite breathings of the wind, the grave and distant quartette of the four forests arranged upon the hills, on the horizon, like immense stacks of organ pipes; extinguish, as in a half shade, all that is too hoarse and too shrill about the central chime, and say whether you know anything in the world more rich and joyful, more golden, more dazzling, than this tumult of bells and chimes;—than this furnace of music,—than these ten thousand brazen voices chanting simultaneously in the flutes of stone, three hundred feet high,—than this city which is no longer anything but an orchestra,—than this symphony which produces the noise of a tempest.

The village square teemed with life, swirling with vibrant colors and boisterous chatter. The entire village had gathered, celebrating the return of their ancestral spirit. Laughter and music filled the air, carrying with it an energy that made Kitsune smile. Paper lanterns of all colors floated lazily above, their delicate glow reflecting on the smiling faces below. Cherry blossoms caught in the playful breeze, their sweet, earthy scent settling over the scene. At the center, villagers danced with unbridled joy, the rhythm of the taiko drums and the melody of flutes guiding their steps. To the side, a large table groaned under the weight of a feast. Sticky rice balls, steamed dumplings, seaweed soup, sushi, and more filled the air with a mouthwatering aroma. As she approached the table, she was greeted warmly by the villagers, who offered her food, their smiles genuine and welcoming. She filled a plate and sat at a table with Goro and Sota, overlooking the celebration. The event brought back a flood of memories of a similar celebration from her childhood—a time when everything was much simpler and she could easily answer the question who are you? The memory filled her heart with a sweet sadness, a reminder of what she lost and what had carved the road to where she was now. Her gaze fell on the dancing villagers, but she wasn’t watching them. Not really. Her attention was fully embedded in her heart ache, longing for the past, for the life that was so cruelly ripped away from her. “I think... I think I might know how to answer your question,” she finally said, her voice soft and steady, barely audible over the cacophony of festivity around them. “Oh?” Goro responded, his face alight with intrigue. “I would have to tell you my story.” Kitsune’s eyes reflected the somber clouds of her past. Goro swallowed his bite of food before nodding. “Let us retire to the dojo, and you can tell me.” They retreated from the bustling square, leaving behind the chaos of the celebration. The sounds of laughter and chatter and drums carried away by distance. The dojo, with its bamboo and sturdy jungle planks, was bathed in the soft luminescence of the moonlight, the surface of its wooden architecture glistening faintly under the glow. They stepped into the silent tranquility of the building, and Kitsune made her way to the center, the smooth, cool touch of the polished wooden floor beneath her providing a sense of peace. Assuming the lotus position, she calmed herself, ready to speak of memories she hadn’t confronted in a long time. Not in any meaningful way at least. Across from her, Goro settled, his gaze intense yet patient, encouraging her with a gentle smile like he somehow already understood her story was hard to verbalize.

Jazz has a strong following in certain circles and there are annual jazz festivals in Puerto Plata and at Casa de Teatro in the capital. Grammy-winning Dominican jazz pianist Michael Camilo has had success on a global level. The classical music and ballet

The very first thing I saw at this year's Telluride Film Festival was sheer bliss. "Lava," a musical romance from Pixar Animation, was one of the shorts that traditionally precede almost every festival screening; the director was James Ford Murphy. The story, spanning millions of years in 7 minutes, starts with a lonely Hawaiian volcano who, crooning to ukulele accompaniment, yearns for "someone to lava.

what I call Destination Jewish Culture. These programs are also low barrier and held in secular spaces. However, they usually require some level of planned participation (a set start time and destination event) and may charge a nominal fee (though no more than what would be charged at a secular equivalent). Good examples of programs that might fit in this circle are Jewish film festivals held in commercial theaters or a Jewish musical event held in a concert hall. The third level of Public Space Judaism is what might be described as Open Door Community programs. These may be held within Jewish communal institutions, but they are open to the entire community. A good example of this approach is the Reform Jewish movement’s Taste of Judaism program (although the program is not limited to the Reform movement). This brief three-week introduction to Judaism is free, welcomes all participants

A pictograph of a Chinese drum and cymbal set , played at all the festivals, symbolized music and pleasure. The Chinese first simplified it to , then wrote the final form 楽, meaning music or pleasure. Used as a word by itself, generally meaning pleasure, it is pronounced TANOSHI-I. In compound words it is pronounced RAKU or GAKU. 音楽 ONGAKU, sound-music, means music. 気楽 KIRAKU, spirit-pleasure, means happy-go-lucky or carefree. A 楽器 GAKKI, music-utensil, is a musical instrument.

