Music Hits Different Quotes

Everybody has that point in their life where you hit a crossroads and you've had a bunch of bad days and there's different ways you can deal with it and the way I dealt with it was I just turned completely to music.

For Jenn At 12 years old I started bleeding with the moon and beating up boys who dreamed of becoming astronauts. I fought with my knuckles white as stars, and left bruises the shape of Salem. There are things we know by heart, and things we don't. At 13 my friend Jen tried to teach me how to blow rings of smoke. I'd watch the nicotine rising from her lips like halos, but I could never make dying beautiful. The sky didn't fill with colors the night I convinced myself veins are kite strings you can only cut free. I suppose I love this life, in spite of my clenched fist. I open my palm and my lifelines look like branches from an Aspen tree, and there are songbirds perched on the tips of my fingers, and I wonder if Beethoven held his breath the first time his fingers touched the keys the same way a soldier holds his breath the first time his finger clicks the trigger. We all have different reasons for forgetting to breathe. But my lungs remember the day my mother took my hand and placed it on her belly and told me the symphony beneath was my baby sister's heartbeat. And I knew life would tremble like the first tear on a prison guard's hardened cheek, like a prayer on a dying man's lips, like a vet holding a full bottle of whisky like an empty gun in a war zone… just take me just take me Sometimes the scales themselves weigh far too much, the heaviness of forever balancing blue sky with red blood. We were all born on days when too many people died in terrible ways, but you still have to call it a birthday. You still have to fall for the prettiest girl on the playground at recess and hope she knows you can hit a baseball further than any boy in the whole third grade and I've been running for home through the windpipe of a man who sings while his hands playing washboard with a spoon on a street corner in New Orleans where every boarded up window is still painted with the words We're Coming Back like a promise to the ocean that we will always keep moving towards the music, the way Basquait slept in a cardboard box to be closer to the rain. Beauty, catch me on your tongue. Thunder, clap us open. The pupils in our eyes were not born to hide beneath their desks. Tonight lay us down to rest in the Arizona desert, then wake us washing the feet of pregnant women who climbed across the border with their bellies aimed towards the sun. I know a thousand things louder than a soldier's gun. I know the heartbeat of his mother. Don't cover your ears, Love. Don't cover your ears, Life. There is a boy writing poems in Central Park and as he writes he moves and his bones become the bars of Mandela's jail cell stretching apart, and there are men playing chess in the December cold who can't tell if the breath rising from the board is their opponents or their own, and there's a woman on the stairwell of the subway swearing she can hear Niagara Falls from her rooftop in Brooklyn, and I'm remembering how Niagara Falls is a city overrun with strip malls and traffic and vendors and one incredibly brave river that makes it all worth it. Ya'll, I know this world is far from perfect. I am not the type to mistake a streetlight for the moon. I know our wounds are deep as the Atlantic. But every ocean has a shoreline and every shoreline has a tide that is constantly returning to wake the songbirds in our hands, to wake the music in our bones, to place one fearless kiss on the mouth of that brave river that has to run through the center of our hearts to find its way home.

Music isn’t much different now from what it was when we hit the dance floor. This means something. We found something universal. We bottled that desire, then released it into the airwaves. The sounds hit your body, and you move. We are in those particles that send you. We are in that music. Dance for us, Tariq. Feel us there in your freedom.

Dreams and coffee and sunrises make up the rhythms of the road. Music is a part of it, too: the popular music on the jukeboxes and radio stations. You hear it constantly, in diners and on car radios. The music has a rhythm that fits the steady drumming of tires over pavement. It seeps into your bloodstream. After a while it ceases to make any difference whether or not you like the stuff. When you’re traveling alone, a nameless rider with a succession of strangers, it can give you a comforting sense of the familiar to hear the same music over and over. At any given time, a few current hits will be overplayed to exhaustion by the rock & roll stations. In hitching across the continent, you might hear the same song fifty or sixty times. Certain songs become connected in your mind with certain trips.

What it is about painting, how it can hit people exactly like music, and hit people so differently.

Facebook’s strategy, as he described it, was not so different from Napster’s. But rather than exploiting weaknesses in the music industry, it would do so for the human mind. “The thought process that went into building these applications,” Parker told the media conference, “was all about, ‘How do we consume as much of your time and conscious attention as possible?’” To do that, he said, “We need to sort of give you a little dopamine hit every once in a while, because someone liked or commented on a photo or a post or whatever. And that’s going to get you to contribute more content, and that’s going to get you more likes and comments.” He termed this the “social-validation feedback loop,” calling it “exactly the kind of thing that a hacker like myself would come up with, because you’re exploiting a vulnerability in human psychology.” He and Zuckerberg “understood this” from the beginning, he said, and “we did it anyway.

I had a real revelation. We were all in robes, and they made some Turkish coffee for us. The professor explained how the coffee was made very different from anywhere else, and I realized, 'So fucking what?' Which kids even in Turkey give a shit about Turkish coffee? All day I had looked at young people in Istanbul. They were all drinking what every other kind in the world drinks, and they were wearing clothes that look like they were bought at the Gap, and they are all using cell phones. They were like kids everywhere else. It hit me that, for young people, this whole world is the same now. When we're making products, there is no such thing as a Turkish phone, or a music player that young people in Turkey would want that's different from one young people elsewhere would want. We're just one world now.

I entered a different world. You’ve felt yourself on the edge of it when a cherry song hits the radio. You’re driving, windows rolled down to the nubs, a warm breeze kissing your neck, the world tasting like hope and blue sky. Turn it up! Your hips can’t help but wiggle. Man, it feels like that song was written for you, like you’re gorgeous and loved and the entire planet is in order. But here’s the thing they don’t tell you: That magic, king-or-queen-of-the-world sensation? It’s a million times better when you’re the one playing the music. Maybe even a billion.

