Posters With Music Quotes

Smells, like music, hold memories. She breathed deep, and bottled it up for posterity.

The gentle pulsing and flickering of stars and nebulae made a kind of music, a sweet easy mesh of whispered tones and sighing harmonies that held him in its force like the earth [holding] the moon.

Our leaders strain every nerve and with success, to get the next war going, while the rest of us, meanwhile, dance the fox trot, earn money and eat chocolates...And perhaps...it has always been the same and always will be, and what is called history at school, and all we learn by heart there about heroes and geniuses and great deeds and fine emotions, is all nothing but a swindle invented by the schoolmasters for educational reasons to keep children occupied for a given number of years. It has always been so and always will be. Time and the world, money and power belong to the small people and shallow people. To the rest, to the real men belongs nothing...eternity...it isn't fame. Fame exists in that sense only for the schoolmasters. No, it isn't fame. It is what I call eternity...The music of Mozart belongs there and the poetry of your great poets. The saints, too, belong there, who have worked wonders and suffered martyrdom and given a great example to men. But the image of every true act, the strength of every true feeling, belongs to eternity just as much, even though no one knows of it or sees it or records it or hands it down to posterity. In eternity there is no posterity...It is the kingdom on the other side of time and appearances. It is there we belong. There is our home. It is that which our heart strives for...And we have no one to guide us. Our only guide is our homesickness.

Think of the great poetry, the music and dance and ritual that spring forth from our aspiring to a life beyond death. Maybe these things are justification enough for our hopes and dreams, although I wouldn't say that to a dying man.

You will not remember much from school. School is designed to teach you how to respond and listen to authority figures in the event of an emergency. Like if there's a bomb in a mall or a fire in an office. It can, apparently, take you more than a decade to learn this. These are not the best days of your life. They are still ahead of you. You will fall in love and have your heart broken in many different, new and interesting ways in college or university (if you go) and you will actually learn things, as at this point, people will believe you have a good chance of obeying authority and surviving, in the event of an emergency. If, in your chosen career path, there are award shows that give out more than ten awards in one night or you have to pay someone to actually take the award home to put on your mantlepiece, then those awards are more than likely designed to make young people in their 20's work very late, for free, for other people. Those people will do their best to convince you that they have value. They don't. Only the things you do have real, lasting value, not the things you get for the things you do. You will, at some point, realise that no trophy loves you as much as you love it, that it cannot pay your bills (even if it increases your salary slightly) and that it won't hold your hand tightly as you say your last words on your deathbed. Only people who love you can do that. If you make art to feel better, make sure it eventually makes you feel better. If it doesn't, stop making it. You will love someone differently, as time passes. If you always expect to feel the same kind of love you felt when you first met someone, you will always be looking for new people to love. Love doesn't fade. It just changes as it grows. It would be boring if it didn't. There is no truly "right" way of writing, painting, being or thinking, only things which have happened before. People who tell you differently are assholes, petrified of change, who should be violently ignored. No philosophy, mantra or piece of advice will hold true for every conceivable situation. "The early bird catches the worm" does not apply to minefields. Perfection only exists in poetry and movies, everyone fights occasionally and no sane person is ever completely sure of anything. Nothing is wrong with any of this. Wisdom does not come from age, wisdom comes from doing things. Be very, very careful of people who call themselves wise, artists, poets or gurus. If you eat well, exercise often and drink enough water, you have a good chance of living a long and happy life. The only time you can really be happy, is right now. There is no other moment that exists that is more important than this one. Do not sacrifice this moment in the hopes of a better one. It is easy to remember all these things when they are being said, it is much harder to remember them when you are stuck in traffic or lying in bed worrying about the next day. If you want to move people, simply tell them the truth. Today, it is rarer than it's ever been. (People will write things like this on posters (some of the words will be bigger than others) or speak them softly over music as art (pause for effect). The reason this happens is because as a society, we need to self-medicate against apathy and the slow, gradual death that can happen to anyone, should they confuse life with actually living.)

Everything in my room was old and faded, but I loved that about it. It felt like there might be secrets in the walls, in the four-poster bed, especially in that music box.

He had no document but his memory; the training he had acquired with each added hexameter gave him a discipline unsuspected by those who set down and forget temporary, incomplete paragraphs. He was not working for posterity or even for God, whose literary tastes were unknown to him. Meticulously, motionlessly, secretly, he wrought in time his lofty, invisible labyrinth. He worked the third act over twice. He eliminated certain symbols as over-obvious, such as the repeated striking of the clock, the music. Nothing hurried him. He omitted, he condensed, he amplified. In certain instances he came back to the original version. He came to feel affection for the courtyard, the barracks; one of the faces before him modified his conception of Roemerstadt's character. He discovered that the wearying cacophonies that bothered Flaubert so much are mere visual superstitions, weakness and limitation of the written word, not the spoken...He concluded his drama. He had only the problem of a single phrase. He found it. The drop of water slid down his cheek. He opened his mouth in a maddened cry, moved his face, dropped under the quadruple blast.

The biggest spur to my interest in art came when I played van Gogh in the biographical film Lust For Life. The role affected me deeply. I was haunted by this talented genius who took his own life, thinking he was a failure. How terrible to paint pictures and feel that no one wants them. How awful it would be to write music that no one wants to hear. Books that no one wants to read. And how would you like to be an actor with no part to play, and no audience to watch you. Poor Vincent—he wrestled with his soul in the wheat field of Auvers-sur-Oise, stacks of his unsold paintings collecting dust in his brother's house. It was all too much for him, and he pulled the trigger and ended it all. My heart ached for van Gogh the afternoon that I played that scene. As I write this, I look up at a poster of his "Irises"—a poster from the Getty Museum. It's a beautiful piece of art with one white iris sticking up among a field of blue ones. They paid a fortune for it, reportedly $53 million. And poor Vincent, in his lifetime, sold only one painting for 400 francs or $80 dollars today. This is what stimulated my interest in buying works of art from living artists. I want them to know while they are alive that I enjoy their paintings hanging on my walls, or their sculptures decorating my garden

We like to believe that we live in a grand age of creative individualism. We look back at the midcentury era in which the Berkeley researchers conducted their creativity studies, and feel superior. Unlike the starched-shirted conformists of the 1950s, we hang posters of Einstein on our walls, his tongue stuck out iconoclastically. We consume indie music and films, and generate our own online content. We “think different” (even if we got the idea from Apple Computer’s famous ad campaign). But the way we organize many of our most important institutions—our schools and our workplaces—tells a very different story.

It’s amazing how inspirational posters and “soothing” music can make you want to punch yourself in the face.