ave you noticed the focus these days is back on the simple things of life? What's the first thing you do when you pick a rose? You smell the fragrance. Maybe it brings back a memory of the time you picked flowers for your mom. Perhaps it's time to recapture some of that girlhood simplicity. A lavender sachet in your drawer can be an unexpected and simple pleasure. Spray a little cologne on your notepaper or even on the bathroom throw rug. Or better yet, boil a little pot of cinnamon and enjoy the aroma. Put on lively music while you do your housework. Light candles for a quiet yet festive atmosphere. When we find satisfaction in the little things in life, we are happier and more willing to look for the positive in bigger things. olor in your home can make a world of difference. It can help you redefine spaces. If an area is too large, add a throw rug in a complementary color and create a "get together" spot. Add some soft colored curtains for a change of seasons. The idea is to create intimacy, a place that's inviting on a chilly evening or a warm spring afternoon. The richer the colors, the more welcoming the space. Red is great for warmth. Go for it! And shades of cranberry and plum work well. Experiment and step out of your comfort zone. Your home can be a place that gives you a feeling of quiet for thinking about what really counts in life and also be a festive atmosphere for celebrating. on't put all your emotional eggs in one basket. Our work consumes much of our time, and that's natural. And for some of you, that's 95 percent of your awake hours. Is it time to change your focus-to make life a little easier and less stressful for

Her feet shifted underneath her. “I’m not sure what troubles you.” The wolf prowled, though he sat in a great chair. His uneasiness made her skin tight and her heart race. Hakan was a handsome man, very appealing to all of the fairer sex tonight with his black jerkin stretched across broad shoulders. He had shaved for the Glima festival, and his blonde hair, lighter from summer, loosened from the leather tie. “Many thoughts trouble me tonight, but Astrid’s not one of them.” In the dim light of the longhouse, his white teeth gleamed against his tanned face. “Does your head ail you?” She clasped her hands together, comfortable with the role of nurturing thrall. “Nay, but ‘twould please me if you sat close to me and played your harp.” “Music would be pleasant.” Skittish and studying him under the veil of her lashes, Helena retrieved her harp. She sat cross-legged on a pelt near his chair. ‘Twas easy to strum a soothing song and lose herself in the delicate notes her fingers plucked. But when the last note faded, the restless wolf stirred on his throne, unpacified. “Why did you play that game with Astrid? Letting her think more goes on between us?” Ice-blue eyes pinned her, yet, ‘twas his voice, dangerous and soft, that did things to her. “I…I don’t know.” Her own voice faltered as warmth flushed her skin. Glowing embers molded his face with dim light. Hakan leaned forward, resting both elbows on his knees. His sinewy hand plucked the harp from her, placing it on the ground. “Why?” Hakan’s fingertips tilted her chin.

Two years before our arrival at Maplehurst, we had left the Midwest eager for new jobs, milder weather, and a house of our own with a real backyard. We were unprepared for the enormity of our losses. Good friends. Close-knit community. A meaningful connection with the work of our minds and our hands. There was one lost thing, in particular. It was such a natural part of our prewilderness lives that I only ever recognized it after it was gone. In our northern city, we had lived a seasonal rhythm of summer festivals and winter sledding, spring baseball games and autumn apple picking. Our moments and our months were distinguished by the color of the trees, deep red or spring green, and the color of the lake, sparkling and playful in summer, menacing and dull in winter. These things were the beautiful, sometimes harsh, but always rhythmic backdrop in our days. Time was like music. It had a melody. In the wilderness, the only thing that differentiated one season from the next was my terrible winter asthma. Without time's music, I became aimless and disconnected, like a child's lost balloon.

La “Crisi Esistenziale” di chi ama l’amore e ha il coraggio di amare. Nell’epoca dove tante cose sembrano andate perse, e dove molti valori sembrano pian piano scomparsi, si trova spazio e l’ispirazione di far nascere una nuova canzone, con la quale si vuole comunicare i tanti disagi che il mondo attuale si appresta a vivere, le tante problematiche che spesso attanagliano l’essere umano, sempre preso da se stesso, e molto spesso distratto da tutte le cose che il mondo e la vita offrono. E' cosi che nasce “Crisi Esistenziale” il nuovo brano che dà il via al nuovo album di Savio De Martino, cantautore dalle mille risorse artistiche, un brano scritto dallo stesso Cantautore, sia per la parte letteraria, che per la parte musicale, un brano voluto, un testo ricercato, una canzone necessaria, una sorta di protesta, un modo di gridare e poter dire, BASTA !!! Questo stesso brano è stato anche proposto alla candidatura per le nuove proposte di Sanremo Giovani 2015, proprio perche’ i giovani possano valorizzare la propria vita e il futuro, trovando stimoli nuovi, trovando aiuto in chi ha potere, costruirsi un domani fatto di sogni da poter realizzare, Savio De Martino ancora una volta riesce a regalare nuove emozioni, il suo essere cosi poliedrico, rende questo artista, seppur giovane, capace di mettersi sempre in gioco e in discussione con vari generi musicali. Le sue tendenze variano dal Pop al Jazz, dal Blues alla buona Musica Leggera, in tanti anni di gavetta e di carriera è sempre riuscito a dire la sua, regalando al pubblico che lo segue con affetto e stima, tante emozioni e soprattutto tanta energia positiva. Lui innamorato della vita, innamorato della musica, e speranzoso che le cose e il mondo puo’ cambiare, una crisi cosi mondiale, dovrebbe far riflettere molte persone, e sensibilizzare chi ha il potere di essere a capo di tutto, ecco perché nasce questo nuovo brano per il 2015, dal titolo "Crisi Esistenziale". Genesi di Crisi Esistenziale di Savio De Martino Testo, Musica e Produzione sono di Savio De Martino attraverso la S.D.M. Production, la distribuzione avviene grazie alla Zeus Record S.R.L., gli arrangiamenti sono di Giuseppe Balsamo e Savio De Martino, le riprese video di “Pino Baylon Video” e la registrazione e mixaggio sono stati effettuati presso lo studio SG SOUND MUSIC ITALY di Savio De Martino. Il video è già disponibile su YouTube.