It is the simplest phrase you can imagine,” Favreau said, “three monosyllabic words that people say to each other every day.” But the speech etched itself in rhetorical lore. It inspired music videos and memes and the full range of reactions that any blockbuster receives online today, from praise to out-of-context humor to arch mockery. Obama’s “Yes, we can” refrain is an example of a rhetorical device known as epistrophe, or the repetition of words at the end of a sentence. It’s one of many famous rhetorical types, most with Greek names, based on some form of repetition. There is anaphora, which is repetition at the beginning of a sentence (Winston Churchill: “We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields”). There is tricolon, which is repetition in short triplicate (Abraham Lincoln: “Government of the people, by the people, and for the people”). There is epizeuxis, which is the same word repeated over and over (Nancy Pelosi: “Just remember these four words for what this legislation means: jobs, jobs, jobs, and jobs”). There is diacope, which is the repetition of a word or phrase with a brief interruption (Franklin D. Roosevelt: “The only thing we have to fear is fear itself”) or, most simply, an A-B-A structure (Sarah Palin: “Drill baby drill!”). There is antithesis, which is repetition of clause structures to juxtapose contrasting ideas (Charles Dickens: “It was the best of times, it was the worst of times”). There is parallelism, which is repetition of sentence structure (the paragraph you just read). Finally, there is the king of all modern speech-making tricks, antimetabole, which is rhetorical inversion: “It’s not the size of the dog in the fight; it’s the size of the fight in the dog.” There are several reasons why antimetabole is so popular. First, it’s just complex enough to disguise the fact that it’s formulaic. Second, it’s useful for highlighting an argument by drawing a clear contrast. Third, it’s quite poppy, in the Swedish songwriting sense, building a hook around two elements—A and B—and inverting them to give listeners immediate gratification and meaning. The classic structure of antimetabole is AB;BA, which is easy to remember since it spells out the name of a certain Swedish band.18 Famous ABBA examples in politics include: “Man is not the creature of circumstances. Circumstances are the creatures of men.” —Benjamin Disraeli “East and West do not mistrust each other because we are armed; we are armed because we mistrust each other.” —Ronald Reagan “The world faces a very different Russia than it did in 1991. Like all countries, Russia also faces a very different world.” —Bill Clinton “Whether we bring our enemies to justice or bring justice to our enemies, justice will be done.” —George W. Bush “Human rights are women’s rights and women’s rights are human rights.” —Hillary Clinton In particular, President John F. Kennedy made ABBA famous (and ABBA made John F. Kennedy famous). “Mankind must put an end to war, or war will put an end to mankind,” he said, and “Each increase of tension has produced an increase of arms; each increase of arms has produced an increase of tension,” and most famously, “Ask not what your country can do for you; ask what you can do for your country.” Antimetabole is like the C–G–Am–F chord progression in Western pop music: When you learn it somewhere, you hear it everywhere.19 Difficult and even controversial ideas are transformed, through ABBA, into something like musical hooks.

This is the part they don’t tell you about in the movies. Or in On the Road. This is not rock ’n’ roll. You are not William Burroughs, and it doesn’t make a damn bit of difference if Kurt Cobain was slumped over in an alleyway in Seattle the day Bleach came out. There is no junkie chic. This is not Soho and you are not Sid Vicious. You are not a drugstore cowboy and you are not spotting trains. You are not a part of anything—no underground sect, no counter-culture movement, no music scene, nothing. You have just been released from jail and are walking down Mission Street, alternating between taking a hit off a cigarette and puking, looking for coins on the ground so you can catch a bus as you shit yourself.

When he was barely 14, he auditioned on one of the most prestigious reality shows in South Korea, known as Superstar K. A show designed to find raw talent in the Korean music industry. The show achieved just that with the discovery of Jungkook. Interestingly, Jungkook did not win the show; neither was he part of the individuals who were selected. But his difference was evident to most of the individuals in the room, and before the show was over, he had received more than seven offers from seven different entertainment companies. The decision he made appeared to be the best decision he made all his life. He chose Big Hit Entertainment and started a 36-month training program with them.  Years later, he was quoted to have said that his present bandmate, Rap Monster, in the label was what influenced his decision.

Then why, I asked, is the world so fractured? “Well, you can look at it this way. Would you want the world to all look alike? No. The genius of life is its variety. “Even in our own faith, we have questions and answers, interpretations, debates. In Christianity, in Catholicism, in other faiths, the same thing—debates, interpretations. That is the beauty. It’s like being a musician. If you found the note, and you kept hitting that note all the time, you would go nuts. It’s the blending of the different notes that makes the music.” The music of what? “Of believing in something bigger than yourself.

Was it as scary for you as it is for me? Falling for Sawyer?” “Not really, no.” She shakes her head. “I’m sure I had some of the same worries, everyone does. But I’m a leaper. You’re a thinker. We process things differently.” “You didn’t have a panic attack and run away?” I ask sarcastically. “No,” she muses. “Not even that time he refused to have sex with me.” “That was your first date, Everly. And you did have sex,” I remind her. I know, because I heard about it for a week. “Whew.” She blows out a breath. “It was a tough few hours though. How is Boyd’s POD by the way? Can we talk about that?” She leans forward on the couch, looking at me expectantly. “Um, no. I don’t think so.” She shrugs good-naturedly then changes the subject back to me. “Chloe, why didn’t you tell me you were struggling with your anxiety? You know I’m never too busy for you, no matter how many husbands or children I have.” “You have one husband, babe,” Sawyer says, walking into the room at that moment. “You’re still the one, baby.” “We’ve been married for three months, Everly. I sure as hell better still be the one.” “Sawyer,” she sighs. “I was trying to have a moment, okay? Work with me.” “Next time, try waiting more than a day after downloading Shania Twain’s greatest hits to your iPod. You do realize the receipts come to my email, don’t you?” “Um.” Everly looks away and scrunches her nose. “No?” “You’ve been on quite the 90’s love ballads kick this week. Which is weird, because you’re not old enough to have owned the CD’s those songs were originally released on.” He looks at her with amused interest. “What’s a CD?” She blinks at Sawyer dramatically. “Cute. Keep it up.” “Nineties music is all the rage with the millennials,” she tells him with a shrug. “I saw a blog post about it.” “Don’t worry, sweets. We’ll beat the odds together.” He winks and she scowls. “You’re still the only one I dream of,” he calls as he walks into the kitchen and grabs a bottle of water. “See! I don’t even care that you lifted that from a song. It still gave me all the feels!