The trap of reputation, for example. In this scenario, having garnered a considerable reputation or level of acclaim, one becomes paralyzed by the dreadful thought of losing it all by doing something... undignified. Uncool. This is a trap. Reputation is a trap that will turn you into a lifeless marble bust of yourself before you're even dead. And then of courses there is reputation's immortal big brother, Posterity, worrying about which has driven better women and men than you into the asylum. All these things... reputation, posterity, cool... should be tested to destruction by a course of deliberate sabotage. As the often-illuminating Escape and New Musical Express cartoonist Shaky Kane once remarked, "Don't be cool. Like everything." If you find yourself in danger of being taken seriously, then try to do something which undermines or sabotages that perception in some way. If your talent is of any genuine worth, it should be able to weather squalls of unpopularity and audience incomprehensio. The only thing that might seriously endanger either your talent or your relationship with your talent is if you suddenly found yourself fashionable.

The alley is a pitch for about twenty women leaning in doorways, chain-smoking. In their shiny open raincoats, short skirts, cheap boots, and high-heeled shoes they watch the street with hooded eyes, like spies in a B movie. Some are young and pretty, and some are older, and some of them are very old, with facial expressions ranging from sullen to wry. Most of the commerce is centred on the slightly older women, as if the majority of the clients prefer experience and worldliness. The younger, prettier girls seem to do the least business, apparent innocence being only a minority preference, much as it is for the aging crones in the alley who seem as if they’ve been standing there for a thousand years. In the dingy foyer of the hotel is an old poster from La Comédie Française, sadly peeling from the all behind the desk. Cyrano de Bergerac, it proclaims, a play by Edmond Rostand. I will stand for a few moments to take in its fading gaiety. It is a laughing portrait of a man with an enormous nose and a plumed hat. He is a tragic clown whose misfortune is his honour. He is a man entrusted with a secret; an eloquent and dazzling wit who, having successfully wooed a beautiful woman on behalf of a friend cannot reveal himself as the true author when his friend dies. He is a man who loves but is not loved, and the woman he loves but cannot reach is called Roxanne. That night I will go to my room and write a song about a girl. I will call her Roxanne. I will conjure her unpaid from the street below the hotel and cloak her in the romance and the sadness of Rostand’s play, and her creation will change my life.

Fame wouldn’t exist if it weren’t for education. It’s only of concern to schoolteachers. Oh no, we are not talking about fame, but what I call eternity. Believers call it the kingdom of God. The way I see it, all of us more demanding people, those of us who long for something better and have that one dimension too many, would be incapable of living if, apart from this world’s atmosphere, there weren’t another air to breathe; if, apart from time, eternity didn’t also exist, the kingdom of authentic life. Mozart’s music is a part of it, as are the poems of your great writers. So too are the saints who performed miracles, died as martyrs and set a great example to people. But the image of every authentic act, the strength of every authentic emotion, are just as much a part of eternity, even if nobody knows about them, witnesses them, writes them down and preserves them for posterity. There is no such thing as posterity in eternity, only contemporaneity.

But she knows this isn’t true. They’re more than just people. They’re a mood, a feeling, a vibe, an aspiration. They’re like a music video or a trailer for a really cool movie. They’re a billboard poster for a hip clothing brand.

How else could we identify another weirdo or outlier? These symbols intimated a belief system, a way of thinking not just about music but about school and friends and politics and society. It was also a way to separate yourself, to feel bold or try on boldness without yet possessing it. A little inkling of the nonconformist person you could be—you wanted to be—but weren’t quite ready to commit to. I papered my walls with band posters and what little I could find in mainstream magazines about alternative and punk, maybe a picture of Babes in Toyland from Spin or Fugazi from Option. The iconoclast images and iconography covered my room, a jarring contrast to the preppy blue-and-white-striped wallpaper I’d insisted on in elementary school. I resented the parts of myself that were late to adopt coolness, late to learn—I wanted to have always possessed a savviness and sophistication, even though I clearly had neither.

Andrea Meyer: What do you think your films offer to people today? Agnès Varda: I would say energy. I would say love for filming, intuition. I mean, a woman working with her intuition and trying to be intelligent. It's like a stream of feelings, intuition, and joy of discovering things. Finding beauty where it's maybe not. Seeing. And, on the other hand, trying to be structural, organized; trying to be clever. And doing what I believe is cinécriture, what I always call cine-writing. Which is not a screenplay. Which is not only the narration words. It's choosing the subject, choosing the place, the season, the crew, choosing the shots, the place, the lens, the light. Choosing your attitude towards people, towards actors. Then choosing the editing, the music. Choosing contemporary musicians. Choosing the tune of the mixing. Choosing the publicity material, the press book, the poster. You know, it's a handmade work of filmmaking - that I really believe. And I call that cine-writing.

my best friend tell me that to her the concert wasn’t about the band—it was about us, it was about the fact that we were there together, that the music itself was secondary to our world, merely something that colored it, spoke to it. That’s why all those records from high school sound so good. It’s not that the songs were better—it’s that we were listening to them with our friends, drunk for the first time on liqueurs, touching sweaty palms, staring for hours at a poster on the wall, not grossed out by carpet or dirt or crumpled, oily bedsheets. These songs and albums were the best ones because of how huge adolescence felt then, and how nostalgia recasts it now.

In the campaign of 1876, Robert G. Ingersoll came to Madison to speak. I had heard of him for years; when I was a boy on the farm a relative of ours had testified in a case in which Ingersoll had appeared as an attorney and he had told the glowing stories of the plea that Ingersoll had made. Then, in the spring of 1876, Ingersoll delivered the Memorial Day address at Indianapolis. It was widely published shortly after it was delivered and it startled and enthralled the whole country. I remember that it was printed on a poster as large as a door and hung in the post-office at Madison. I can scarcely convey now, or even understand, the emotional effect the reading of it produced upon me. Oblivious of my surroundings, I read it with tears streaming down my face. It began, I remember: "The past rises before me like a dream. Again we are in the great struggle for national life.We hear the sounds of preparation--the music of boisterous drums--the silver voices of heroic bugles. We see the pale cheeks of women and the flushed faces of men; and in those assemblages we see all the dead whose dust we have covered with flowers..." I was fairly entranced. he pictured the recruiting of the troops, the husbands and fathers with their families on the last evening, the lover under the trees and the stars; then the beat of drums, the waving flags, the marching away; the wife at the turn of the lane holds her baby aloft in her arms--a wave of the hand and he has gone; then you see him again in the heat of the charge. It was wonderful how it seized upon my youthful imagination. When he came to Madison I crowded myself into the assembly chamber to hear him: I would not have missed it for every worldly thing I possessed. And he did not disappoint me. A large handsome man of perfect build, with a face as round as a child's and a compelling smile--all the arts of the old-time oratory were his in high degree. He was witty, he was droll, he was eloquent: he was as full of sentiment as an old violin. Often, while speaking, he would pause, break into a smile, and the audience, in anticipation of what was to come, would follow him in irresistible peals of laughter. I cannot remember much that he said, but the impression he made upon me was indelible. After that I got Ingersoll's books and never afterward lost an opportunity to hear him speak. He was the greatest orater, I think, that I have ever heard; and the greatest of his lectures, I have always thought, was the one on Shakespeare. Ingersoll had a tremendous influence upon me, as indeed he had upon many young men of that time. It was not that he changed my beliefs, but that he liberated my mind. Freedom was what he preached: he wanted the shackles off everywhere. He wanted men to think boldly about all things: he demanded intellectual and moral courage. He wanted men to follow wherever truth might lead them. He was a rare, bold, heroic figure.