Crisi Esistenziale” - (Testo e Musica : Savio De Martino) CHI SONO IO PER SENTIRMI UN DIO, E CHI SEI TU PER DECIDERE, CHI SIAMO NOI NON LO SAPREMO MAI, MA CERTO STA’ CHE NON SIAMO EROI, IL MONDO VA’ CONSUMANDOSI, LA TERRA E’ ORMAI FUOCO E CENERE, LA GIOVENTU’ NON LAVORA PIU’, L’ECONOMIA NON PRODUCE.. RIT. FERMATI, NON COMMETTERE ALTRI DANNI, BASTA METTERSI NEI PANNI, DI CHI HA PERSO OGNI RAGIONE, E VORREBBE QUALCOSA DI PIU’, RITROVANDO QUEI VALORI, QUI SI MUORE PER UN NIENTE, TUTTI SANNO MA SI MENTE, E LA GENTE NON CE LA FA’ PIU’… A PAGARE GLI ERRORI DI CHISSA’, A PARLARE DI COSE CHE NON SA’, NON C’E’ PIU’ SENSO DI DOVERE E SENSO DI MORALITA’, NON C’E’ VITA CHE POSSA TOGLIERE IL DIRITTO DI VIVERE PERCHE’, OGNI ANIMA E’ UN DONO E VA VISSUTA E UN’OPPORTUNITA’.. CHI SONO IO FRA MILIARDI NOI, SEMBRIAMO ORMAI SOLO NUMERI, E CHI SEI TU CHE HAI SETE DI POTERE, CHE PENSI DI DOVER COMANDARE, E NON E’ MAI TARDI PER CAMBIARE, LA LIBERTA’ STA ANCHE NELLO SPERARE, IL MONDO E’ LIBERO DI AMARE, E LO SI FA’ SENZA GUERRE.. RIT. FERMATI, NON COMMETTERE ALTRI DANNI, BASTA METTERSI NEI PANNI, DI CHI HA PERSO OGNI RAGIONE, E VORREBBE QUALCOSA DI PIU’, RITROVANDO QUEI VALORI, QUI SI MUORE PER UN NIENTE, TUTTI SANNO MA SI MENTE, E LA GENTE NON CE LA FA’ PIU’… NON CE LA FA PIU’… NOI SIAMO UNA GENERAZIONE, CHE NON SA’ PIU’ DOVE ANDARE, COLPA DI UNA CONFUSIONE, CHE CI PORTA A SBAGLIARE QUI C’E’… CRISI ESISTENZIALE..CRISI ESISTENZIALE..CRISI ESISTENZIALE…!

We admire Sufism in the West for its tolerance, mysticism, and poetry, its ecstatic rituals, its music, even. But it’s also, especially in rural parts, a religion that bears more than a casual resemblance to late medieval Catholicism. It encourages the veneration of saint-like figures at special shrines and their celebration at festivities. It’s something the fundamentalist mullahs abhor. Just as the Protestants smashed icons, prohibited carnivals, and defaced cathedrals, the Wahhabists insist on a reformed style of Islam, purged of all that. Remember all the TV footage from 1996. When the Taliban took over in Afghanistan, their first task was stamping that stuff out.

Estes Park was set in a valley surrounded by the Rocky Mountain National Park.... When I visited a few years ago, there were actually elk grazing on the golf course." "Are you serious?" "Hey, every year in October they have an Elk Festival. That's why I came here. I wanted to see it 'cause it was on my bucket list." "An Elk Festival?" Amelia laughed. "You have the most awesome things on your bucket list. Mine seem boring compared to yours." Amelia raised her brow curiously. "What was the festival like?" "It was awesome. They had an elk bugling contest, elk seminars, Native American music, dancing and storytelling. They even had bus tours that took you to see the elk grazing in the fields. It was great. I loved it." "Wait a minute," said Amelia as she tilted her head to one side. "What's an elk bugling contest?" Rick grinned. "It's the call of the elk. Anyone can compete. Whoever sounds the most like an elk wins. You can use a horn or just your own voice. When I was there, the man who won used his voice. It was really something." Amelia's eyes widened with curiosity. "How did he do it? What does it sounds like?" Rick chuckled. "Well... the call starts out with deep rich tones. Then it quickly rises to a high-pitched squealing sound and immediately drops down to a bunch of grunts.

inside the white man rages a music festival for lumberjacks.