I want a love like me thinking of you thinking of me thinking of you type love or me telling my friends more than I've ever admitted to myself about how I feel about you type love or hating how jealous you are but loving how much you want me all to yourself type love or seeing how your first name just sounds so good next to my last name. and shit- I wanted to see how far I could get without calling you and I barely made it out of my garage. See, I want a love that makes me wait until she falls asleep then wonder if she's dreaming about us being in love type love or who loves the other more or what she's doing at this exact moment or slow dancing in the middle of our apartment to the music of our hearts. Closing my eyes and imagining how a love so good could just hurt so much when she's not there and shit I love not knowing where this love is headed type love. And check this- I wanna place those little post-it notes all around the house so she never forgets how much I love her type love then not have enough ink in my pen to write all the love type love and hope I make her feel as good as she makes me feel and I wanna deal with my friends making fun of me the way I made fun of them when they went through the same kind of love type love. The only difference is this is one of those real type loves and just like in high school I wanna spend hours on the phone not saying shit and then fall asleep and then wake up with her right next to me and smell her all up in my covers type love and I wanna try counting the ways I love her then lose count in the middle just so I could start all over again and I wanna celebrate one of those one-month anniversaries even though they ain't really anniversaries but doing it just 'cause it makes her happy type love and check this- I wanna fall in love with the melody the phone plays when our numbers dial in type love and talk to you until I lose my breath, she leaves me breathless, but with the expanding of my lungs I inhale all of her back into me. I want a love that makes me need to change my cell phone calling plan to something that allows me to talk to her longer 'cause in all honesty, I want to avoid one of them high cell phone bill type loves and I don't want a love that makes me regret how small my hands are I mean the lines on my palms don't give me enough time to love you as long as I'd like to type love and I want a love that makes me st-st-st-stutter just thinking about how strong this love is type love and I want a love that makes me want to cut off all my hair. Well maybe not all of the hair, maybe like I'd cut the split ends and trim the mustache but it would still be a symbol of how strong my love is for her. I kind of feel comfortable now so I even be fantasize about walking out on a green light just dying to get hit by a car just so I could lose my memory, get transported to some third world country just to get treated and somehow meet up again with you so I could fall in love with you in a different language and see if it still feels the same type love. I want a love that's as unexplainable as she is, but I'm married so she is gonna be the one I share this love with.

[New Orleans.] Katrina changed everything. Life here is different, every face altered. Yet we feel and sense the landscape not only in its hurricane-leveled, sodden depressions but — perhaps even more so now in the strangely comforting depths of our shared history. Even in the worst hit areas, not all is dissipated. Dense intricate attachments burrow too deep to underestimate or overlook. This is no featureless town to be rubbed off the map and cast aside. Here the band plays on. Our kindred colors speak to the values of justice, faith and power; to curious combinations of passion, openness, irreverence and loyalty, to the values of individuality, sharing and compassion. Not least, we still enjoy the sounds of music and respond to succulent foods, to the magnificent flowering gardens, to the elements of grace and dreamy escape, and to the languid Southern charm typical of faded days gone by.

For attractive lips, speak words of kindness. For lovely eyes, seek out the good in people. For a slim figure, share your food with the hungry. For beautiful hair, let a child run his fingers through it once a day. For poise, walk with the knowledge you’ll never walk alone. ...카톡【ACD5】텔레【KKD55】 We leave you a tradition with a future. The tender loving care of human beings will never become obsolete. People even more than things have to be restored, renewed, revived, reclaimed and redeemed and redeemed and redeemed. Never throw out anybody. ♥물뽕 구입♥물뽕 구매♥물뽕 판매♥물뽕 구입방법♥물뽕 구매방법♥물뽕 파는곳♥물뽕 가격♥물뽕 파는곳♥물뽕 정품구입♥물뽕 정품구매♥물뽕 정품판매♥물뽕 가격♥물뽕 복용법♥물뽕 부작용♥ Remember, if you ever need a helping hand, you’ll find one at the end of your arm. As you grow older, you will discover that you have two hands: one for helping yourself, the other for helping others. Your “good old days” are still ahead of you, may you have many of them 수면제,액상수면제,낙태약,여성최음제,ghb물뽕,여성흥분제,남성발기부전치유제,비아,시알,88정,드래곤,바오메이,정력제,남성성기확대제,카마그라젤,비닉스,센돔,,꽃물,남성조루제,네노마정,러쉬파퍼,엑스터시,신의눈물,lsd,아이스,캔디,대마초,떨,마리화나,프로포폴,에토미데이트,해피벌륜 등많은제품판매하고있습니다 원하시는제품있으시면 추천상으로 더좋은제품으로 모시겠습니다 It is a five-member boy group of YG Entertainment who debuted in 2006. It is a group that has had a great influence on young fashion trends, the idol group that has been pouring since then, and the Korean music industry from the mid to late 2000s. Since the mid-2000s, he has released a lot of hit songs. He has played an important role in all aspects of music, fashion, and trends enjoyed by Korea's generations. In 2010, the concept of emphasizing exposure, The number of idols on the line as if they were filmed in the factory instead of the "singer", the big bang musicality got more attention, and the ALIVE of 2012, the great success of the MADE album from 2015 to 2016, It showed musical performance, performance, and stage control, which made it possible to recognize not only the public in their twenties and thirties but also men and women, both young and old, as true artists with national talents. Even today, it is in a unique position in terms of musical performance, influence, and trend setting, and it is the idol who keeps the longest working and longest position. We have made the popularity of big bang by combining various factors such as exquisite talent of all members, sophisticated music, trendy style, various arts and performances in broadcasting, lovecalls and collaboration of global brands, and global popularity. The big bang was also different from the existing idols. It is considered to be a popular idol, a idol, because it has a unique musicality, debut as a talented person in a countless idol that has become a singer as a representative, not a talent. In addition, the male group is almost the only counterpart to the unchanging proposition that there is not a lot of male fans, and as mentioned several times, it has been loved by gender regardless of gender.

JO: A refrain I like throughout the book is, “Music doesn’t mean things. It is things.” RP: Yes. The struggle for composers, which Els goes through in different stages over the course of his seventy years, is precisely that battle between a music that might be a matter of life and death, as it is for Shostakovich, or a way of surviving the evils of human history, as it is for Messiaen. You align yourself to a kind of music in the service of one or another of all the different kinds of things that the human mind might want. And at the end of the day, you have this reflective feeling of saying, it’s very possible that in pursuing a kind of music that you wanted to serve a certain function, to create a certain social urgency, to solve the problems of your historical time and place, that it might also have been worthwhile to make a music that simply moves people in the most etymological sense of that word—actually just makes their bodies want to move. It’s that tension—between the music of pattern, the music of the cognitive brain; and the music of body, the music of pure spirit—that infects his life at every turn. Music is both those things! And human beings are both thinking creatures and feeling creatures. And the art that hits on all cylinders, the art that moves us intellectually and bodily and spiritually, is what we’re after. But to capture all those things in the same vessel is a very, very difficult task. And it’s a very difficult one for Els until the very end.