I have never been a poster boy for serenity, but I knew I needed to restore some semblance of inner peace. In search of a fix much quicker than my weekly forays into the talking cure, I came upon an ancient and proven practice, one that exists in every culture and religious tradition as a means to attaining calm and an alternate plane of consciousness: an extended fast. Buddha did it, Jesus did it, even Pythagoras and George Bernard Shaw did it. It's like a Cole Porter song from the world's least-fun musical.

I always loved Woolworth’s because of the pick ’n’ mix; the memory of all those cola bottles, cherry lips, and flying saucers still makes me smile. Lily’s favorite shops were Our Price, where she went to buy the latest cassettes and music posters, and Tammy Girl and C&A, where she and Rose shopped for clothes. I always enjoyed our trips to Blockbuster Video—even if I was rarely allowed to choose which film we would rent—and visits to the little independent bookshop with Nana were my favorite outings. Buying books was the only form of shopping she ever enjoyed. It makes me sad to realize that none of those shops exist now. So many high streets are more like ghost towns these days.

Here’s a valuable lesson I’ve learned from working as a music journalist for nearly twenty years: if given the choice between interviewing a hip, up-and-coming musician and interviewing a past-his-prime has-been, take the has-been every single time. Some of my favorite interviews ever are with artists whose music I don’t even like. I’m talking about the time that Poison guitarist C. C. DeVille told me about how he used to drink paint thinner when he ran out of booze. Or when Kip Winger told me he still hates Lars Ulrich for throwing a dart at a Winger poster in Metallica’s “Nothing Else Matters” video. Has-beens have nothing to lose, whereas younger, hipper artists must think politically, as being candid can hurt you in the long run.

I consider myself a Chicagoan now, having lived in the city since I graduated from the University of Illinois at Urbana-Champaign with a degree in accounting. I came here often when I went to Maine West High School out in Des Plaines, which is a short drive west on the Kennedy or a short Blue Line ride toward O’Hare airport, the next-to-last stop in fact. My friends and I would take the Blue Line downtown and then transfer to the Red or Brown Line up to Belmont and Clark, our favorite part of the city when we were 16 and 17, mainly because of The Alley—a store that sold concert shirts, posters, spiked bracelets and stuff like that—and Gramophone Records, the electronic music store that took my virginity, so to speak. - 1st paragraph from Sophomoric Philosophy

I loooves free,” Ethan said. “Don’t we all, man,” Mac said. He looked at me, rubbing his fingers together. “Until we make the majors, we’re poor.” “Aren’t most college students?” I asked. “Yep. So we have movies, free music, what else?” “Library, free books,” I offered. All the guys laughed really loudly, like that was the funniest thing they’d ever heard. But it was a good-natured laugh, not like they were making fun of me. Like maybe they thought I was really clever to offer free books. “My kid sister has this book called Free Stuff,” Mac said. “She sends away for all this junk: stickers, posters, booklets. She just loves getting mail.” “You guys must miss your families in the summer.” “Miss ’em all the time.” I didn’t ask why they didn’t go home for summer because I knew the answer: They loooves baseball.

A VALEDICTION: OF THE BOOK I'll tell thee now (dear love) what thou shalt do To anger destiny, as she doth us; How I shall stay, though she eloign me thus, And how posterity shall know it too; How thine may out-endure Sibyl's glory, and obscure Her who from Pindar could allure, And her, through whose help Lucan is not lame, And her, whose book (they say) Homer did find, and name. Study our manuscripts, those myriads Of letters, which have past 'twixt thee and me; Thence write our annals, and in them will be To all whom love's subliming fire invades, Rule and example found; There the faith of any ground No schismatic will dare to wound, That sees, how Love this grace to us affords, To make, to keep, to use, to be these his records. This book, as long-lived as the elements, Or as the world's form, this all-graved tome In cypher writ, or new made idiom; We for Love's clergy only are instruments; When this book is made thus, Should again the ravenous Vandals and Goths invade us, Learning were safe; in this our universe, Schools might learn sciences, spheres music, angels verse. Here Love's divines—since all divinity Is love or wonder—may find all they seek, Whether abstract spiritual love they like, Their souls exhaled with what they do not see; Or, loth so to amuse Faith's infirmity, they choose Something which they may see and use; For, though mind be the heaven, where love doth sit, Beauty a convenient type may be to figure it. Here more than in their books may lawyers find, Both by what titles mistresses are ours, And how prerogative these states devours, Transferred from Love himself, to womankind; Who, though from heart and eyes, They exact great subsidies, Forsake him who on them relies; And for the cause, honour, or conscience give; Chimeras vain as they or their prerogative. Here statesmen, (or of them, they which can read) May of their occupation find the grounds; Love, and their art, alike it deadly wounds, If to consider what 'tis, one proceed. In both they do excel Who the present govern well, Whose weakness none doth, or dares tell; In this thy book, such will there something see, As in the Bible some can find out alchemy. Thus vent thy thoughts; abroad I'll study thee, As he removes far off, that great heights takes; How great love is, presence best trial makes, But absence tries how long this love will be; To take a latitude Sun, or stars, are fitliest viewed At their brightest, but to conclude Of longitudes, what other way have we, But to mark when and where the dark eclipses be?

With this symphony of voices man can play through the eternity of time in less than an hour, and can taste in small measure the delight of God, the Supreme Artist … I yield freely to the sacred frenzy … the die is cast, and I am writing the book—to be read either now or by posterity, it matters not. It can wait a century for a reader, as God Himself has waited 6,000 years for a witness. Within the “symphony of voices,” Kepler believed that the speed of each planet corresponds to certain notes in the Latinate musical scale popular in his day—do, re, mi, fa, sol, la, ti, do. He claimed that in the harmony of the spheres, the tones of Earth are fa and mi, that the Earth is forever humming fa and mi, and that they stand in a straightforward way for the Latin word for famine. He argued, not unsuccessfully, that the Earth was best described by that single doleful word.

Those groans men use passing a woman on the street or on the steps of the subway to tell her she is a female and their flesh knows it, are they a sort of tune, an ugly enough song, sung by a bird with a slit tongue but meant for music? Or are they the muffled roaring of deafmutes trapped in a building that is slowly filling with smoke? Perhaps both. Such men most often look as if groan were all they could do, yet a woman, in spite of herself, knows it's a tribute: if she were lacking all grace they'd pass her in silence: so it's not only to say she's a warm hole. It's a word in grief-language, nothing to do with primitive, not an ur-language; language stricken, sickened, cast down in decrepitude. She wants to throw the tribute away, dis- gusted, and can't, it goes on buzzing in her ear, it changes the pace of her walk, the torn posters in echoing corridors spell it out, it quakes and gnashes as the train comes in. Her pulse sullenly had picked up speed, but the cars slow down and jar to a stop while her understanding keeps on translating: 'Life after life after life goes by without poetry, without seemliness, without love.