For some reason, she thought of how the old people wept when they played fado music at the annual Portuguese Festival. Saudade , her great-aunt Del called it: homesick music. But according to her father, the emotion was about more than place. It was a profound longing for everything that was lost and would never be regained.

¡Zape! (Shoo!) Go away, go away, espíritu maligno (bad spirit)!” they sang. “Go back to where you came from!” The festive musical celebration combined the prayers and songs with expressive dancing to the rhythm of percussion and string instruments, which accompanied the child’s ascent into heaven, where she would become an angel. Women, men and children ate, drank, prayed, sang and danced. They also played games like la gallina ciega (the blind chicken) where children tried to escape the touch of a blindfolded child who would walk around trying to feel for them. Whoever she touched was disqualified from the game. The baquiné lasted throughout the night. In a time when so many children perished to disease, this was a way for the child’s loved ones to say good-bye and endure the painful loss. But when all were gone, the crude reality set in. Manuel will never forget the image of those poor parents, devastated, sitting alone right next to the altar where their child lay dead, weeping desperately at her loss. He prayed for Ana’s soul. He prayed for those parents. And he prayed that he would never have to suffer the agony of losing a child.

On the road, I met couples traveling in RVs and discovered that a national roving group called RV Women provided campgrounds and community. Other gatherings were massive and seasonal—most famously, the Michigan Womyn’s Music Festival.

A ruler of the waters and their powers: And such she was; her daughters had their dowers From spoils of nations, and the exhaustless East Pour’d in her lap all gems in sparkling showers. In purple was she rob’d, and of her feast Monarchs partook, and deem’d their dignity increas’d. In Venice Tasso’s echoes are no more, And silent rows the songless gondolier; Her palaces are crumbling to the shore, And music meets not always now the ear: Those days are gone—but Beauty still is here. States fall, arts fade—but Nature doth not die, Nor yet forget how Venice once was dear, The pleasant place of all festivity, The revel of the earth, the masque of Italy! —GEORGE GORDON, LORD BYRON, Childe Harold’s Pilgrimage:

Gem Archer was quickly promoted to lead guitar during Champagne Supernova at the Benicassim Festival in Spain in August 2000

What are the “proud and lofty” things of contemporary cultures? To what do nations and peoples point in showing off their “honor” and “glory”? It would be interesting, for example, to count how many times those very words – “honor” and “glory” and their variants and equivalents – are used in our own day at national festivals and political rallies. The variants are seemingly endless. “National honor.” “Our honor is at stake.” “We are gathered today to honor those who...” “Our glorious heritage.” “Our glorious flag.” “What a glorious nation we live in!” People boast about the nations of which they are citizens. They also boast about ethnic identities, religious affiliations, race, gender, and clan. They point in pride to natural wonders they claim as their own possessions – “This land was made for you and me.” They show off their military might, their economic clout, their material abundance. The Lord of hosts has a day against all of these things: against nations who brag about being “Number One,” against racist pride, against the idealizing of “human potential,” against our self-actualization manifestos, against our reliance on missiles and bombers, against art and technology, against philosophy textbooks and country music records, against Russian vodka and South African diamonds, against trade centers and computer banks, against throne-rooms and presidential memorabilia. In short, God will stand in judgment of all idolatrous and prideful attachments to military, technological, commercial, and cultural might. He will destroy all of those rebellious projects that glorify oppression, exploitation, and the accumulation of possessions. It is in such projects that we can discern today our own ships of Tarshish and cedars from Lebanon.

But it was Ireland’s mercurial folklore that supplied Bax with the dominant voice in his compositions. Beginning with Cathaleen-na-Hoolihan (1905), written three years after encountering Yeats, the list of his tone poems (spanning the years 1909–31) reads like the contents of an Arts and Crafts compendium of decadent fairy tales: In the Faery Hills, Rosc-catha, Spring Fire, Nympholept, The Garden of Fand, November Woods, Tintagel, The Happy Forest, The Tale the Pine Trees Knew. A sensualist and erotic adventurer (in 1910 he pursued a ukrainian girl he was infatuated with from St Petersburg to Kiev), Bax created lush, richly foliated sound-forests that attempted to conjure up a sense of narcotic abandon and the intoxicating conjunction of myth and landscape. In the Faery Hills (1909) takes its cue from a section in Yeats’s Wanderings of Oisin in which the Sídhe force a troubadour to sing them a song. Aware of their reputation as festive types, Oisin launches into his most joyous ditty. To the Sídhe, it still sounds like the most depressing dirge they’ve ever heard, so they toss his harp into a pool and whisk him away to show him how to party like it’s AD 99. Bax claimed to have been ‘possessed by Kerry’s self’5 while writing it.