Does the prince play?" asked the lute player. "Hamish is a wee beast with all stringed things," Fergus said. "Pity those wolves didn't have strings." Immediately, the woman passed the lute to Hamish. He didn't move his arms in time to take it, so she simply plopped it down in his lap. "I'll trade you a tune for your dish of pears." Hamish sat there, a frozen little creature with big eyes. Pinned to the bench by fear and by the lute. How badly Merida wanted him to be able to play fearlessly for this group. Not for their benefit, but for his. How was it that his sense of fun had been replaced by a sense of fear? She whispered to him, "You could play 'Crosses and Squares.'" Still he was frozen. Maldouen said, "Don't you think you owe Ol' Flower a tune for saving your life?" Maldouen was being playful, but he had, without realizing, hit upon the only way Hamish perform: obligation. Hamish let fear rule him, but not at the expense of other people. Hamish whispered, "All right," and then added, to the dog, "Ma'am," which made the entire table laugh uproariously. Hamish began to play. The villagers began to clap in time with him. Hamish played faster. They clapped faster. Hamish played little riffs and twirls, and the villagers got up and danced along with the well-known tune. With the lute in his hand and the tune ringing out strongly, it was almost possible to believe Hamish wasn't afraid, but Merida knew better. This was how it always went. When Hamish played for other people, he always looked like a different person. Straighter, surer. More like Hubert or Harris. This was part of a good show, after all, and he felt obligated to give Ol' Flower a good show.

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

We stepped in, and, as we paid the cover charge, the music hit us. The double doors buzzed open and we walked in. A handsome man and his lover in an orange top snuggled as they walked to the exit. Veronica turned to me and smiled, taking my hand. I unbuttoned my shirt at the neck and exposed my collar. It was a thin metal collar with a padlock on the front. If the padlock wasn’t attached it would have looked like any other interesting necklace that was tight against my neck, but it got more interesting with the padlock. On Veronica’s left hand there was a thick bracelet, and that had a key on it. Her right wrist had a glow bracelet. We walked past the tables of people as they drank and screamed over the music to talk. We decided to go right to the dance floor. She took me by the hand, led me. We were on the dance floor and I couldn’t dance. I ended up just throwing myself around, getting lost in the people surrounding us. The bodies pressed against us, the industrial music loud and crisp. The bass shook your bones, and my ribcage felt like it was rattled to pieces. I closed my eyes and just moved. Veronica moved with a grace I hadn’t seen in awhile when I opened my eyes. She pressed herself against a couple that surrounded her. I felt my breath catch in my throat, my heart pounded from excitement. She squeezed past them and moved to me, her hands ran down my face, and then she gripped the padlock with her left hand. She pulled me down to her, which wasn’t very far, but it was the intensity of the moment that made all the difference. What she did next made me jump, my body tensed and relaxed in milliseconds. She gave me a deep kiss, and, while she kissed me, distracted me, her other hand undid my padlock. I pulled back as I jumped in shock. Our eyes were locked on each others’ in the flashing neon stage lights. She had a twinkle in her eye as she pulled me close to her. “Find a man, for you.” I pulled back, looked at her in surprise. She smiled wickedly, an erotic edge to her features suddenly. She was hot when she was getting dressed and she was even hotter now. I didn’t know what the hell was going on, but I leaned into her ear. “Are you looking for a woman?

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

Knock, knock. Who's there? A: Lettuce Q: Lettuce who? A: Lettuce in, it's freezing out here.. . 2. Q: What do elves learn in school? A: The elf-abet . 3. Q: Why was 6 afraid of 7? A: Because: 7 8 9 . . 4. Q. how do you make seven an even number? A. Take out the s! . 5. Q: Which dog can jump higher than a building? A: Anydog – Buildings can’t jump! . 6. Q: Why do bananas have to put on sunscreen before they go to the beach? A: Because they might peel! . 7. Q. How do you make a tissue dance? A. You put a little boogie in it. . 8. Q: Which flower talks the most? A: Tulips, of course, 'cause they have two lips! . 9. Q: Where do pencils go for vacation? A: Pencil-vania . 10. Q: What did the mushroom say to the fungus? A: You're a fun guy [fungi]. . 11. Q: Why did the girl smear peanut butter on the road? A: To go with the traffic jam! . 11. Q: What do you call cheese that’s not yours? A: Nacho cheese! . 12. Q: Why are ghosts bad liars? A: Because you can see right through them. . 13. Q: Why did the boy bring a ladder to school? A: He wanted to go to high school. . 14. Q: How do you catch a unique animal? A: You neak up on it. Q: How do you catch a tame one? A: Tame way. . 15. Q: Why is the math book always mad? A: Because it has so many problems. . 16. Q. What animal would you not want to pay cards with? A. Cheetah . 17. Q: What was the broom late for school? A: Because it over swept. . 18. Q: What music do balloons hate? A: Pop music. . 19. Q: Why did the baseball player take his bat to the library? A: Because his teacher told him to hit the books. . 20. Q: What did the judge say when the skunk walked in the court room? A: Odor in the court! . 21. Q: Why are fish so smart? A: Because they live in schools. . 22. Q: What happened when the lion ate the comedian? A: He felt funny! . 23. Q: What animal has more lives than a cat? A: Frogs, they croak every night! . 24. Q: What do you get when you cross a snake and a pie? A: A pie-thon! . 25. Q: Why is a fish easy to weigh? A: Because it has its own scales! . 26. Q: Why aren’t elephants allowed on beaches? A:They can’t keep their trunks up! . 27. Q: How did the barber win the race? A: He knew a shortcut! . 28. Q: Why was the man running around his bed? A: He wanted to catch up on his sleep. . 29. Q: Why is 6 afraid of 7? A: Because 7 8 9! . 30. Q: What is a butterfly's favorite subject at school? A: Mothematics. Jokes by Categories 20 Mixed Animal Jokes Animal jokes are some of the funniest jokes around. Here are a few jokes about different animals. Specific groups will have a fun fact that be shared before going into the jokes. 1. Q: What do you call a sleeping bull? A: A bull-dozer. . 2. Q: What to polar bears eat for lunch? A: Ice berg-ers! . 3. Q: What do you get from a pampered cow? A: Spoiled milk.