Our leaders strain every nerve and with success, to get the next war going, while the rest of us, meanwhile, dance the fox trot, earn money and eat chocolates...And perhaps...it has always been the same and always will be, and what is called history at school, and all we learn by heart there about heroes and geniuses and great deeds and fine emotions, is all nothing but a swindle invented by the schoolmasters for educational reasons to keep children occupied for a given number of years. It has always been so and always will be. Time and the world, money and power belong to the small people and shallow people. To the rest, to the real men belongs nothing...eternity...it isn't fame. Fame exists in that sense only for the schoolmasters. No, it isn't fame. It is what I call eternity...The music of Mozart belongs there and the poetry of your great poets. The saints, too, belong there, who have worked wonders and suffered martyrdom and given a great example to men. But the image of every true act, the strength of every true feeling, belongs to eternity just as much, even though no one knows of it or sees it or records it or hands it down to posterity. In eternity there is no posterity...It is the kingdom on the other side of time and appearances. It is there we belong. There is our home. It is that which our heart strives for...And we have no one to guide us. Our only guide is our homesickness.

Coley and I had to separate to get around a girl who was mostly eclipsed by the size of the power she was carrying some sort of project about World War II—a picture of Hitler doing his mustachioed Sieg heil, a gaunt concentration camp victim, a couple of American soldiers smoking cigarettes and scowling at the camera, the captions beneath each photo in glitter-bubble letters. If this had been the movie version of my life, I knew, somebody who did teenage stuff well, some director, would have lingered on that poster and maybe even have swelled some poignant music, out is in slow motion as the hallway continued on at regular speed around us, backlit the three of us—Coley and the poster board chick and me—and in doing so tried to make some statement about teenage frivolity and prom season as it stacked up against something authentic and horrible like war. But if renting all those movies had taught me anything more than how to lose myself in them, it was that you only actually have perfectly profound little moments like that in real life if you recognize them yourself, do all the fancy shot work and editing in your head, usually in the very seconds that whatever is happening is happening. And even if you do manage to do so, just about never does anyone else you’re with at the time experience that exact same kind of moment, and it’s impossible to explain as it’s happening, and then the moment is over.

Coley and I had to separate to get around a girl who was mostly eclipsed by the size of the poster she was carrying, some sort of project about World War Two—a picture of Hitler doing his mustachioed Sieg heil, a gaunt concentration-camp victim, a couple of American soldiers smoking cigarettes and scowling at the camera, the captions beneath each photo in glitter-bubble letters. If this had been the movie version of my life, I knew, somebody who did teenage stuff well, some director, would have lingered on that poster and maybe even have swelled some sort of poignant music, put us in slow motion as the hallway continued on at regular speed around us, backlit the three of us—Coley and the posterboard chick and me—and in doing so tried to make some statement about teenage frivolity and prom season as it stacked up against something authentic and horrible like war. But if renting all those movies had taught me anything more than how to lose myself in them, it was that you only actually have perfectly profound little moments like that in real life if you recognize them yourself, do all the fancy shot work and editing in your head, usually in the very seconds that whatever is happening is happening. And even if you do manage to do so, just about never does anyone else you’re with at the time experience that exact same kind of moment, and it’s impossible to explain it as it’s happening, and then the moment is over.

If this is true—if solitude is an important key to creativity—then we might all want to develop a taste for it. We’d want to teach our kids to work independently. We’d want to give employees plenty of privacy and autonomy. Yet increasingly we do just the opposite. We like to believe that we live in a grand age of creative individualism. We look back at the midcentury era in which the Berkeley researchers conducted their creativity studies, and feel superior. Unlike the starched-shirted conformists of the 1950s, we hang posters of Einstein on our walls, his tongue stuck out iconoclastically. We consume indie music and films, and generate our own online content. We “think different” (even if we got the idea from Apple Computer’s famous ad campaign). But the way we organize many of our most important institutions—our schools and our workplaces—tells a very different story. It’s the story of a contemporary phenomenon that I call the New Groupthink—a phenomenon that has the potential to stifle productivity at work and to deprive schoolchildren of the skills they’ll need to achieve excellence in an increasingly competitive world. The New Groupthink elevates teamwork above all else. It insists that creativity and intellectual achievement come from a gregarious place. It has many powerful advocates. “Innovation—the heart of the knowledge economy—is fundamentally social,” writes the prominent journalist Malcolm Gladwell. “None of us is as smart as all of us,” declares the organizational consultant Warren Bennis,

The reason for which a work of genius is not easily admired from the first is that the man who has created it is extraordinary, that few other men resemble him. It was Beethoven’s Quartets themselves (the Twelfth, Thirteenth, Fourteenth and Fifteenth) that devoted half a century to forming, fashioning and enlarging a public for Beethoven’s Quartets, marking in this way, like every great work of art, an advance if not in artistic merit at least in intellectual society, largely composed to-day of what was not to be found when the work first appeared, that is to say of persons capable of enjoying it. What artists call posterity is the posterity of the work of art. It is essential that the work (leaving out of account, for brevity’s sake, the contingency that several men of genius may at the same time be working along parallel lines to create a more instructed public in the future, a public from which other men of genius shall reap the benefit) shall create its own posterity. For if the work were held in reserve, were revealed only to posterity, that audience, for that particular work, would be not posterity but a group of contemporaries who were merely living half-a-century later in time. And so it is essential that the artist (and this is what Vinteuil had done), if he wishes his work to be free to follow its own course, shall launch it, wherever he may find sufficient depth, confidently outward bound towards the future. And yet this interval of time, the true perspective in which to behold a work of art, if leaving it out of account is the mistake made by bad judges, taking it into account is at times a dangerous precaution of the good. No doubt one can easily imagine, by an illusion similar to that which makes everything on the horizon appear equidistant, that all the revolutions which have hitherto occurred in painting or in music did at least shew respect for certain rules, whereas that which immediately confronts us, be it impressionism, a striving after discord, an exclusive use of the Chinese scale, cubism, futurism or what you will, differs outrageously from all that have occurred before. Simply because those that have occurred before we are apt to regard as a whole, forgetting that a long process of assimilation has melted them into a continuous substance, varied of course but, taking it as a whole, homogeneous, in which Hugo blends with Molière. Let us try to imagine the shocking incoherence that we should find, if we did not take into account the future, and the changes that it must bring about, in a horoscope of our own riper years, drawn and presented to us in our youth. Only horoscopes are not always accurate, and the necessity, when judging a work of art, of including the temporal factor in the sum total of its beauty introduces, to our way of thinking, something as hazardous, and consequently as barren of interest, as every prophecy the non-fulfillment of which will not at all imply any inadequacy on the prophet’s part, for the power to summon possibilities into existence or to exclude them from it is not necessarily within the competence of genius; one may have had genius and yet not have believed in the future of railways or of flight, or, although a brilliant psychologist, in the infidelity of a mistress or of a friend whose treachery persons far less gifted would have foreseen.