From time to time, the bard maintained, a chap has to meet other people in a place where he can have a laugh and a singsong, gorge himself on kebabs and pierogis, drink beer, listen to music and squeeze a girl as he swung her around in the dance. If every chap wanted to satisfy those needs, Dandelion argued, individually, periodically and randomly, an indescribable mess would arise. For that reason holidays and festivities were invented. And since holidays and festivities exist, a chap ought to frequent them.

Organising festivities, the poet argued, satisfied people’s profound and natural needs. From time to time, the bard maintained, a chap has to meet other people in a place where he can have a laugh and a singsong, gorge himself on kebabs and pierogis, drink beer, listen to music and squeeze a girl as he swung her around in the dance. If every chap wanted to satisfy those needs, Dandelion argued, individually, periodically and randomly, an indescribable mess would arise. For that reason holidays and festivities were invented. And since holidays and festivities exist, a chap ought to frequent them.

Mom wasn’t a weak person, or a wisp of a domineered housewife who hid in the background. Far from it. She was a vivacious, funny, and smart woman who loudly voiced her opinions, and would’ve been a suffragette had she lived in the twenties. She was gorgeous, with shoulder-length brown hair and beautiful brown eyes. She was strong and was an athlete as a teenager. She smoked, drank, and laughed out loud. A vital presence. She just never did understand or relate to children. She left school as a teenager and worked full-time in an office, then married young and became a mother and housewife. Now she found herself in New York in the swinging sixties, and despite my dad’s best efforts to make her the perfect square wife, she was energized, curious, and had time on her hands. She took music lessons, looked longingly at the bohemian lifestyle, and went off alone to the Newport Jazz Festival to see Miles Davis. Not about to be the happy homemaker, she wanted to party. Dad never became rich, and I’ve been told some blame fell upon my mom for failing to help him climb the career ladder. Instead of standing by her man, she acquired hippie habits, wore dashikis, and was a lousy teammate at cocktail parties.

Mom wasn’t a weak person, or a wisp of a domineered housewife who hid in the background. Far from it. She was a vivacious, funny, and smart woman who loudly voiced her opinions, and would’ve been a suffragette had she lived in the twenties. She was gorgeous, with shoulder-length brown hair and beautiful brown eyes. She was strong and was an athlete as a teenager. She smoked, drank, and laughed out loud. A vital presence. She just never did understand or relate to children. She left school as a teenager and worked full-time in an office, then married young and became a mother and housewife. Now she found herself in New York in the swinging sixties, and despite my dad’s best efforts to make her the perfect square wife, she was energized, curious, and had time on her hands. She took music lessons, looked longingly at the bohemian lifestyle, and went off alone to the Newport Jazz Festival to see Miles Davis. Not about to be the happy homemaker, she wanted to party.

The Monterey Pop Festival, held June 16 through 18 at the seaside town’s fairgrounds, proved to be a seminal event in rock history. Considering the hoopla it generated, especially after the release of filmmaker D. A. Pennebaker’s marvelous documentary, it should have boosted Nyro to celebrity status. It certainly did so for Jefferson Airplane, Big Brother and the Holding Company, and Jimi Hendrix. But instead, not only was Nyro absent from the film Monterey Pop—at her own request, according to Pennebaker—but the festival proved more a setback than a launch.

Over the years, the Ompah Stomp developed a reputation of being a wild party. Maybe it was the setting, in a remote rural area, that led people to believe that it was a bit like a country music Woodstock, brimming with sex and drugs.

The crowds aren’t coming to Sweetgreen stores and the festival simply for great salads or cool music acts. They’re coming because they buy into what Sweetgreen stands for, and because, on a deeper level, they feel a reflection of themselves in Sweet- green’s purpose—which is itself an honest manifestation of what the people behind the business believe and what they stand for.

