Session Music Quotes

Life is like playing a guitar and meditation is like music. Small session of rehearsals daily won’t show much but would make you ROCK in the long run.

They plunged through heavy walls of sound, mountains of archaic thought, valleys of mood music, bad shoe sessions and footling bats and suddenly heard a girl's voice.

MOST DAYS MY LIFE CAN BE SUMMED UP IN MOVIE QUOTES AND HIP HOP AND R&B LYRICS

MY ACTIONS SPEAK LOUDER THAN WORDS BECAUSE WHILE I STAND STILL MY VIBRATIONS STILL MOVE YOU

Geeks are not the world’s rowdiest people. We’re quiet and introspective, and usually more comfortable communing with our keyboards or a good book than each other. Our idea of how to paint the Emerald City red involves light liquor, heavy munchies, and marathon sessions of video games of the ‘giant robots shooting each other and everything else in sight’ variety. We debate competing lines of software or gaming consoles with passion, and dissect every movie, television show, and novel in the science fiction, fantasy, and horror genres. With as many of us as there are in this town, people inevitably find ways to cater to us when we get in the mood to spend our hard-earned dollars. Downtown Seattle boasts grandiose geek magnets, like the Experience Music Project and the Experience Science Fiction museum, but it has much humbler and far more obscure attractions too, like the place we all went to for our ship party that evening: a hole-in-the-wall bar called the Electric Penguin on Capitol Hill.

Eurydice Speaks” How will I know you in the underworld? How will we find each other? We lived for so long on the physical earth— Our skies littered with actual stars Practical tides in our bay— What will we do with the loneliness of the mythical? Walking beside ditches brimming with dactyls, By a ferryman whose feet are scanned for him On the shore of a river written and rewritten As elegy, epic, epode. Remember the thin air of our earthly winters? Frost was an iron, underhand descent. Dusk was always in session And no one needed to write down Or restate, or make record of, or ever would, And never will, The plainspoken music of recognition, Nor the way I often stood at the window— The hills growing dark, saying, As a shadow became a stride And a raincoat was woven out of streetlight I would know you anywhere.

While an impulse toward wholeness is natural and exists in everyone, each of us heals in our own way. Some people heal because they have work to do. Others heal because they have been released from their work and the pressures and expectations that others place on them. Some people need music, others need silence, some need people around them, others heal alone. Many different things can activate and strengthen the life force in us. For each of us there are conditions of healing that are as unique as a fingerprint. Sometimes people ask me what I do in my sessions with patients. Often I just remind people of the possibility of healing and study their own way of dealing with them.

There was an aggressiveness I had never seen in him before; by the end of the session, he was almost psychotic.

HOLDING ONTO HOPE MAY MAKE YOU TIRED BUT IF YOU LET GO OF HOPE, THE FALL CAN SPIRITUALLY KILL YOU! HOLD ON

WHEN PEOPLE SHOW YOU THEIR TRUE COLORS, DON'T GO COLOR BLIND

NEVER BE SO BUSY BEING THE LIGHT FOR OTHERS THAT YOU NEGLECT TO SHINE ON YOURSELF

PEOPLE WITH THE SMARTEST MOUTHS HAVE THE DUMBEST BRAINS

A LIE IS LIKE A BAD NEIGHBORHOOD; IT'S NOT SAFE TO LIVE IN

THE WISER I GET.... THE LESS I SPEAK, THE MORE I THINK AND THE MORE THOUGHTFUL MY WORDS BECOME" ~QWANA M. "BABYGIRL" REYNOLDS-FRASIER

Umm, Ren? We have something important we need to discuss. Meet me on the veranda at sundown, okay?” He froze with his sandwich halfway to his mouth. “A secret rendezvous? On the veranda? At sundown?” He arched an eyebrow at me. “Why, Kelsey, are you trying to seduce me?” “Hardly,” I dryly muttered. He laughed. “Well, I’m all yours. But be gentle with me tonight, fair maiden. I’m new at this whole being human business.” Exasperated, I threw out, “I am not your fair maiden.” He ignored my comment and went back to devouring his lunch. He also took the other half of my discarded peanut butter sandwich and ate that too, commenting, “Hey! This stuff’s pretty good.” Finished, I walked over to the kitchen island and began clearing away Ren’s mess. When he was done eating, he stood to help me. We worked well together. It was almost like we knew what the other person was going to do before he or she did it. The kitchen was spotless in no time. Ren took off his apron and threw it into the laundry basket. Then, he came up behind me while I was putting away some glasses and wrapped his arms around my waist, pulling me up against him. He smelled my hair, kissed my neck, and murmured softly in my ear, “Mmm, definitely peaches and cream, but with a hint of spice. I’ll go be a tiger for a while and take a nap, and then I can save all my hours for you this evening.” I grimaced He was probably expecting a make-out session, and I was planning to break up with him. He wanted to spend time with a girlfriend, and my intention was to explain to him how we weren’t meant to be together. Not that we were ever officially together. Still, it felt like a break-up. Why does this have to be so hard? Ren rocked me and whispered, “’How silver-sweet sound lovers’ tongues by night, Like soft music to attending ears.’” I turned around in his arms, shocked. “How did you remember that? That’s Romeo and Juliet!” He shrugged. “I paid attention when you were reading it to me. I liked it.” He gently kissed my cheek. “See you tonight, iadala,” and left me standing there. The rest of the afternoon, I couldn’t focus on anything. Nothing held my attention for more than a few minutes. I rehearsed some sentences in front of the mirror, but they all sounded pretty lame to me: “It’s not you, it’s me,” “There are plenty of other fish in the sea,” “I need to find myself,” “Our differences are too big,” “I’m not the one,” “There’s someone else.” Heck, I even tried “I’m allergic to cats.