In the story of Wagner and Wagnerism, we see both the highest and the lowest impulses of humanity entangled. It is the triumph of art over reality and the triumph of reality over art; it is a tragedy of flaws set so deep that after two centuries they still infuriate us as if the man were in the room. To blame Wagner for the horrors committed in his wake is an inadequate response to historical complexity: it lets the rest of civilization off the hook. At the same time, to exonerate him is to ignore his insidious ramifications. It is no longer possible to idealize Wagner: the ugliness of his racism means that posterity's picture of him will always be cracked down the middle. In the end, the lack of a tidy moral resolution should make us more honest about the role that art plays in the world. In Wagner's vicinity, the fantasy of artistic autonomy falls to pieces and the cult of genius comes undone. Amid the wreckage, the artist is liberated from the mystification of "great art”. He becomes something more unstable, fragile, and mutable. Incomplete in himself, he requires the most active and critical kind of listening. So it goes with all art that endures: it is never a matter of beauty proving eternal. When we look at Wagner, we are gazing into a magnifying mirror of the soul of the human species. What we hate in it, we hate in ourselves; what we love in it, we love in ourselves also. In the distance we may catch glimpses of some higher realm, some glimmering temple, some ecstasy of knowledge and compassion. But it is only a shadow on the wall, an echo from the pit. The vision fades, the curtain falls, and we shuffle back in silence to the world as it is.

The Phoenix and the Turtle Let the bird of loudest lay On the sole Arabian tree Herald sad and trumpet be, To whose sound chaste wings obey. But thou shrieking harbinger, Foul precurrer of the fiend, Augur of the fever's end, To this troop come thou not near. From this session interdict Every fowl of tyrant wing, Save the eagle, feather'd king; Keep the obsequy so strict. Let the priest in surplice white, That defunctive music can, Be the death-divining swan, Lest the requiem lack his right. And thou treble-dated crow, That thy sable gender mak'st With the breath thou giv'st and tak'st, 'Mongst our mourners shalt thou go. Here the anthem doth commence: Love and constancy is dead; Phoenix and the Turtle fled In a mutual flame from hence. So they lov'd, as love in twain Had the essence but in one; Two distincts, division none: Number there in love was slain. Hearts remote, yet not asunder; Distance and no space was seen 'Twixt this Turtle and his queen: But in them it were a wonder. So between them love did shine That the Turtle saw his right Flaming in the Phoenix' sight: Either was the other's mine. Property was thus appalled That the self was not the same; Single nature's double name Neither two nor one was called. Reason, in itself confounded, Saw division grow together, To themselves yet either neither, Simple were so well compounded; That it cried, "How true a twain Seemeth this concordant one! Love has reason, reason none, If what parts can so remain." Whereupon it made this threne To the Phoenix and the Dove, Co-supremes and stars of love, As chorus to their tragic scene: Beauty, truth, and rarity, Grace in all simplicity, Here enclos'd, in cinders lie. Death is now the Phoenix' nest, And the Turtle's loyal breast To eternity doth rest, Leaving no posterity: 'Twas not their infirmity, It was married chastity. Truth may seem but cannot be; Beauty brag but 'tis not she; Truth and beauty buried be. To this urn let those repair That are either true or fair; For these dead birds sigh a prayer

11 — I have explained where Wagner belongs—not in the history of music. What does he signify nevertheless in that history? The emergence of the actor in music: a capital event that invites thought, perhaps also fear. In a formula: "Wagner and Liszt."— Never yet has the integrity of musicians, their "authenticity," been put to the test so dangerously. One can grasp it with one's very hands: great success, success with the masses no longer sides with those who are authentic,—one has to be an actor to achieve that!— Victor Hugo and Richard Wagner—they both prove one and the same thing: that in declining civilizations, wherever the mob is allowed to decide, genuineness becomes superfluous, prejudicial, unfavorable. The actor, alone, can still kindle great enthusiasm.— And thus it is his golden age which is now dawning—his and that of all those who are in any way related to him. With drums and fifes, Wagner marches at the head of all artists in declamation, in display and virtuosity. He began by convincing the conductors of orchestras, the scene-shifters and stage-singers, not to forget the orchestra:—he "redeemed" them from monotony .... The movement that Wagner created has spread even to the land of knowledge: whole sciences pertaining to music are rising slowly, out of centuries of scholasticism. As an example of what I mean, let me point more particularly to Riemann's [Hugo Riemann (1849-1919): music theoretician] services to rhythmic; he was the first who called attention to the leading idea in punctuation—even for music (unfortunately he did so with a bad word; he called it "phrasing"). All these people, and I say it with gratitude, are the best, the most respectable among Wagner's admirers—they have a perfect right to honor Wagner. The same instinct unites them with one another; in him they recognize their highest type, and since he has inflamed them with his own ardor they feel themselves transformed into power, even into great power. In this quarter, if anywhere, Wagner's influence has really been beneficial. Never before has there been so much thinking, willing, and industry in this sphere. Wagner endowed all these artists with a new conscience: what they now exact and obtain from themselves, they had never extracted before Wagner's time—before then they had been too modest. Another spirit prevails on the stage since Wagner rules there: the most difficult things are expected, blame is severe, praise very scarce—the good and the excellent have become the rule. Taste is no longer necessary, nor even is a good voice. Wagner is sung only with ruined voices: this has a more "dramatic" effect. Even talent is out of the question. Expressiveness at all costs, which is what the Wagnerian ideal—the ideal of décadence—demands, is hardly compatible with talent. All that is required for this is virtue—that is to say, training, automatism, "self-denial." Neither taste, voices, nor gifts: Wagner's stage requires one thing only—Teutons! ... Definition of the Teuton: obedience and long legs ... It is full of profound significance that the arrival of Wagner coincides in time with the arrival of the "Reich": both actualities prove the very same thing: obedience and long legs.— Never has obedience been better, never has commanding. Wagnerian conductors in particular are worthy of an age that posterity will call one day, with awed respect, the classical age of war. Wagner understood how to command; in this, too, he was the great teacher. He commanded as the inexorable will to himself, as lifelong self-discipline: Wagner who furnishes perhaps the greatest example of self-violation in the history of art (—even Alfieri, who in other respects is his next-of-kin, is outdone by him. The note of a Torinese). 12 The insight that our actors are more deserving of admiration than ever does not imply that they are any less dangerous ... But who could still doubt what I want,—what are the three demands for which my my love of art has compelled me?