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

They thought they’d completed their assignment when the studio asked for one more, something punchy for a big production number. So they returned to the piano in their office on the Paramount lot. Several unproductive hours later, they gave up and took a drive in the Los Angeles hills, each of them in an irritable mood. Mercer, trying to think of something cheerful, remembered an “offbeat little rhythm tune”8 he’d heard Arlen humming a few days earlier, one that brought to mind a three-word phrase that had long intrigued him, “Accentuate the Positive.” Later, he gave differing accounts of where he’d first heard that phrase. One was that he’d been in an African American church in Savannah when the preacher, Bishop Grace—called Daddy Grace by his congregation—used it in a sermon. The other was that he’d been told that Father Divine—a Harlem preacher who claimed to be God—had used it. Either way, it was perfect for a song, which he and Arlen created by singing to each other as they continued their drive. Given the source of its lyric and the music’s gospel feel, it’s ironic that it was used in a racially offensive way. In the movie, Bing Crosby and Sonny Tufts performed it in blackface. But “Ac-cent-tchu-ate the Positive” became a jukebox hit and an enduring pop classic.

Finally, every society develops a system of aesthetic standards that get manifested in everything from decorative art, music, and dance to the architecture and planning of buildings and communities. There are many different ways we could examine artistic systems. One way of thinking about it is to observe the degree to which a society's aesthetics reflect clear lines and solid boundaries versus fluid ones. Many Western cultures favor clean, tight boundaries whereas many Eastern cultures prefer more fluid, indiscriminate lines. In most Western homes, kitchen drawers are organized so that forks are with forks and knives are with knives. The walls of a room are usually uniform in color, and when a creative shift in color does occur, it usually happens at a corner or along a straight line midway down the wall. Pictures are framed with straight edges, molding covers up seams in the wall, and lawns are edged to form a clear line between the sidewalk and the lawn. Why? Because we view life in terms of classifications, categories, and taxonomies. And cleanliness itself is largely defined by the degree of order that exists. It has little to do with sanitation and far more to do with whether things appear to be in their proper place. Maintaining boundaries is essential in the Western world; otherwise categories begin to disintegrate and chaos sets in.13 Most Americans want dandelion-free lawns and roads with clear lanes prescribing where to drive and where not to drive. Men wear ties to cover the adjoining fabric on the shirts that they put on before going to the symphony, where they listen to classical music based on a scale with seven notes and five half steps. Each note has a fixed pitch, defined in terms of the lengths of the sound waves it produces.14 A good performance occurs when the musicians hit the notes precisely. In contrast, many Eastern cultures have little concern in everyday life for sharp boundaries and uniform categories. Different colors of paint may be used at various places on the same wall. And the paint may well “spill” over onto the window glass and ceiling. Meals are a fascinating array of ingredients where food is best enjoyed when mixed together on your plate. Roads and driving patterns are flexible. The lanes ebb and flow as needed depending on the volume of traffic. In a place like Cambodia or Nigeria, the road space is available for whichever direction a vehicle needs it most, whatever the time of day. And people often meander along the road in their vehicles the same way they walk along a path. There are many other ways aesthetics between one place and another could be contrasted. But the important point is some basic understanding of how cultures differ within the realm of aesthetics. Soak in the local art of a place and chalk it up to informing your strategy for international business.

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.

Future destinations in our solar system neighborhood include potential probe missions to a few moons of Jupiter, Saturn, and Neptune -- mainly by virtue of them being possible candidates for life, with their large oceans buried beneath icy crusts, plus intense volcanic activity. But getting humans to explore these possibly habitable worlds is a big issue in space travel. The record for the fastest-ever human spaceflight was set by the Apollo 10 crew as they gravita­tionally slingshotted around the Moon on their way back to Earth in May 1969. They hit a top speed of 39,897 kilo­meters per hour (24,791 miles per hour); at that speed you could make it from New York to Sydney and back in under one hour. Although that sounds fast, we've since recorded un-crewed space probes reaching much higher speeds, with the crown currently held by NASA's Juno probe, which, when it entered orbit around Jupiter, was traveling at 266,000 kilometers per hour (165,000 miles per hour). To put this into perspective, it took the Apollo 10 mission four days to reach the Moon; Opportunity took eight months to get to Mars; and Juno took five years to reach Jupiter. The distances in our solar system with our current spaceflight technology make planning for long-term crewed explora­tion missions extremely difficult." "So, will we ever explore beyond the edge of the solar system itself? The NASA Voyager 1 and 2 spacecraft were launched back in 1977 with extended flyby missions to the outer gas giant planets of Jupiter and Saturn. Voyager 2 even had flyby encounters with Uranus and Neptune -- it's the only probe ever to have visited these two planets. "The detailed images you see of Uranus and Neptune were all taken by Voyager 2. Its final flyby of Neptune was in October 1989, and since then, it has been traveling ever farther from the Sun, to the far reaches of the solar sys­tem, communicating the properties of the space around it with Earth the entire time. In February 2019, Voyager 2 reported a massive drop off in the number of solar wind particles it was detecting and a huge jump in cosmic ray particles from outer space. At that point, it had finally left the solar system, forty-one years and five months after being launched from Earth. "Voyager 1 was the first craft to leave the solar system in August 2012, and it is now the most distant synthetic object from Earth at roughly 21.5 billion kilometers (13.5 billion miles) away. Voyager 2 is ever so slightly closer to us at 18 billion kilometers (11 billion miles) away. Although we may ultimately lose contact with the Voyager probes, they will continue to move ever farther away from the Sun with nothing to slow them down or impede them. For this reason, both Voyager crafts carry a recording of sounds from Earth, including greetings in fifty-five differ­ent languages, music styles from around the world, and sounds from nature -- just in case intelligent life forms happen upon the probes in the far distant future when the future of humanity is unknown.

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

Skate videos constantly introduced me to music I would have never heard otherwise. So many days and nights from my youth were spent piling into someone’s car and traveling to other towns and cities to hit some skate spots and inevitably meet all sorts of people from different backgrounds.