In that sense, this is not a standard book of interviews. Nor is it what you might call a book of 'celebrity conversations.' What I was searching for - with increasing clarity as the sessions progressed - was something akin to the heart's natural resonance. What I did my best to hear, of course, was that resonance coming from Ozawa's heart. After all, in our conversations I was the interviewer and he was the interviewee. But what I often heard at the same time was the resonance of my own heart. At times that resonance was something I recognized as having long been a part of me, and at other times it came as a complete surprise. In other words, through a kind of sympathetic vibration that occurred during all of these conversations, I may have been simultaneously discovering Seiji Ozawa and, bit by bit, Haruki Murakami.

Harrison’s visit to Dylan’s Woodstock sessions and his invitation to Eric Clapton to solo on “While My Guitar Gently Weeps” convinced him that an outsider could revive stalled sessions. Dylan and the Band treated Harrison as an equal, while in his own band, Lennon and McCartney persistently patronized his material, even as it began to peak. (Lennon, in fact, sat out most of Harrison’s Beatle recordings from here on out.) Taking in an ally could only ease Harrison’s reentry into the contentious Beatle orbit. Along with lobbying for Ringo Starr to replace Pete Best, bringing Preston into the Get Back project stands as a defining move for Harrison: he single-handedly rescued Let It Be, and pushed his material throughout 1969, until Abbey Road featured his best work yet.

I had enough of a story churning in my head that combined all the elements of the day—the interview, the concert, the after-party’s private session—when he put his guitar away and asked me if I had ever experimented with homosexuality. Talk about unexpected segues. Letting him know that I had not and wasn’t about to, I successfully changed the subject by asking him to give me a condensed account about traveling to Mississippi in search of Bukka White.

Jobs spent part of every day for six months helping to refine the display. “It was the most complex fun I’ve ever had,” he recalled. “It was like being the one evolving the variations on ‘Sgt. Pepper.’ ” A lot of features that seem simple now were the result of creative brainstorms. For example, the team worried about how to prevent the device from playing music or making a call accidentally when it was jangling in your pocket. Jobs was congenitally averse to having on-off switches, which he deemed “inelegant.” The solution was “Swipe to Open,” the simple and fun on-screen slider that activated the device when it had gone dormant. Another breakthrough was the sensor that figured out when you put the phone to your ear, so that your lobes didn’t accidentally activate some function. And of course the icons came in his favorite shape, the primitive he made Bill Atkinson design into the software of the first Macintosh: rounded rectangles. In session after session, with Jobs immersed in every detail, the team members figured out ways to simplify what other phones made complicated. They added a big bar to guide you in putting calls on hold or making conference calls, found easy ways to navigate through email, and created icons you could scroll through horizontally to get to different apps—all of which were easier because they could be used visually on the screen rather than by using a keyboard built into the hardware.

The hours passed by in a series of clanking glasses and perfect card suites, group singing sessions and tales of lands far and near, and as the clock was silenced by the never-ending music, Celaena found herself leaning into Sam’s shoulder, laughing as Rolfe finished his crude and absurd story of the farmer’s wife and her stallions. She banged her fist on the table, howling—and that wasn’t entirely an act, either. As Sam slipped a hand around her waist, his touch somehow sending a bright-hot flame through her, she had to wonder if he was still pretending, too.

A lot of her songs were to do with Blake, which did not escape Mark’s attention. She told Mark that writing songs about him was cathartic and that ‘Back to Black’ summed up what had happened when their relationship had ended: Blake had gone back to his ex and Amy to black, or drinking and hard times. It was some of her most inspired writing because, for better or worse, she’d lived it. Mark and Amy inspired each other musically, each bringing out fresh ideas in the other. One day they decided to take a quick stroll around the neighbourhood because Amy wanted to buy Alex Clare a present. On the way back Amy began telling Mark about being with Blake, then not being with Blake and being with Alex instead. She told him about the time at my house after she’d been in hospital when everyone had been going on at her about her drinking. ‘You know they tried to make me go to rehab, and I told them, no, no, no.’ ‘That’s quite gimmicky,’ Mark replied. ‘It sounds hooky. You should go back to the studio and we should turn that into a song.’ Of course, Amy had written that line in one of her books ages ago. She’d told me before she was planning to write a song about what had happened that day, but that was the moment ‘Rehab’ came to life. Amy had also been working on a tune for the ‘hook’, but when she played it to Mark later that day it started out as a slow blues shuffle – it was like a twelve-bar blues progression. Mark suggested that she should think about doing a sixties girl-group sound, as she liked them so much. He also thought it would be fun to put in the Beatles-style E minor and A minor chords, which would give it a jangly feel. Amy was unaccustomed to this style – most of the songs she was writing were based around jazz chords – but it worked and that day she wrote ‘Rehab’ in just three hours. If you had sat Amy down with a pen and paper every day, she wouldn’t have written a song. But every now and then, something or someone turned the light on in her head and she wrote something brilliant. During that time it happened over and over again. The sessions in the studio became very intense and tiring, especially for Mark, who would sometimes work a double shift and then fall asleep. He would wake up with his head in Amy’s lap and she would be stroking his hair, as if he was a four-year-old. Mark was a few years older than Amy, but he told me he found her very motherly and kind.