The bookshelves were lined with Joan Didion and Flannery O'Connor, a small, unexpected collection of musicalia, essay collections on Leonard Cohen and Neil Young. There was a framed poster of an exhibit of romantic landscape paintings in Dresden. Intellectuals had their own thing going, that was for sure.

What is funny though is how, with time, people seem to have forgotten that it was this period that really made Rahman what he is. The man is Tamil and Tamil music was how he started out, and some of his best songs are in Tamil. On 8 July 2017, AR performed at Wembley Stadium in London, a concert titled Netru, Indru, Naalai (Tamil for ‘yesterday, today, tomorrow’). Soon after the concert, Twitter went berserk with a number of fans who’d attended the concert taking to social media to attack the composer, accusing him of playing ‘too many Tamil songs’. Some claimed that they’d walked out of the show in protest. AR addressed the issue politely and diplomatically. He reasoned that he had ‘tried his best’, was grateful to his fans and loved them for all they’d given him. As for the walking out bit, he said that some people always tend to leave the venue before he finishes a concert. He said there would always be pockets in the seats, here and there, by the time he got to the end of a show. His actual response though was quite brilliant. For his next set of concerts in Canada, AR cleverly released two posters for two different shows—one of which would be Tamil songs only and the other Hindi songs only. That one move said more than all his statements to the media.

Produced by : Amritjit Singh Sran Music : #JaggiSingh, #BTrix & Desi Crew Story : #TejiSandhu Director : Ranjeet Bal Posters Designs : #SharanArt Online Marketing Strategies : Bull18 Network

I think you're going to like these," she said, placing the stack on the table. "The whole class spent Monday and Tuesday painting them up." Raymond and Sean lifted up the top poster and stared. ARSE PRESENTS SUPER HALLOWEEN PARTY FOOD, DRINKS, GREAT MUSIC HALLOWEEN TRAMPOLINE COSTUME CONTEST FOR THE MYSTERY PRIZE DON'T MISS IT! She smiled proudly. "What do you think?" "Nice," said Sean, wondering why Raymond had suddenly gone so silent and so pale. Finally Raymond found his voice. "But Ashly, why does it say" —he pointed to the top line— "that?" "That? That's us. Our initials—Ashly, Raymond, Sean, and Eckerman—I couldn't remember his first name." "I get it," said Sean. Raymond was positively white. "The other kids who worked on them—they didn't—say anything about the posters? The wording maybe?" "The whole class really liked them," said Ashley. "I think everyone's favorite part was the initials thing. They thought it was clever." Raymond looked up at the ceiling. "Oh, it was.

Where Jolson conquered, Bing Crosby convinced and charmed, and like Astaire, Jolson too for that matter, he did not possess the physical gifts of a standard leading man (angles and ears and hair, yet again). Also like Astaire, he made it all seem easy, with the laid-back acting and the unforced way that devastating baritone could pour out and swing out. In one crucial sense he was more beholden to Jolson than Astaire, being primarily a solo performer who sang to people more than he sang with them. Recall: who was Crosby’s only steady partner on film? Bob Hope, in a partnership based in jokey rivalry. Other singers in Crosby films, besides Hope and Dorothy Lamour, seldom counted. Nor did most of Crosby’s films. Paramount, his home studio, was a formula-bound factory for most of the 1930s and ’40s, and the golden goose of the Crosby films did not countenance feather-ruffling. One after another, they were amiable time-passers, relaxed escapism that made a mint and sold tons of records and sheet music. For many then and some now, these vehicles offered unthreatening comfort—few chances taken, little deviation from formula, a likable guy ambling through some minor plot and singing mostly great songs. On occasion there was something as glaring as the ridiculous Dixie: as composer Dan Emmett, Crosby speeds up the title song into an uptempo hit only because the theater’s caught on fire. Generally, his films lacked even that cuckoo invigoration, which is why posterity dotes on Holiday Inn and its splashy, inferior semi-remake, White Christmas, and few of the others. While it would not be accurate to view Crosby as another megalomaniacal Jolson type, he lacked Astaire’s forceful imagination. Greater professional curiosity might have made his films—not simply his singing—transcend time and circumstance.

… the desire to make everything easy, to sacrifice autonomy and privacy for convenience. That's what technology is […] A concession to laziness in the devaluing of human effort […] Not all technology is the same. I encourage you not to get tripped up by semantics. A device that you carry with you everywhere you go, a device that monitors and watches you, is not the same as one that sits in your house and plays music or dries your hair.

Part I deals with how to put together a team to guide your career, consisting of a personal manager, business manager, agent, and attorney. Part II looks at record deals, including the concepts of royalties, advances, and other deal points. Part III talks about songwriting and publishing, including copyrights and the structure of the publishing industry, as well as a section on protecting your name from people who want to pirate it. Part IV explores things you’ll need to know if you’re a group. Part V deals with concerts and touring, including agreements for personal appearances and the role of your various team members in the process. Part VI, on merchandising, tells you how to profit from plastering your face on posters, T-shirts, and other junk.

Adorno has here articulated the central contradiction—he calls it an “aporia”—inherent in all Holocaust memorials: legitimate art after Auschwitz must represent, translate, or in some way evoke the violence done to victims in a form that is legible to posterity. But to instrumentalize or aestheticize the victims’ memory is necessarily to violate it. In these terms a “true” memorial must accomplish the impossible: communicate the event while preserving its utter inscrutability, honor the victims while rejecting any and all ascriptions of meaning.

CONCERT CHECKLIST 1. Secure a date on the calendar. Be sure it is listed on the official school calendar to protect it. 2. Reserve a performance venue for the concert and for final rehearsals. 3. Have tickets printed if they are to be used. 4. Plan the printed program and get it to the printer by the deadline date. 5. Plan the publicity. The following types of publicity can be utilized to draw a sizable concert audience: Radio releases Television releases Newspaper releases Online listings School announcements Notices to other schools and/or organizations in the area Posters for public placement 6. Send complimentary tickets to: Civic leaders Board of Education Superintendent People who have helped in some way Key supporters Key people to stimulate their interest 7. Have the president of the choir send personal letters of invitation to people that are special to the music program (newspaper editor, Board of Education, Superintendent, civic club presidents, supporters etc.). 8. Appoint a stage manager. He should be someone who can control the stage lighting, pull curtains, shut off air circulation fans that are noisy, and see that the stage is ready for the concert. 9. Arrange for ushers. 10. Check wearing apparel. Be sure that all singers have the correct accessories (same type and color of shoes, no gaudy jewelry for girls, etc.). 11. Post on bulletin board and tell students the time they will meet for a pre-concert warm-up. High school students will perform best if they meet together at least forty-five minutes before the concert.