Death hit people differently. She was getting by. He had all but given up. There was no middle ground as woman. She was used to it, but it still pissed her off. Frigid, or a slag. Girly, or one of the boys. Hrad, or emotionally unstable. When USA sneezed , the UK caught the cold. Her face was often difficult to read, but at that moment it told him whatever McEvoy found Margie Knight o not, she'd tear every dodgy sauna, massage parlour and tin-pot knocking shop in the city apart trying. It might have been a few minutes, it might have been an hour, when he heard Holland's voice... The mood she is in right now, Holland, if you're so much as suggest that it might be her time of the month, I'm guessing she'll kill you on the spot. I think the poison inside me has eaten away every ounce of courage there might ever have been. I need to find just a little more. "Look, I'm getting tired of saying sorry" "Well I'm not tired of hearing you say it, OK?" Maybe they bred them somewhere, taught then how to put their hair in a bun and look down their pointed noses, before sending them out into the world with a pair of bug glasses, a fondness for tweed and something uncomfortable up their backside. "I'm going to kill Holland. No, I'm going to make him listen to some proper country music and then I'm going to kill him." "Actually, fuck that, the music would be wasted on him anyway. I'll just kill him." "fuckfuckbullocksfuck..." "What? I make you sick? I make you want to hurt me?" "You knock, you wait, you get asked to come in, you come in. It's pretty bloody straightforward." ...sat at home like Tom Throne, trying to keep the rest of the world well away. Police officer and prison staff are old enemies. The finders and the keepers resenting each other. 'Everybody says it switches around when you get old and they have to look after you. The parent becomes the child...It's non sense though., it really is. Even when they're cooking for you and getting your shopping in, you know? Even when they're doing up the buttons on your pyjamas and pretending to listen to your stupid stories, even when they're wiping your arse, you're still the father--It never stops, never. You're still the father and he's still the son. Still the son...' A thin layer across the top of the cistern in the ladies, invisible unless used in some of the more drugs-conscious clubs. ...Depending on how it looks, thy either do nothing, or break it again, re-set it.' 'Do they need volunteers?' "Don't talk to me. Not like that, do you understand? Not 'are you all right?' Not 'sorry'..." "I don't..." "Talk to me like a murdered." Holland couldn't believe what he was hearing. Palmer? 'Sorry?' Throne shouted. 'Fucking sorry...?' 'Shut your fucking stupid cunt's mouth. I will kill you, is that clear? I'm not afraid, certainly not of you. I don't care what happens. He can shoot the pair of us, I don't give a fuck. But if I hear so much as a breath coming out of you before this is finished, a single poisonous whisper, I'll rip your face off with my bare hands. I'll take it clean off, Nicklin, I'll make you another nice, new identity...

Alternatives to time-out Isolating children for a period of time has become a popular discipline strategy advocated by many child psychologists and pediatricians. However, newly adopted toddlers seem to be more upset than helped by time-outs. Time-outs are intended to provide an opportunity for both parents and children to calm down and change their behaviors, but it isn’t effective for children who do not have self-calming strategies. Isolation can be traumatic for a toddler who is struggling with grief and/or attachment, and so perceives time-out as further rejection. If the child becomes angrier or more withdrawn as a result of being timed-out, try another strategy. One alternative is for parents to impose a brief time-out on themselves by temporarily withdrawing their attention from their child. For example, the parent whose child is throwing toys stops playing, looks away, and firmly tells the child, “I can’t continue playing until you stop throwing your toys.” Sitting passively next to the child may be effective, especially if the child previously was engaged in an enjoyable activity with the parent. Another alternative to parent enforced time-outs is self-determined time-outs, where the child is provided the opportunity to withdraw from a conflict voluntarily or at least have some input into the time-out arrangement. The parent could say, “I understand that you got very upset when you had to go to your room yesterday after you hit Sara. Can you think of a different place you would like to go to calm down if you feel like getting in a fight?” If the child suggests going out on the porch, the next time a battle seems to be brewing, Mom or Dad can say, “Do you need to go outside to the porch and calm down before we talk more?” Some children eventually reach the level of self-control where they remove themselves from a volatile situation without encouragement from Mom or Dad. These types of negotiations usually work better with older preschoolers or school-age children than they do with toddlers because of the reasoning skills involved. As an alternative to being timed-out, toddlers also can be timed-in while in the safety of a parent’s lap. Holding allows parents to talk to their child about why she’s being removed from an activity. For example, the toddler who has thrown her truck at the cat could be picked up and held for a few minutes while being told, “I can’t let you throw your toys at Misty. That hurts her, and in our family we don’t hurt animals. We’ll sit here together until you’re able to calm down.” Calming strategies could incorporate music, back rubs, or encouraging the child to breathe slowly. Objects that children are misusing should also be removed. For example, in the situation just discussed, the truck could be timed-out to a high shelf. If parents still decide to physically remove their child for a time-out, it should never be done in a way or place that frightens a toddler. Toddlers who have been frightened in the past by closed doors, dark rooms, or a particular room such as a bathroom should never be subjected to those settings. I know toddlers who, in their terror, have literally trashed the furniture and broken windows when they were locked in their rooms for a time-out. If parents feel a time-out is essential, it should be very brief, and in a location where the child can be supervised.

Bernard and I always believed that most pop music fits into the board category called rock and roll. Rock and roll was ever changing, and this art form had different genres of classification for the benefit of consumers, like sections in a library or bookstore. Once any genre-folk, soul, rock or even some jazz-reaches a certain position on the pop charts, it does what’s known in the music business as crossing over, and gets played on the Top Forty stations. That’s the reason so many of us own songs by artists from genre’s we normally wouldn't-their hit songs crossed over into the pop Top Forty mainstream. When a genre repeatedly crosses over and comes to dominate the Top Forty, what had originated as an insurgency becomes the new ruling class. This was the path disco had taken-from the margins where it started, a weird combination of underground gay culture and funk and gospel-singing techniques and, in the case of Chic, Jazz-inflected groovy soul. But it was basically all rock and roll, historically speaking, as far as we were concerned. But the media and the industry pitted us against the Knack-the disco kings in their buppie uniforms verses the scrappy white boys. But we never saw it that way. We thought we were all on the same team, even if our voices and songs followed different idioms. Boy, were we naïve. And boy, did things change.

Never Let Me Down" (feat. Jay-Z, J-Ivy) [Intro:] Yeah Grandmama Told you I won't let you down Told you I won't let this rap game change me, right? [Chorus:] When it comes to being true, at least true to me One thing I found,one thing I found Oh no you'll neva let me down, Get up I get(down) Get up I get(down) Get up I get(down) Get up I get(down) Get up I get(down) Get up I get(down) [Jay-Z:] Yo, yo first I snatched the street then I snatched the charts, First had they ear now I hav they're heart, Rappers came and went, I've been hear from the start, Seen them put it together Watch them take it apart, See the Rovers roll up wit ribbons I've seen them re-poed, re-sold and re-driven So when I reload, he holds #1 position When u hot I'm hot And when your feet cold, mines is sizzelin It's plain to see Nigga's can't f*** wit me Cuz ima be that nigga fo life This is not an image This is God given This is hard liven Mixed wit crystal sipping It's the most consistent Hov Give you the most hits you can fit inside a whole disc and Nigga I'm home on these charts, y'all niggaz visitin It's Hov tradition, Jeff Gordan of rap I'm back to claim pole position, holla at ya boy [Chorus] [Kanye West:] I get down for my grandfather who took my momma Made her sit that seat where white folks ain't wanna us to eat At the tender age of 6 she was arrested for the sit in With that in my blood I was born to be different Now niggas can't make it to ballots to choose leadership But we can make it to Jacob and to the dealership That's why I hear new music And I just don't be feeling it Racism still alive they just be concealing it But I know they don't want me in the damn club They even made me show I.D to get inside of Sam's club I did dirt and went to church to get my hands scrubbed Swear I've been baptised at least 3 or 4 times But in the land where nigga's praise Yukons and getting paid It gon' take a lot more than coupons to get us saved Like it take a lot more than do-rags to get your waves Noting sadder than that day my girl father past away So I promised to Mr Rany I'm gonna marry your daughter And u know I gotta thank u for they way that she was brought up And I know that u were smiling when u see that car I bought her And u sent tears from heaven when u seen my car get balled up But I can't complaint what the accident did to my Left Eye Cuz look what a accident did to Left Eye First Aaliyah and now romeo must die I know a got angels watching me from the other side