They found a striking difference among the groups. All three groups spent the same amount of time—over fifty hours a week—participating in music-related activities. All three had similar classroom requirements making demands on their time. But the two best groups spent most of their musicrelated time practicing in solitude: 24.3 hours a week, or 3.5 hours a day, for the best group, compared with only 9.3 hours a week, or 1.3 hours a day, for the worst group. The best violinists rated “practice alone” as the most important of all their music-related activities. Elite musicians—even those who perform in groups—describe practice sessions with their chamber group as “leisure” compared with solo practice, where the real work gets done.

They found a striking difference among the groups. All three groups spent the same amount of time—over fifty hours a week—participating in music-related activities. All three had similar classroom requirements making demands on their time. But the two best groups spent most of their music-related time practicing in solitude: 24.3 hours a week, or 3.5 hours a day, for the best group, compared with only 9.3 hours a week, or 1.3 hours a day, for the worst group. The best violinists rated “practice alone” as the most important of all their music-related activities. Elite musicians—even those who perform in groups—describe practice sessions with their chamber group as “leisure” compared with solo practice, where the real work gets done.

Many people have impressive record libraries, full of the most exquisite music ever produced, yet they fail to enjoy it. They listen a few times to their recording equipment, marveling at the clarity of the sound it produces, and then forget to listen again until it is time to purchase a more advanced system. Those who make the most of the potential for enjoyment inherent in music, on the other hand, have strategies for turning the experience into flow. They begin by setting aside specific hours for listening. When the time comes, they deepen concentration by dousing the lights, by sitting in a favorite chair, or by following some other ritual that will focus attention. They plan carefully the selection to be played, and formulate specific goals for the session to come.

The four solo careers unveiled previously hidden internal politics as each man packed and moved out from the cozy Beatle mansion. Lennon seemed closest to Ringo, and then George; neither Harrison nor Lennon ever appeared on a McCartney solo album or vice-versa, whereas Ringo played for all three. Of course, Lennon’s solo “career” had begun as early as 1968 with numbers like “What’s the New Mary Jane” and “Revolution 9” during the White Album sessions, and then his avant-garde projects with Ono. Casual jams reflected these affinities as well: John and Yoko appeared onstage with George Harrison, Eric Clapton, and the Bonnie and Delaney band in London in December of 1969. Harrison was slumming with the band after sitting in for a night and having rather too much fun; he appeared onstage anonymously until it got reported in the music press. Mostly they got away with two weeks of touring, with Clapton and Harrison sharing lead guitars almost before most audiences figured this out.

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

IT’S ONLY SOUND Let me ask you an honest question. Is your music subject to God’s approval? If you discovered that He desired for you to listen to a different kind of music, would you obey willingly and gladly? Or would you resist and cling to “what you like”? Recently in a counseling session, I was speaking with a teenage young man about the power of music. After some thought about how strongly his music was holding on to his heart, he lifted his head, sort of chuckled and said, “It’s kind of strange when you really think about it…it’s only music…it’s only sound.” Oh, but how powerful that sound is! Just try to take away or suggest danger in the favorite CD or the favorite CCM group of a supposedly “surrendered” Christian. You’ll get everything from rage to ridicule—real fruits of the Spirit—all qualities that are produced by just such “good, godly music.” I’m being intentionally sarcastic to cause you to think. If pop-styled Christian music is so spiritually effective, why aren’t we having revival? Why isn’t it producing more holy, more separated, more godly individuals? Why are young people leaving Christianity in record numbers? Why do we have to have the world’s music? Should music really be such a stronghold in the Christian heart or in the local church? Should such self-absorption be the guiding force of our choices in entertainment? Should we view our music as entertainment at all? Does God really like “all kinds” of music? Music has a much higher purpose than our pleasure. Reducing music to mere entertainment would be something like asking a brain surgeon to roast marshmallows for a living. No, music is much too powerful and spiritually significant to reduce it to a petty place of pleasure. First Corinthians 10:14 admonishes us, “Wherefore, my dearly beloved, flee from idolatry.” Again in Colossians 3:5 we’re told to, “Mortify therefore your members which are upon the earth; fornication, uncleanness, inordinate affection, evil concupiscence, and covetousness, which is idolatry.” God commands us to “mortify” or “put to death” our “members.” Anything less than full surrender of our bodies (including our ears) to God is a subtle form of idolatry. Is music an idol in your life? Is it a stronghold? Are you addicted to your style, your group, your sound? Do you find yourself putting up a wall of defense in your heart, even as you read these words? Is your primary concern that it “makes you feel good” or that you listen to “what you like”? Think about it. It’s only sound.