Ten shockingly arty events What arty types like to call a ‘creative tension’ exists in art and music, about working right at the limits of public taste. Plus, there’s money to be made there. Here’s ten examples reflecting both motivations. Painting: Manet’s Breakfast on the Lawn, featuring a group of sophisticated French aristocrats picnicking outside, shocked the art world back in 1862 because one of the young lady guests is stark naked! Painting: Balthus’s Guitar Lesson (1934), depicting a teacher fondling the private parts of a nude pupil, caused predictable uproar. The artist claimed this was part of his strategy to ‘make people more aware’. Music: Jump to 1969 when Jimi Hendrix performed his own interpretation of the American National Anthem at the hippy festival Woodstock, shocking the mainstream US. Film: In 1974 censors deemed Night Porter, a film about a love affair between an ex-Nazi SS commander and his beautiful young prisoner (featuring flashbacks to concentration camp romps and lots of sexy scenes in bed with Nazi apparel), out of bounds. Installation: In December 1993 the 50-metre-high obelisk in the Place Concorde in the centre of Paris was covered in a giant fluorescent red condom by a group called ActUp. Publishing: In 1989 Salman Rushdie’s novel Satanic Verses outraged Islamic authorities for its irreverent treatment of Islam. In 2005 cartoons making political points about Islam featuring the prophet Mohammed likewise resulted in riots in many Muslim cities around the world, with several people killed. Installation: In 1992 the soon-to-be extremely rich English artist Damien Hirst exhibited a 7-metre-long shark in a giant box of formaldehyde in a London art gallery – the first of a series of dead things in preservative. Sculpture: In 1999 Sotheby’s in London sold a urinoir or toilet-bowl-thing by Marcel Duchamp as art for more than a million pounds ($1,762,000) to a Greek collector. He must have lost his marbles! Painting: Also in 1999 The Holy Virgin Mary, a painting by Chris Ofili representing the Christian icon as a rather crude figure constructed out of elephant dung, caused a storm. Curiously, it was banned in Australia because (like Damien Hirst’s shark) the artist was being funded by people (the Saatchis) who stood to benefit financially from controversy. Sculpture: In 2008 Gunther von Hagens, also known as Dr Death, exhibited in several European cities a collection of skinned corpses mounted in grotesque postures that he insists should count as art.

And they help us understand why one environment makes people anxious and competitive, while another brims with sociability and tolerance. Think about the way people act in the sterile cabin of an airplane, breaking into fights over three degrees of seat recline and jostling elbows for control of an armrest. Now contrast this with how people behave in the convivial atmosphere of a music festival. Surrounded by vibrant decorations and music, people share food and drink, make space on the crowded lawn for newcomers, and dance with strangers. The power of the aesthetics of joy is that they speak directly to our unconscious minds, bringing out the best in us without our even being aware of it.

In a curious parallel to Warlock and Moeran’s rowdy tenure at Eynsford, on the other side of the country in North Devon the village of Georgeham had been intruded upon by another outside artistic presence. Novelist Henry Williamson moved to a cottage there in 1921 and proceeded to outrage local decency with a string of louche girlfriends, naked swimming displays, throwing apples at neighbouring farmers, dressing like a proto-hippy in loose clothing and bare feet. Best known as author of the children’s book Tarka the Otter, Williamson’s many books, including his fifteen-volume fictionalised memoir A Chronicle of Ancient Sunlight, testify to a quasi-mystical relationship with nature and the English landscape, while his reputation was later severely tarnished because of his vocal support of the Hitler Youth and Oswald Mosley’s British fascist movement. His son Harry, born in 1950, was destined to become an associate of hippy progressive rockers Gong in the early 1970s, and was part of the collective that organised the earliest free festivals at Stonehenge (see Chapter 16). Already, in the unconventional lifestyle choices of the likes of Warlock, Moeran and Williamson, the pre-echoes of a later British counter-cultural pattern are faintly detectable.

And now, at last, we are here. Now Eric fingers his glass and questions me hopefully, while the music of Muthaiga marches through our talk, and festive people clasp hands, revive old toasts -- and make bets on tomorrow's Leger. One hundred pounds -- two hundred pounds... "Has the filly a chance?" "Against Wrack? Of course not." "Don't be too sure... don't be too sure. Why, I remember..." Well, that's what makes a horse-race.

In fact, there were no movie stars in view, though Finian himself was a talent star, one of the last of the Golden Age, Fred Astaire. He hadn’t filmed a musical since Silk Stockings, in 1957, but it was a frustrating return, for Astaire felt Coppola had no feeling for the form. And Coppola didn’t—not the form of musical Astaire was used to making. For instance, some of the show’s many dance sequences became choreography by other means—a festive picnic with a tug-of-war and other contests for “If This Isn’t Love.” Then, too, Astaire was working with his old RKO assistant, Hermes Pan, who was suddenly fired from the picture, offending Astaire’s deep-rooted sense of loyalty—to his profession, to the great songwriters who had made songs on him, and to his colleagues. Still, the movie flows along nicely with a likable confidence, not easy to bring off when the plot takes in a pot of gold that grants wishes.