Whenever a noise exceeds our processing abilities—we can’t decipher all the different sound waves hitting our hair cells— the mind . . . stops trying to understand the individual notes and seeks instead to understand the relationships between the notes. The human auditory cortex pulls off this feat by using it's short- term memory for sound (in the left posterior hemisphere) to uncover patterns at the large level of the phrase, motif, and movement. This new approximation lets us extract order from all those notes haphazardly ͒flying through space, and the brain is obsessed with order . . . It is this psychological instinct—this desperate neuronal search for a pattern, any pattern, that is the source of music . . . We continually abstract on our own inputs, inventing patterns in order to keep pace with the onrush of noise. And once the brain ͒finds a pattern, it immediately starts to make predictions . . . It projects imaginary order into the future . . . The structure of music reflects the human brain’s penchant for patterns . . . But before a pattern can be desired by the brain, that pattern must play hard to get

Screenplay is a company that provides music videos to businesses. Music and video screens are such common attractions in city businesses that court sexual minorities that many of them subscribe to this service. Via disc-based or direct-to-system download, Screenplay subscribers pay for access to a service called “VJ Pro,” where they choose from different genres of music videos that loosely resemble radio formats: HitsVision, a Top 40 mix that promises subscribers “nothing but the hits from every source”; DanceVision, featuring “exclusive remixes, hard to find imports and popular mainstream hits and everything in between designed expressly for the fast paced dance environment”; UrbanVision, a rhythm and blues/hip-hop hybrid that purports “to be all inclusive”; RockVision, rock music featuring songs “from Classic . . . to Disco, New Wave to Old School”; CountryVision, “an upbeat mix of current hits and classic favorites”; and LatinVision, “designed specifically for the sophisticated Latin dance crowd that demands only the hottest and best in tropical, Caribbean, merengue dance and Latin pop.”48 Many gay bars subscribe to ClubVision, which features a mix of “techno, trance and euro-flavored . . . tracks.”49 For dance-themed bars, this subscription features “an extended autoplay feature and individual chapter stops for single track selection.

Pop art from the sixties lingered on as a movement, mutating and becoming more ironic as it drifted further from its origins. Compared to some of the dour work of the conceptualists and minimalists, one felt that at least these artists had a sense of fun. Warhol, Rauschenberg, Rosenquist, Lichtenstein, and their kin were about embracing, in a peculiar, ironic way, a world with which we were familiar. They accepted that pop culture was the water in which we all swam. I think I can speak for a lot of the musicians in New York at that time and say that we genuinely liked a lot of pop culture, and that we appreciated workmanlike song craft. Talking Heads did covers of 1910 Fruitgum Company and the Troggs, and Patti Smith famously reworked the über-primitive song “Gloria” as well as the soul song “Land of 1,000 Dances.” Of course, our cover tunes were very different from those we would have been expected to play if we had been a bar band that played covers. That would have meant Fleetwood Mac, Rod Stewart, Donny & Marie, Heart, ELO, or Bob Seger. Don’t get me wrong, some of them had some great songs, but they sure weren’t singing about the world as we were experiencing it. The earlier, more primitive pop hits we’d first heard on the radio as suburban children now seemed like diamonds in the rough to us. To cover those songs was to establish a link between one’s earliest experience of pop music and one’s present ambitions—to revive that innocent excitement and meaning.

As many Americans watched Ken Burns’s The Civil War in 1990 as watched the Super Bowl that year. And all Burns did—not to minimize it, because it’s such a feat—is take 130-year-old existing information and weave it into a (very) good story. Burns once described perhaps the most important part of his storytelling process—the music that accompanies images in his documentaries: I went into old hymnals and old song books and I had someone plunk them out on the piano. And whenever something hit me I’d go, “That one!” And then we’d go into a studio with a session musician and probably do thirty different recordings. Burns says that when writing a documentary script he will literally extend a sentence so that it lines up with a certain beat in the background music; he will cut a sentence to do the same. “Music is God,” he says. “It’s not just the icing on the cake. It’s the fudge, baked right in there.

MSN GROUP: Mystery’s Lounge SUBJECT: Field Report—Life at Project Hollywood AUTHOR: Sickboy For those who don’t know, I’ve been sleeping in Papa’s closet at Project Hollywood. Today was the best day I’ve ever had here, despite all the crazy drama that has been going on. I woke up earlier than usual and went surfing in Malibu with Style and his girlfriend, who is really an amazing person. Seeing how cool they get along is really inspiring. He’s one of the few people I’ve met in the game who has something great to show for all the effort he’s put into it. The surfing was amazing. I was so happy to go because I haven’t gone yet this summer. I recommend taking up the sport to anyone who’s never tried it. As soon as you hit the water, your mind clears and it’s almost impossible to think of anything else. It’s truly a relaxing experience. Afterward, we ate at a fish stand right at the edge of the Pacific Ocean and had a great conversation about music, friends, traveling, life, and careers. When I returned to the house, I did some work. Then I watched The Last Dragon with Playboy, whom I’ve become good friends with. During the movie, Herbal and Mystery talked outside and settled their differences. Though Mystery’s still upset at Katya, he said he wouldn’t hold it against Herbal for falling in love with her. And Herbal said that if Mystery paid for the damages to his room, he’d forgive Mystery for his behavior. Thank God. It’s good to see this thing ended in a sane way. Mystery will be moving out of the house tomorrow anyway, which I think is a shame. At about 2:00 A.M., Playboy, Mystery, and I sat in the main room smoking a hookah, listening to music, and talking about our goals in life. I didn’t have a single conversation today about sarging, pickup, or the community. My day was filled with real conversations with real friends. I didn’t need to fuck some L.A. bimbo from the Saddle Ranch for validation. In fact, I didn’t do a single set all day. These are the days that make life worth living. These are also the days that I will miss when I move out of Project Hollywood. —Sickboy