On a break from the tour, I went south to Bali, a place the choreographer Toni Basil, whom Eno and I had met during the Bush Of Ghosts sessions, had recommended as being transporting and all about performance. I rented a small motorcycle and headed up into the hills, away from the beach resort. I soon discovered that if one saw offerings of flowers and fruit being brought to a village temple compound in the afternoon, one could be pretty certain that some sort of ritual performance would follow there at night. Sure enough, night after night I would catch dances accompanied by gamelan orchestras and shadow-puppet excerpts from the Hindu Ramayana--epic and sometimes ritual performances that blended religious and theatrical elements. (A gamelan is a small orchestra made up mainly of tuned metallic gongs and xylophone-like instruments--the interplay between the parts is beautiful and intricate.) In these latter events some participants would often fall into a trance, but even in trance there were prescribed procedures. It wasn't all thrashing chaos, as a Westerner might expect, but a deeper kind of dance. As In Japanese theater, the performers often wore masks and extreme makeup; their movements, too, were stylized and "unnatural." It began to sink in that this kind of "presentational" theater has more in common with certain kinds of pop-music performance that traditional Western theater did. I was struck by other peripheral aspects of these performances. The audiences, mostly local villagers of all ages, weren't paying attention half the time. People would wander in and out, go get a snack from a cart or leave to smoke a bidi cigarette, and then return to watch some more. This was more like the behavior of audiences in music clubs than in Western theaters, where they were expected to sit quietly and only leave or converse once the show was over. The Balinese "shows" were completely integrated into people's daily lives, or so it seemed to me. There was no attempt to formally separate the ritual and the show from the audience. Everything seemed to flow into everything else. The food, the music, and the dance were all just another part of daily activity. I remembered a story about John Cage, who, when in Japan, asked someone what their religion was. The reply was that they didn't have a strict religion--they danced. Japanese do, of course, have Buddhist and Shinto rituals for weddings, funerals, and marriages, but a weekly thing like going to church or temple doesn't exist. The "religion" is so integrated into the culture that it appears in daily gestures and routines, unsegregated for ordinary life. I was beginning to see that theatricality wasn't necessarily a bad thing. It was part of life in much of the world, and not necessarily phony either.

Sam was about to travel to Asia with her boyfriend and she was fretting about what her backers would think if she released some of her new songs while she was 'on vacation'. She was worried that posting pictures of herself sipping a Mai Tai was going to make her look like an asshole. What does it matter? I asked her, where you are whether you're drinking a coffee, a Mai Tai or a bottle of water? I mean, aren't they paying for your songs so that you can... live? Doesn't living include wandering and collecting emotions and drinking a Mai Tai, not just sitting in a room writing songs without ever leaving the house? I told Sam about another songwriter friend of mine, Kim Boekbinder, who runs her own direct support website through which her fans pay her monthly at levels from $5 to $1,000. She also has a running online wishlist of musical gear and costumes kindof like a wedding registry, to which her fans can contribute money anytime they want. Kim had told me a few days before that she doesn't mind charging her backers during what she calls her 'staring at the wall time'. She thinks this is essential before she can write a new batch of songs. And her fans don't complain, they trust her process. These are new forms of patronage, there are no rules and it's messy, the artists and the patrons they are making the rules as they go along, but whether these artists are using crowdfunding (which is basically, front me some money so I can make a thing) or subscription services (which is more like pay me some money every month so that I can make things) or Patreon, which is like pay per piece of content pledge service (that basically means pay me some money every time I make a thing). It doesn't matter, the fundamental building block of all of these relationships boils down to the same simple thing: trust. If you're asking your fans to support you, the artist, it shouldn't matter what your choices are, as long as you're delivering your side of the bargain. You may be spending the money on guitar picks, Mai Tais, baby formula, college loans, gas for the car or coffee to fuel your all-night writing sessions. As long as art is coming out the other side, and you're making your patrons happy, the money you need to live (and need to live is hard to define) is almost indistinguishable from the money you need to make art. ... (6:06:57) ... When she posts a photo of herself in a vintage dress that she just bought, no one scolds her for spending money on something other than effects pedals. It's not like her fan's money is an allowance with nosy and critical strings attached, it's a gift in the form of money in exchange for her gift, in the form of music. The relative values are... messy. But if we accept the messiness we're all okay. If Beck needs to moisturize his cuticles with truffle oil in order to play guitar tracks on his crowdfunded record, I don't care that the money I fronted him isn't going towards two turntables or a microphone; just as long as the art gets made, I get the album and Beck doesn't die in the process.