Pulse shooter Omar Mateen does not seem to have received any direction or support from ISIS or any other international terrorist organization. ISIS inspired Mateen, but Mateen did not report to ISIS, even to the extent that there was any ISIS to report to. Mateen exemplified a new kind of international terrorist movement: a virtual movement that shared ideas and rhetoric rather than money and weapons. Just such a movement of international terror would kill hundreds of people worldwide in the Trump years, a movement of white racial resentment that often looked to Donald Trump as its inspiration and voice. The year 2019 suffered a peak in mass shootings in the United States, forty-nine shootings in total according to computations by the Associated Press, USA Today, and criminologists at Northeastern University. (The researchers defined a “mass killing” as taking four or more lives apart from the perpetrator’s.) The majority of those killed died at the hands of a stranger—typically a white male loner impelled by grievances against society.3 The deadliest mass shooting in US history (as of the end of 2019) occurred in October 2017. Stephen Paddock, a sixty-four-year-old white man, opened fire at a music festival in Las Vegas from a thirty-second-floor hotel room. Paddock killed 58 people and wounded 413. More than 400 other people were injured in the rush to escape the attack. After firing thousands of rounds in only ten minutes, Paddock killed himself by a gunshot in his mouth.

What I like about Akron is that it is cool, but not too cool. We are cool enough to have street festivals all summer long, but not cool enough to have a disruptively huge music festival like South by Southwest that all the locals loathe. We are cool enough to attract young professionals and artists, but not cool enough to entice detrimental gentrification complete with skyrocketing rent prices.

Francisco, who had lived in the San Luis Valley his entire life and under the drought for half of that life, could barely fathom such festivities. Little girls in fiesta dresses rode painted carousel horses on a merry-go-round powered by men turning a massive wooden gear. Boys one-third his height wore crisp and dustless sombreros. The dancing was so vigorous that he felt his legs stepping out without his permission, his body an unwitting mirror. The music replaced Francisco’s blood, and he felt he could do anything. That was when the blue sky stopped, right over Antonia Alamilla, who was dancing in a white dress. He saw now that it was not blue sky at all, but rather a blue balloon whose string was tied around her wrist. When she saw Francisco in his dust-covered overalls, she immediately stopped dancing and declared, in facile Spanish, “I love dogs.” The rest of the townspeople looked on in shock. No one had heard Antonia speak since she’d been born, and once she had met Francisco, she did not stop. He asked her to be his wife, and when they were married in Bicho Raro two months later, Antonia’s tears of joy coaxed rain from the sky and ended the decade-long drought.

Despite the promises of utopian hedonism, many youth and middle-aged adults quickly enticed by these did not escape from their addictions easily, if at all. And, to the shock of their fans, the lives of Jimi Hendrix, Janis Joplin, Jim Morrison and numerous other acid trippin' rock musicians also ended quickly like the closing blues beats from one of their most popular songs. Even Max Yasgur himself died just 19 months after the Woodstock Festival of a heart attack at the age of 53.

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Nietzsche hoped that Bayreuth would be the fulfillment of his Greco-German dreams—a modern festival along Hellenic lines, fusing Apollonian and Dionysian elements, presented before an audience of elite aesthetes. Wagner, for his part, clung to his fantasy of a great popular festival, open to people of all backgrounds. Supporters were building up an international network of Wagner Societies, whose members made advance contributions in exchange for tickets. Through their patronage, Wagner hoped to keep admission free. By 1873, fund-raising was lagging, especially among German notables. Two of the biggest donors were, reputedly, Abdülaziz, the sultan of the Ottoman Empire, and Isma’il Pasha, the khedive of Egypt.

I had been defining entrepreneurship as withstanding discomfort for unreasonably long periods of time, and he was literally following his bliss. He kicked off his now legendary career by cofounding the Warped Tour, the longest-running traveling music festival in the United States. While I was fighting to get the debt monkey off my back, he had cofounded the coolest circus ever.

There is a story of some great conductor of a musical festival suddenly throwing up his baton, and stopping the performance, crying, "Flageolet!" The flageolet was not doing its part and the conductor's trained ear missed its one note in the large orchestra. Does not God miss any voice that is silent in the music of earth that rises up to him? And are there not many voices that are silent, taking no part in the song, giving forth no praise? Shall we not quickly start our heart-song of gratitude, calling upon every power of our being to praise God?

He hopes we'll visit again soon. Perhaps in June, to see the emerald-colored frogs that stick to the stalks and attend Gion Matsuri, a festival where women dress in summer kimonos and the shops are decorated with art. There are floats in the evening and music spills onto the streets.

Go to a traditional folk music festival. The quality of the playing and singing will blow your mind. But like the rise in vinyl record production, house shows, and other aspects of hipster culture, it is quintessentially “analog”—the sonic equivalent of the farm-to-table movement. The great electronic musician and producer Brian Eno, who has been working in funky analog studios in West Africa, has begun to question the very raison d’être of digital recording, which, thanks to Auto-Tune (the tech tool that allows engineers to correct singers with bad pitch), makes it possible to turn a second-rate singer into a diva: “We can quantize everything now; we can quantize audio so the beat is absolutely perfect. We can sort of do and undo everything. And of course, most of the records we like, all of us, as listeners, are records where people didn’t do everything to fix them up and make them perfect.” Tech’s perfection tools do not make for human art.