I loved the sound he could get on tape for my drums. In rock music, getting this right is still one of the great tests for any engineer. Since the drum's original use was to spur on troops to warfare, rather than winning over a maiden's fair heart, it is hardly surprising that many a battle has been fought over the drum sound. The kit - virtually the only remaining acoustic instrument in a standard rock context - consists of a number of different constituent parts which insist on vibrating and rattling through a remarkable range of sounds and surfaces. Worse, hitting one element will set up a chain vibration in the others. In the days of four-track recording, the engineer needed to capture, but keep separate, the firm impact of the bass drum and the hi-hat for marking the time, the full fat sound of the snare drum, the tuned tones of the tom-toms and the sizzle or splash of the cymbals. Setting up the mikes to capture this is one of the black arts of the business, and is a pretty good way of detecting the best practitioners of them. Alan's full range of engieering skills were self-evident as we began to piece the record together.

All six children disappointed their father [Edward White Benson]. Martin, the eldest, was a paragon: brilliant at school, quiet, pious - his father's dream, He stuttered, which may reflect the strain of such perfection under such parents. His death at age seventeen tore a hole in his father that never healed. Nellie tried to be the perfect daughter - working with the poor, caring for her parents, gentle, but always willing to go for a hard gallop with her father for morning exercise. Her death at a young age, unmarried, was for the whole family an afterthought to the awfulness of Martin's loss. Arthur, Fred, and Hugh all found the Anglican religion of their father impossible. Arthur went to church, appreciated the music, the ceremony and its role in social order, but struggled with belief, even when he called out to God in the despair of his blackest depression. Fred was flippant and disengaged, and his first novel, Dodo, the hit of the season in 1893, outraged his father's sense of seriousness. Fred represented Britain at figure skating - a hobby that was as far as he could get from his father's ideals of social and religious commitment, the epitome of a 'waste of time.' Hugh's turn to the Roman Catholic Church was after his father's death - but like all the children, the fight with paternal authority never ceased. While his father was alive, Hugh muffed exams, wanted to go into the Indian Civil Service against his father's wished - he failed those exams too 0 and argued with everyone in the family petulantly. Maggie, too, was 'difficult': 'her friendships were seldom leisurely or refreshing things,' commented Arthur; Nellie more acerbic, added, 'If Maggie would only have an intimate relationship even with a cat, it would be a relief.' Her Oxford tutors found her 'remorseless.' At age twenty-five, still single, she did not know the facts of life. Over the years, her jealousy of her mother's companion Lucy Tait became more and more pronounced, as did her adoption of her father's expressions of strict disapproval. Her depressions turned to madness and violence, leading to her eventual hospitalization. There is another dramatic narrative, then, of the six children, all differently and profoundly scarred by their home life, which they wrote about and thought about repeatedly. Cross-currents of competition between the children, marked by a desperate need for intimacy, in tension with a restraint born of fear of violent emotion and profound distrust (at best) of sexual feeling, produced a fervid and damaging family dynamic. There is a story her of what it is like to grow up with a hugely successful, domineering, morally certain father, a mother who embodied the joys of intimacy but with other women - and of what the costs of public success from such a complex background are.

Toward the end of the shift, when the orders from the waitresses had slowed to a trickle and the cleaning up of the kitchen had begun, J.T. picked a CD and slipped it into the CD player the cooks kept on top of a reach-in refrigerator. He cranked the volume to seven and hit Play. Offspring doing "Bad Habit." It was one of the kitchen staff standards. They favored seriously hard-edged rock at the end of a tough night. The worse the night, the wilder the music. Skeet, one of the other cooks, heard the opening bars and gave J.T. a wink. "It wasn't that bad of a night," she said. "Oh, Skeet, you think every night is a Melissa Etheridge night," J.T. teased. He waltzed over, took Skeet by the waist, and drew her into a completely incongruous dance, as if they were keeping time to a different piece of music. "First time you've danced with a guy, Skeet?" "No, only I prefer guys with some idea of rhythm," Skeet said. J.T. released her, laughing. "Come on, Tom," he said, inviting the fry cook to dance. "Let's go." "Yeah, when pigs fly," Tom said. "No one wants to dance," J.T. complained. Then he spotted Lianne coming through the swinging doors. "Lianne! Dance with me." He snapped his fingers. "I got dancin' feet." "Dance to this?" Lianne said, turning up her nose. "Skeet! Stick in Rihanna," J.T. ordered. Seconds later Rihanna came on. But still Lianne refused. "J.T., you're at work," she said. She gave him a peck on the cheek and went back to the dining room just as Marquez passed through the door. J.T. retreated a bit, stepping back behind the line and pretending to go back to work. Marquez started to do side work, dipping tartar sauce into little plastic cups, but J.T. knew her too well to think she could ignore the music. Within seconds he could see the effect-- a motion beginning with her head, swaying just slightly at first, translated down her neck to her shoulders, her bottom, her legs, topped off by a little twirl with the tartar sauce spoon still in her hand. J.T. smiled ruefully. The future Harvard girl. The future corporate lawyer. There wasn't anything wrong in dancing with his former girlfriend, was there? After all, a moment earlier he'd been dancing with Skeet. He'd even asked Tom, although the fry cook was unlikely to be seen as a threat by Lianne. No, he should stick to his work. Marquez was now dancing far more than she was filling cups of tartar sauce. J.T. whipped off his apron. Screw it. He had dancin' feet. What was he supposed to do? He took the spoon from Marquez and set it down. "Crank it, Skeet," he said. By the time Lianne reappeared in the kitchen, Marquez was up on the stainless steel counter, hands in the air over her head, hips thrusting, hair loose and flying, doing death-defying moves. J.T. was dancing more sedately below her, choosing to keep his feet on the ground. "Is this really--" Lianne began, but the music drowned her out. She caught J.T.'s eye. He gave her a wan grin and tried to draw her into the moment. But Lianne just looked angry and hurt.

Based on the way that human brains develop, I think that people of my generation and younger are biologically different from people who did not hit adolescence with full access to the internet. It physically changes you, what you do at that period of your life.