LEAD PEOPLE TO COMMITMENT We have seen that nonbelievers in worship actually “close with Christ” in two basic ways: some may come to Christ during the service itself (1 Cor 14:24 – 25), while others must be “followed up with” by means of after-service meetings. Let’s take a closer look at both ways of leading people to commitment. It is possible to lead people to a commitment to Christ during the service. One way of inviting people to receive Christ is to make a verbal invitation as the Lord’s Supper is being distributed. At our church, we say it this way: “If you are not in a saving relationship with God through Christ today, do not take the bread and the cup, but as they come around, take Christ. Receive him in your heart as those around you receive the food. Then immediately afterward, come up and tell an officer or a pastor about what you’ve done so we can get you ready to receive the Supper the next time as a child of God.” Another way to invite commitment during the service is to give people a time of silence or a period of musical interlude after the sermon. This affords people time to think and process what they have heard and to offer themselves to God in prayer. In many situations, it is best to invite people to commitment through after-meetings. Acts 2 gives an example. Inverses 12 and 13 we are told that some folks mocked after hearing the apostles praise and preach, but others were disturbed and asked, “What does this mean?” Then, we see that Peter very specifically explained the gospel and, in response to the follow-up question “What shall we do?” (v. 37), he explained how to become a Christian. Historically, many preachers have found it effective to offer such meetings to nonbelievers and seekers immediately after evangelistic worship. Convicted seekers have just come from being in the presence of God and are often the most teachable and open at this time. To seek to “get them into a small group” or even to merely return next Sunday is asking a lot. They may also be “amazed and perplexed” (Acts 2:12), and it is best to strike while the iron is hot. This should not be understood as doubting that God is infallibly drawing people to himself (Acts 13:48; 16:14). Knowing the sovereignty of God helps us to relax as we do evangelism, knowing that conversions are not dependent on our eloquence. But it should not lead us to ignore or minimize the truth that God works through secondary causes. The Westminster Confession (5.2 – 3), for example, tells us that God routinely works through normal social and psychological processes. Therefore, inviting people into a follow-up meeting immediately after the worship service can often be more conducive to conserving the fruit of the Word. After-meetings may take the shape of one or more persons waiting at the front of the auditorium to pray with and talk with seekers who wish to make inquiries right on the spot. Another way is to host a simple Q&A session with the preacher in or near the main auditorium, following the postlude. Or offer one or two classes or small group experiences targeted to specific questions non-Christians ask about the content, relevance, and credibility of the Christian faith. Skilled lay evangelists should be present who can come alongside newcomers, answer spiritual questions, and provide guidance for their next steps.

Most sessions come in on Pro Tools, which I transfer to the Sony 3348HR and then I mix them down to Nuendo at 88.2 kHz. I

At the first session the group piled on an unfortunate wild man from that backwater, the University of Utah, named Alan Kay. Kay had stepped forth in a public session to pitch his vision of a computer you could hold in your hand. He had already coined a name for it: “Dynabook,” a notebook-shaped machine with a display screen and a keyboard you could use to create, edit, and store a very personal sort of literature, music, and art. “He was crazy,” Wessler recalled. “People greeted the whole idea with disbelief and gave him a very tough time. He painted this picture of walking around with a computer under your arm, which we all thought was completely ridiculous.

the researchers identified 8 distinct practice strategies that were common to the top pianists, but occurred less frequently in the practice sessions of the others: 1 Playing was hands-together early in practice. 2 Practice was with inflection early on; the initial conceptualization of the music was with inflection. 3 Practice was thoughtful, as evidenced by silent pauses while looking at the music, singing/humming, making notes on the page, or expressing verbal “ah-ha”s. 4 Errors were preempted by stopping in anticipation of mistakes. 5 Errors were addressed immediately when they appeared. 6 The precise location and source of each error was identified accurately, rehearsed, and corrected. 7 Tempo of individual performance trials was varied systematically; logically understandable changes in tempo occurred between trials (e.g. slowed things down to get tricky sections correct). 8 Target passages were repeated until the error was corrected and the passage was stabilized, as evidenced by the error’s absence in subsequent trials.

Curiously we did it all over again when we made the Live At Pompeii film, this time using another dog, called Mademoiselle Nobs. On the positive side, even when hard pressed, at least we resisted the temptation to construct an entire album of barking dogs, and to audition a clutch of session dogs desperate to make it in the music business.

A song without music is like a body without a soul. It may be able to stand alone, but its reason for existence isn't complete in that state.

We finish the session with a treadmill sprint, and Gavin starts to roar above the music. "I want you! To give me! One hundred! Percent!" Obediently I thumb up the speed control, puffing and clenching my teeth so he'll think I've hit my limit—but there's no way I'm giving this my all. It's absolute madness not to hold something back: that's just basic common sense.

Rick contacted me about the session, but he didn't know who in hell was coming in. I said, "Who you got?" He said, "Aretha Franklin." I said, "Boy, you better get your damn shoes on. You getting someone who can sing." Even the Memphis guys didn't really know who in the hell she was. I said, "Man, this woman gonna knock you out." They're all going, "Big deal!" When she come in there and sit down at the piano and hit that first chord, everybody was just like little bees just buzzing around the queen. You could tell by the way she hit the piano the gig was up. It was, "Let's get down to serious business." That first chord she hit was nothing we'd been demoing, and nothing none of them cats in Memphis had been, either. We'd just been dumb-dumb playing, but this was the real thing. That's the prettiest session picture I can ever remember. If I'd had a camera, I'd have a great film of that session, because I can still see it in my mind's eye, just how it was - Spooner on the organ, Moman playing guitar, Aretha at the piano - it was beautiful, better than any session I've ever seen, and I seen a bunch of 'em.' Spooner Oldham, the weedy keyboard player who is most known for never playing the same licks twice and who is ordinarily the most reticent of men, speaks in similar superlatives. 'I was hired to play keyboards. She was gonna stand up in front of the microphone and sing. She was showing us this song she had brought down there with her, she hit that magic chord when Wexler was going up the little steps to the control room, and I just stopped. I said, "Now, look, I'm not trying to cop out or nothing. I know I was hired to play piano, but I wish you'd let her play that thing, and I could get on organ and electric." And that's the way it was. It was a good, honest move, and one of the best things I ever done - and I didn't do nothing.