Then the center of influence shifted to London, with the Beatles and the Rolling Stones, Cream, the Who, the Kinks, and all the bands that orbited them. San Francisco, with the Grateful Dead, Jefferson Airplane, and Santana, had its moment in a psychedelic spotlight around the Summer of Love and the Monterey Pop Festival in 1967, but as the 1960s gave way to the '70s, the center of the musical universe shifted unmistakably to Los Angeles. "It was incredibly vital," said Jonathan Taplin, who first came to LA as the tour manager for Bob Dylan and the Band and later relocated there to produce Martin Scorsese's breakthrough movie, Mean Streets. "The nexus of the music business had really moved from New York to Los Angeles. That had been a profound shift . . . It was very clear that something big had changed."'' For a breathtaking few years, the stars aligned to glittering effect in Los Angeles. The city attracted brilliant artists; skilled session musicians; soulful songwriters; shrewd managers, agents, and record executives; and buzz-building clubs. From this dense constellation of talent, a shimmering new sound emerged, a smooth blend of rock and folk with country influences. Talented young people from all over the country began descending on Los Angeles with their guitar cases or dreams of becoming the next Geffen. Irving Azoff, a hyper-ambitious young agent and manager who arrived in Los Angeles in 1972, remembered, "It was like the gold rush. You've never seen anything like it in the entertainment business. The place was exploding. I was here—right place, right time. I tell everybody, `If you're really good in this business, you only have to be right once,' so you kind of make your own luck, but it is luck, too. It was hard to be in LA in that time and have any talent whatsoever in the music business—whether you were a manager, an agent, an artist, a producer, or writer—[and] not to make it, because it was boom times. It was the gold rush, and it was fucking fun.

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

On a street around the corner from my coauthor’s house the parents have organized themselves into what they call “the little block that can.” Social relations are deliberately cultivated among the families living on this block. There are benches and picnic tables outside several of the homes where parents and kids of all ages gather. The children have learned to relate to all the adults on this street as attachment figures, surrogate aunts and uncles. Once a year the street is shut off to traffic for what, in effect, is a village festival. There are games, food is served, music is played from loudspeakers. The local fire department drives up with a red engine and children frolic in the spray of the fire hose.

New Year’s Eve and New Year’s Day are usually huge celebrations in Bulgaria. People traditionally dine out at fine restaurants, where they are entertained by popular artists or host parties at their homes. Gabby decided to invite her friends to the restaurant where she was working that night. That way, they could add a modern spin to old traditions. This was one of the downfalls of being a hospitality worker—working during holidays. After Gabby’s shift ended, long after midnight, all three of them roamed the festive streets of New York. The crisp air was filled with music and good cheer. People were dancing in the streets; the three amigos joined them, dancing, laughing, and having a great time. " The Porcelain Doll, Part IV, Chapter 4 Holidays

This was how we fought war. We drowned the battle sounds in the din of festive music and spent our time on song, dance and ritual.

One version of the story has it that Furtwängler went to Toscanini’s dressing room after a concert in the large Festival Theater. Toscanini was curt. “Go away. I don’t want to have anything to do with you.” “Why?” asked Furtwängler. “Because you area Nazi.” “That is a lie!” “That is no lie. I am well aware that you do not belong to the Party. I also know you have helped your Jewish friends. You even meet them outside Germany. But all that is unimportant after the fact that you work for Hitler. Now get out.” 5

May the festival of light brighten your life. Every new day comes with a new spark of happiness. A shower of blessings from God keeps running over your house. Songs of love and music of peace make you dance and fill your soul with joy. I wish you and your family a very happy Diwali.

Work like a start-up, but mean it With the culture in place, and a process for change in place, how hard can this be? Well, now you have to get people working like you. I’ve worked with a few large clients over the years, and while they loved the idea of working like a start-up, it was a bit like wanting to go to Glastonbury, but only if you got to avoid everything about a large music festival. The allure of working like start-ups, but in a sort of polite, 9–5, big corporate backing kind of way. They wanted to work like a start-up, but had $100 million to spend. They wanted to be agile and nimble, but with a complex approval process. We want to challenge everything, but with the data to support it. Let’s go crazy, but please use existing marketing partners, let’s break new ground but ‘our competitors haven’t done it yet’. ‘We’re going to act like a start-up’ is a new corporate mantra. What would the founders of Klarna do here? How would Spotify market this? How can we replicate WeWork’s approach? Yet it never works that way. Spreadsheets need to be filled in showing target user numbers, someone back-fills profitability requirements, someone calculates projected revenue, and automatically an investment level is found. All with no idea that this is all the antithesis of start-ups. Start-ups hustle, they ask favours, and they use the limitation of money to force themselves to try risky things.