Set foot in his classroom, and you’ll see that he hasn’t quite given up on these dreams. True to his compulsive nature and eclectic taste, he punctuates his courses with entertaining routines to keep his students engaged, playing four songs at the start of each class and tossing candy bars to the first students who shout out the correct answers to music trivia. This is how a poster of a rapper ended up on his wall. “If you want to engage your audience, if you really want to grab their attention, you have to know the world they live in, the music they listen to, the movies they watch,” he explains. “To most of these kids, accounting is like a root canal. But when they hear me quote Usher or Cee Lo Green, they say to themselves, ‘Whoa, did that fat old white-haired guy just say what I thought he said?’ And then you’ve got ’em.

GODMAN QUOTES 12 ***Myths of our soul*** It’s good to cry sometimes, tell nature how weak you are, to your own strength. Seek wisdom and knowledge will find you. In posterity place your judgment when it has no certainty. What we mistakenly lost to piper, is found in music…let variety rule your taste. The longest bridge in life is that without destination. Carve your life with the best wood, for the best trees come from the best seed. Give your sight to the see, and relieve your eye from the sleep. All destinations in life bring to the grave. All pressure presses us to haste… endurance calls for patience. To a secret is meant for the hidden.

Nabbi’s restored my faith in dwarves, because it was in fact a claustrophobic tunnel. The ceiling was a low-clearance hazard. The walls were papered with old fight posters like DONNER THE DESTROYER VS. MINI-MURDER, ONE NIGHT ONLY! featuring pictures of muscular snarling dwarves in wrestling masks. Mismatched tables and chairs were occupied by a dozen mismatched dwarves—some svartalfs like Blitzen who could easily have passed for human, some much shorter guys who could have easily passed for garden gnomes. A few of the patrons glanced at us, but nobody seemed shocked that I was a human…if they even realized. The idea that I could pass for a dwarf was pretty disturbing. The most unreal thing about the bar was Taylor Swift’s “Blank Space” blasting from the speakers. “Dwarves like human music?” I asked Blitzen. “You mean humans like our music.” “But…” I had a sudden image of Taylor Swift’s mom and Freya having a girls’ night out in Nidavellir. “Never mind.

Leo Tolstoy’s tribute, given during an interview in 1909, provides moving testimony to the universality of Lincoln’s fame. The Russian novelist admired Lincoln’s “peculiar moral power” and “the greatness of his character.” Lincoln, he said, “was what Beethoven was in music, Dante in poetry, Raphael in painting, and Christ in the philosophy of life.” No political leader matched Lincoln, in Tolstoy’s judgment: “Of all the great national heroes and statesmen of history Lincoln is the only real giant. Alexander, Frederick the Great, Caesar, Napoleon, Gladstone and even Washington stand in greatness of character, in depth of feeling and in a certain moral power far behind Lincoln. Lincoln was a man of whom a nation has a right to be proud; he was a Christ in miniature, a saint of humanity, whose name will live thousands of years in the legends of future generations. We are still too near to his greatness, and so can hardly appreciate his divine power; but after a few centuries more our posterity will find him considerably bigger than we do. His genius is still too strong and too powerful for the common understanding, just as the sun is too hot when its light beams directly on us.” Lincoln “lived and died a hero, and as a great character he will live as long as the world lives. May his life long bless humanity!

Thomas Edison invented the phonograph so people could record their thoughts for posterity and to help the blind. He was horrified when most people just wanted to play music. Alfred Nobel intended his explosives to be used only in mining and railway construction. Gutenberg just wanted to make money printing Bibles. Yet his press catalyzed the Scientific Revolution and the Reformation, and so became the greatest threat to the Catholic Church since its establishment.

The guitar screamed like an angel who had just discovered why it was on the wrong side. Sparks glittered on the strings (...) And still the music flooded out. It made you want to kick down walls and ascend the sky on steps of fire. It made you want to pull all the switches and throw all the levers and stick your fingers in the electric socket of the Universe to see what happened ext. It made you want to paint your bedroom wall black and cover it with posters (...) Live music...music with rocks in it, running wild

Thomas Edison invented the phonograph so people could record their thoughts for posterity and to help the blind. He was horrified when most people just wanted to play music. Alfred Nobel intended his explosives to be used only in mining and railway construction

Kottbusser Tor was the kind of area that had worn about as well as a music-hall poster, and Admiralstrasse, Number 43 was the kind of place where the rats wore ear-plugs and the cockroaches had nasty coughs.

It’s a beautiful thing to be in Hollywood... the feeling of it... that classical glamour never dies.” She walked to the closet and back to the bed. “The actress lives a beautiful life once at a certain level... when her sink has a view and her phone calls aren’t rejections anymore, but producers, offices, playhouses in London, a director pitching his sacred screenplay. The food gets healthier, people around you are more positive... driving in traffic is even different because your car is nice, and the music you normally hate sounds different when life works... when you get the furniture you want... And mentors pass down movie posters from their mentors—so Hepburn never really dies. You keep it in your home... there’s room for everything... I treasure letters from other artists... studio invitations... Being a woman in Hollywood is entirely different than a man’s experience. All the time, by everyone, for everything, a woman is wanted... dinners... so many dinners... so many scripts lying around the room, in the sun... the people you have yet to meet... it’s not about fame—I do not care for the public praise... but what is truly compelling is when you make it big, you finally understand why there are palm trees in this city... Los Angeles suddenly turns on. Like a bulb you thought disliked you and would never light. But it lights. Of course, one must put the cocktail down, leave the house, and make more movies. But this is to say, the after hours are nice. When the camera is off and I return home, I get to love what is left.

I wonkily pitched a tent and in the name of ‘homely’ décor affixed to its interior an enormous poster of (who else?) Alien Sex Fiend. The greatest thrill that weekend was interviewing Half Man Half Biscuit – the folk-rock wits from the Wirral whose surreal-pop masterpiece Back In The DHSS had dominated the indie village in 1985 – in the back of their fag-fumed Transit van. The Smash Hits Glastonbury Team 1986 lasted one night out in the field before heading off mid-Saturday night for a delicious meal and a fluffy bed in a nearby swish hotel, photographs of which then became ‘a dream sequence’ printed in ver Hits, pretending we’d been (as if!) lying in the swamp for days.

The Chet Baker CD had finished, and Banks’s glass was empty. He wandered into the kitchen and refilled it, then went into the entertainment room again, where he programmed the system to play “Après un rêve” from the hoard of music on his computer. He had a vocal version by Véronique Gens, but he chose the violin version by Nicola Benedetti, whose poster Adrienne had on her wall. He added her Thaïs “Meditation” to the mini playlist, too, and stuck on Vaughan Williams’s “The Lark Ascending” and Arvo Pärt’s “Spiegel im Spiegel” just because he liked them so much. Those

There are people with superior intellect, but lack wisdom, and people who are not intellectually gifted, but extremely wise, then there are those inverted unicorns who lack both. Trump is that such animal, and as president, he’s exposed himself as the poster boy for the Peter Principle.