While I’m out working with Tommy Quinn, we get chatting about a session, a few nights previous, in a local pub called The Hill. It gets its name from the plain fact that it sits on top of a hill. The conversation moves on to the state of rural Ireland, and rural everywhere for that matter. He’s lived here in Knockmoyle for all of his life, so his opinions on the subject hold weight with me. He asks me what technology I think had the most dramatic impact on life here when he was growing up. I state what I feel are obvious: the television, the motor car and computers. Or electricity in general. Tommy smiles. The flask, he says. I ask him to explain. When he was growing up in the 1960s, he and his family would go to the bog, along with most of the other families of the parish, to cut turf for fuel for the following winter. They would all help each other out in any way they could, even if they didn’t always fully get on. Cutting turf in the old ways, using a sleán, is hard but convivial work, so each day one family would make a campfire to boil the kettle on. But the campfire had a more significant role than just hydrating the workers. As well as keeping the midges away, it was a focal point that brought folk together during important seasonal events. During the day people would have the craic around it as the tea brewed, and in the evenings food would be cooked on it. By nightfall, with the day’s work behind them, the campfire became the place where music, song and dance would spontaneously happen. Before the night was out, one of the old boys would hide one of the young lads’ wheelbarrows, providing no end of banter the following morning.

Like Miles Davis, Graham often used to turn his back on his audiences. This was primarily between songs, while he was retuning his guitars. For Graham, in the early 1960s, was privy to a secret alternative tuning system known as DADGAD, which he was reluctant to share with any rival guitarists in the crowd. He began using it around 1962–3, on a trip to the bohemian Beat capital Tangier, where he spent six months and earned his keep by working in a snack booth selling hash cakes to locals. The raw Gnaoua trance music preserved in Morocco’s town squares and remote Rif mountain villages stretched back thousands of years, and Graham was hypnotised by the oud, a large Arabic lute which resembles a bisected pear (the word ‘lute’ itself derives from the Arabic ‘al-ud’) and has been identified in Mesopotamian wall paintings 5,000 years old. The paradigm of Eastern music, defining its difference from the West, is the maqam, which uses a microtonal system that blasts open the Western eight-note octave into fifty-three separate intervals. DADGAD is not one of the tunings commonly used on the eleven-string oud, but Graham found that tuning a Western guitar that way made it easier to slip into jam sessions with Moroccan players. The configuration allows scales and chords to be created without too much complicated fingering; its doubled Ds and As and open strings often lead to more of a harp-like, droning sonority than the conventional EADGBE.

Thanks to these imaginative arrangements and the interplay of seasoned, eclectic, open-minded, professional musicians who could step from a full-blown jazz session to a pop or folk context with practised ease, British folk-rock was aerated with a looseness that carried it beyond its one-man-and-a-guitar roots. ‘I think those kind of musicians at the time were the most flexible,’ commented Cameron many years later. ‘The early rock musicians were sometimes not as flexible as they should be. The classical musicians were totally inflexible, so you needed someone with a large amount of musicality but who could think on their feet. People like Danny Thompson, of course, came into their own. Danny was one of the first of those musicians who said, “I don’t want any boundaries, I’ll play what I damn well like,” and it was those kind of musicians who were great to use.

Unfolding according to the contemplative logic of their lyrical orbits, Astral Weeks’s songs unhooked themselves from pop’s dependence on verse/chorus structure, coasting on idling rhythms, raging and subsiding with the ebb and flow of Morrison’s soulful scat. The soundworld – a loose-limbed acoustic tapestry of guitar, double bass, flute, vibraphone and dampened percussion – was unmistakably attributable to the calibre of the musicians convened for the session: Richard Davis, whose formidable bass talents had shadowed Eric Dolphy on the mercurial Blue Note classic Out to Lunch; guitarist Jay Berliner had previous form with Charles Mingus; Connie Kay was drummer with The Modern Jazz Quartet; percussionist/vibesman Warren Smith’s sessionography included Miles Davis, Aretha Franklin, Nat King Cole, Sam Rivers and American folk mystics Pearls Before Swine. Morrison reputedly barely exchanged a word with the personnel, retreating to a sealed sound booth to record his parts and leaving it to their seasoned expertise to fill out the space. It is a music quite literally snatched out of the air.

Please to See the King is a piercing, keen-edged record, perhaps the closest a British act has come to what Bob Dylan, speaking of his own recordings of 1965–6, called ‘that thin, that wild mercury sound … metallic and bright gold’. The title, taken from the song ‘The King’ that Carthy introduced to the album sessions, was spoken, according to custom, by ‘wren-hunters’ who went knocking on doors and requesting money in return for a peep at the slaughtered bird in a coffin, bound with a ribbon. And like the wren-hunters of yore, the early Steeleye found themselves in the midst of a difficult economy, hawking their wares around the country at a succession of student-union gigs, in the community which was most receptive to this new incarnation of folk music.

you; the most important thing is to be disciplined in completing each cycle. ▪ Start your work session with a ritual you enjoy and end it with a reward. ▪ Train your mind to return to the present when you find yourself getting distracted. Practice mindfulness or another form of meditation, go for a walk or a swim—whatever will help you get centered again. ▪ Work in a space where you will not be distracted. If you can’t do this at home, go to a library, a café, or, if your task involves playing the saxophone, a music studio. If you find that your surroundings continue to distract you, keep looking until you find the right place. ▪ Divide each activity into groups of related tasks, and assign each group its own place and time. For example, if you’re writing a magazine article, you could do research and take notes at home in the morning, write in the library in the afternoon, and edit on the couch at night. ▪ Bundle routine tasks—such as sending out invoices, making phone calls, and so on—and do them all at once.

In most cases for most session artists, it as never about trying to take the gig away. It was a one time job. Many session players and ghost players had that duality of being creative but also clearly understanding the music business is a business.

For me, radio was a space for reflection. On the air, I submerged myself in music and literature. I listened along with my audience; I read to myself and to them, I discussed all kinds of ideas with total strangers. It was the perfect medium: intense, warm, interactive, and highly volatile. From my very first session in the broadcast studio, I felt like I was in a time capsule, a sensory-deprivation chamber. It was a protective bubble where nothing and no one could touch me. The semidarkness, the illuminated panel, and the on-air light combined to create a cozy, womblike environment, a sort of cosmic solitude. I had the sensation of floating in space, completely isolated from the real world. My only human contact was with the disembodied voices of callers. Everything seemed dusted with an ethereal—yes, I'll say it—ghostly quality. I could touch and hear the whole world, while no one could be sure of my existence; I was just one more voice in the teeming concert of hertzian waves. It was a land of the blind, where we were guided by sounds and voices, and space took the shape our words gave it. We transformed it with every description, comment, insult, or digression. It was almost like death, floating aimlessly at night, listening to spectral voices that in turn spoke about specters, indifferent to their own condition.

The government forbade the broadcast of this “decadent bourgeois music,” and Li Guyi, the first mainland singer to imitate Teresa Teng’s style, was subjected to a parade of official criticism sessions. Nevertheless, where privacy could be found, people huddled around “bricks”—our nickname for the little square Japanese-made radio-recorders on which popular songs could be heard. We listened and listened, until we could sing the songs ourselves, everywhere—in the halls, in the cafeterias, in bed. Anyone who owned a “brick” always had plenty of friends. It

NEVER LIVE A LIE BECAUSE "THEY" WON'T ACCEPT YOUR TRUTH!

I AM GRATEFUL FOR ALL OF THE BACKSTABBING BECAUSE IT MADE ME A STRAIGHT-SHOOTER!

The Power of Myth For screenwriting, Jon recommends The Writer’s Journey by Christopher Vogler, which he used to determine if Swingers was structurally correct. He is also a big fan of The Power of Myth, a video interview of Joseph Campbell by Bill Moyers. “With The Jungle Book, I really am going back and doubling down on the old myths.” TF: We recorded our podcast during the shooting of The Jungle Book, in his production office next to set. Months later, The Jungle Book was the #1 movie in the world and currently has a staggering 95% review average on Rotten Tomatoes. Long-Term Impact Trumps Short-Term Gross “Thanks to video, and later DVD and laser disc, everybody had seen this film [Swingers], and it had become part of our culture. That’s when I learned that it’s not always the movie that does the best [financially] that has the most impact, or is the most rewarding, or does the most for your career, for that matter.” Another Reason to Meditate “In the middle of [a meditation session], the idea for Chef hit me, and I let myself stop, which I don’t usually do, and I took out a pad. I scribbled down like eight pages of ideas and thoughts, [and then I] left it alone. If I look back on it, and read those pages, it really had 80% of the heavy lifting done, as far as what [Chef] was about, who was in it, who the characters were, what other movies to look at, what the tone was, what music I would have in it, what type of food he was making, the idea of the food truck, the Cuban sandwiches, Cuban music . . . so it all sort of grew out from that.

In a laboratory study, a researcher from Virginia Commonwealth University observed college students during a three-hour study session using video cameras and eye trackers and found that on average, students spent more than an hour listening to music and showed thirty-five interruptions of six seconds or longer, totaling twenty-six disrupted minutes in just three hours.33

We permit a new future to enter the room with these startling encounters. A young boy from Austin, Texas, Charles Black Jr., stood and knew it when he was just sixteen years old, thinking he was going to a coed social at the Driskill Hotel in his hometown in 1931. It was a dance, the first in a session of four, yet he remained transfixed by an image that he had never seen before. The trumpet player, a jazz musician whom he had not heard of, performed largely with his eyes closed, sounding out notes, ideas, laments, sonnets, “that had never before existed,” he said. His music sounded like an “utter transcendence of all else created.” He was with a friend, a “ ‘good old boy’ from Austin High,” who sensed it too, and was troubled. It rumbled the ground underneath them. His friend stood a while longer, “shook his head as if clearing it,” as if prying himself out of the trance. But Charles Black Jr. was sure even then. The trumpeter, “Louis Armstrong, King of the Trumpet” as it turned out, “was the first genius I had ever seen,” Black said, and that genius was housed in the body of a man whom Black’s childhood world had denigrated. The moment was “solemn.” Black had been staring at “genius,” yes, “fine control over total power, all height and depth, forever and ever,” and also staring at the gulf created by “the failure to recognize kinship.” He felt that Armstrong, who played as if “guided by a Daemon,” all “power” and lyricism, “opened my eyes wide, and put to me a choice”—to keep to a small view of humanity or to embrace a more expanded vision—and once Black made that choice, he never turned back. This is what aesthetic force can do—create a clear line forward, and an alternate route to choose.