Like Edwards, many of the best Renaissance thinkers were blessed with a jack-of-all-trades erudition. When he wasn’t revolutionizing astronomy, Copernicus practiced medicine and law. Johannes Kepler based his theory of planetary motion on the ebb and flow of musical harmony. Better known in his day as a lawyer, statesman, writer, and courtier, Francis Bacon helped to pioneer the scientific method. A theologian named Robert Boyle laid the foundations of modern chemistry. Leonardo da Vinci, the poster boy for polymaths, was a gifted painter, sculptor, musician, anatomist, and writer, as well as a startlingly prolific inventor.

On 14 September 1869, one hundred years after his birth, Alexander von Humboldt’s centennial was celebrated across the world. There were parties in Europe, Africa and Australia as well as the Americas. In Melbourne and Adelaide people came together to listen to speeches in honour of Humboldt, as did groups in Buenos Aires and Mexico City. There were festivities in Moscow where Humboldt was called the ‘Shakespeare of sciences’, and in Alexandria in Egypt where guests partied under a sky illuminated with fireworks. The greatest commemorations were in the United States, where from San Francisco to Philadelphia, and from Chicago to Charleston, the nation saw street parades, sumptuous dinners and concerts. In Cleveland some 8,000 people took to the streets and in Syracuse another 15,000 joined a march that was more than a mile long. President Ulysses Grant attended the Humboldt celebrations in Pittsburgh together with 10,000 revellers who brought the city to a standstill. In New York City the cobbled streets were lined with flags. City Hall was veiled in banners, and entire houses had vanished behind huge posters bearing Humboldt’s face. Even the ships sailing by, out on the Hudson River, were garlanded in colourful bunting. In the morning thousands of people followed ten music bands, marching from the Bowery and along Broadway to Central Park to honour a man ‘whose fame no nation can claim’ as the New York Times’s front page reported. By early afternoon, 25,000 onlookers had assembled in Central Park to listen to the speeches as a large bronze bust of Humboldt was unveiled. In the evening as darkness settled, a torchlight procession of 15,000 people set out along the streets, walking beneath colourful Chinese lanterns. Let us imagine him, one speaker said, ‘as standing on the Andes’ with his mind soaring above all. Every speech across the world emphasized that Humboldt had seen an ‘inner correlation’ between all aspects of nature. In Boston, Emerson told the city’s grandees that Humboldt was ‘one of those wonders of the world’. His fame, the Daily News in London reported, was ‘in some sort bound up with the universe itself’. In Germany there were festivities in Cologne, Hamburg, Dresden, Frankfurt and many other cities. The greatest German celebrations were in Berlin, Humboldt’s hometown, where despite torrential rain 80,000 people assembled. The authorities had ordered offices and all government agencies to close for the day. As the rain poured down and gusts chilled the air, the speeches and singing nonetheless continued for hours.

Everyone loves bands. We could pretend we’re a rock group and lip synch all the music.” “That’s not different enough. Everyone expects us to plan something really special,” Ariel complained. “After all, most of us are old-timers. We know the ropes around camp. Even first-timers like Becky could plan that kind of party.” Even a bunch of first-timers like me, huh? What a slam! I punched my fist into the wad of clothes in my suitcase and Triple Tropical Bubble Gum popped up all over. More than anything, I wanted to show these girls that I was special, too. “Too bad you can’t have live music,” I said slyly. Carefully, I pulled my posters of Eric and Outta Site out of my bag. I took a wad of Triple Tropical out of my mouth, broke it into pieces, and stuck it on the corners of my posters. Then, I hung the posters next to my bed. Triple Tropical is great for hanging things on walls. According to my mom it never lets go. “Where would we get live music?” Suzanne asked with a sneer. “I suppose we could have the kitchen staff play on their pots and pans with spoons.” “And the counselors could blow their whistles!” Ariel giggled. “We could clap our hands and hum,” Meg suggested. Denni chuckled. “Great idea, Becky!

In other words, Berlin conceived shows as events more than as works. As a result, Berlin’s shows do not exactly represent the most enduring oeuvre in the American theater: only Annie Get Your Gun, the show that least obviously addresses its time, has enjoyed an unbroken string of productions that stretches from its premiere to the present. Yet by engaging with the here-and-now, with no apparent thought of posterity but mainly of the “mob” before him, Berlin distilled and packaged musical comedy conventions that resonated in the theater deep into the twentieth century even as they held to comedy’s ancient ideals. Above all—and this I think manifests the engine that drives all of his work—Berlin seems to have understood and embraced the idea that American musical theater is always, inescapably, about itself. He probably would have scorned the term metatheater, but the boot fits. All of his stage shows and films are in some way about theater, about putting on a show, about performing in public, and about the place that tested his mettle and nourished his craft: New York City. This is the case even in shows that are not chiefly set in New York. Annie Get Your Gun may be widely considered one of the “Western” musicals of the Oklahoma! age, but it is above all a show about “show business,” and it all takes place east of (or near to) the Mississippi River and ends up in New York, with plenty of swinging tunes that resonate more with postwar Manhattan than with Annie Oakley’s earlier America in Darke County,

Matt’s Creation Room was a wide, colorful space dedicated to music. The walls were splashed with bright orange paint, green sofas, and cushions, which contrasted with the serious, dark upright Yamaha piano in the center of the room. There were other instruments in the room: several guitars, a violin, several drums, a bass guitar. The walls were like a private Hall of Fame covered with posters and even relics of famous singers. One wall was covered with pictures of Matt and his three platinum albums Matt, Superstar, and Moving On. The room was bathed in light entering through the wide windows. It was Matt’s Creation Room and he had obviously decorated the room according to his own tastes. After finishing her scales while waiting for Matt, she posted herself next to the windows to practice her audition song for La Cenerentola that Saturday evening. It was a beautiful, sorrowful song that Cinderella sang in the first scene about a king who looked for true love not in splendor and beauty, but in innocence and goodness.

Yet another anonymous poster stumbled on a piece of Europop music from the 1980s, a forgettable song titled “Shadilay.” The record label had a cartoon frog on it, waving a magic wand. The band’s name? P.E.P.E. This hit the chans the same day that Hillary Clinton denounced Pepe the Frog and took a tumble. Many people on the chans decided, or ironically pretended to have decided, and at all events acted as though they had decided, that they’d just received a big vote of confidence from Kek the Frog God.

When I was a teenager I had posters of all of my favorite musicians up on my bedroom walls—David Bowie, Marc Bolan, Edgar Winter’s They Only Come Out at Night, and the first KISS album. My dad didn’t really know what to make of it. One time he came into my room while I was listening to music and looked at all the posters and said, “You’re a fag, aren’t you?” This was an actual one-sided conversation we had.

In the eyes of posterity, the success of the United States as a civilized society will be largely judged by the creative activities of its citizens in art, architecture, literature, music, and the sciences.