When I worked in community education programs, one of my jobs was to help family and community members better understand the experience of mental illness. We’d begin each session with an opening exercise that was intended to simulate the experience of schizophrenia. It begins by asking participants to work on a simple task like a jigsaw puzzle or easy crossword. While they are doing the task, the leader turns on several different radios placed around the room—each one tuned to a different station. There is a confusion of sounds and music. One of the leaders also changes the lighting, randomly turning lights on and off so that the room is alternately dimmed and brightened.

Start your work session with a ritual you enjoy and end it with a reward. ▪ Train your mind to return to the present when you find yourself getting distracted. Practice mindfulness or another form of meditation, go for a walk or a swim—whatever will help you get centered again. ▪ Work in a space where you will not be distracted. If you can’t do this at home, go to a library, a café, or, if your task involves playing the saxophone, a music studio. If you find that your surroundings continue to distract you, keep looking until you find the right place.

there was no doubt in the world that I was in control of those sessions. The guys knew. So I would try to get the sound down there on the microphone in a cohesive and harmonic medium that started up here in my head.

there was no doubt in the world that I was in control of those sessions. The guys knew. So I would try to get the sound down there on the microphone in a cohesive and harmonic medium that started up here in my head. ‘I find that search on every song we’ve ever made: that search for a lost sound.

QUANTUM LEAP TO BUYERS WORKSHEET Name: ___________________________ Date________________ Instructions: This is a brainstorming session. Take 15 minutes with a pen to paper and write out 10 ideas for each question. All ideas count! Who can I team up with, who is already established, to reach my right buyers? Which large companies would my work be a fit with? (i.e. If you draw robots as your main theme, think tech companies) Which Large Charities? (i.e. If your art is inspired by a cause or world problem, which charities or celebrities care about the same things?) Which Trade Shows? (I.e. if your work is music inspired, think NAMM Show or other music industry shows)

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

Every musical session, every moment of it, and every feeling that leaves you saying That's Kalpop is golden.

No more hired guns; just David, Rick and myself, with the engineer at the desk, a two-track left running – and as much time as we needed. Although bitter experience had taught us to be prepared for disappointment, and though there was no pressure to come up with anything concrete at these sessions, the very fact of booking the studio was an indication of our commitment.

Glyn Johns, by contrast, was flummoxed by the group’s self-indulgent, two-day pot-infused trip. “They were just getting high and jamming,”35 he grumbled. His disapproval was not lost on the band. According to Johns, when the session wound down, the two Dennys took him to one side to take him to task. “They said, ‘We’re not happy with you as a producer. You’re not taking any interest in what we are doing.’ I said, ‘When you do something that’s interesting, I’m there. But if you think because you are playing with Paul McCartney that everything you do is a gem of marvelous music, you’re wrong. It isn’t. It’s shite. Frankly it’s a waste of tape and it’s a waste of my energy.’”36 Recording

A passive observer to Paul’s working methods during the group’s time recording Wild Life, Alan Parsons noticed a similar pattern developing during sessions for Wings’ second LP, only McCullough was less willing to play sideman than his fellow guitarist. “Denny was very much manipulated by Paul,” noted Parsons, “being told what notes to play. He hadn’t got a lot of freedom, musically. I think Denny had a lot of respect for Paul, but he was like a puppet on a string at that time.

But perhaps Hubbard’s most enduring contribution to psychedelic therapy emerged in, of all places, the treatment room. […] Though he never used those terms, Hubbard was the first researcher to grasp the critical importance of set and setting in shaping the psychedelic experience. He instinctively understood that the white walls and fluorescent lighting of the sanitised hospital room were all wrong. So he brought pictures and music, flowers and diamonds into the treatment room where he would use them to prime patients for a mystical revelation or divert a journey when it took a terrifying turn. He liked to show people paintings by Salvador Dali or pictures of Jesus or to ask them to study the facets of a diamond he carried. On patient he treated in Vancouver, an alcoholic paralysed by social anxiety recalled Hubbard handing him a bouquet of roses during a LSD session. “He said, ‘Now hate them’. They withered and the petals fell off, and I started to cry. Then he said ‘Love them’ and they came back, brighter and even more spectacular than before. That meant a lot to me. I realised you can make your relationships anything you want. The trouble I was having with people was coming from me.’” What Hubbard was bringing into the treatment room was something well-known to any traditional healer. Shamans have understood for millennia that a person in the depths of a trance or under the influence of a powerful plant medicine can be readily manipulated with the help of certain words, special objects, or the right kind of music. Hubbard understood intuitively how the suggestibility of the human mind during an altered state of consciousness could be harnessed as an important resource for healing—for breaking destructive patterns of thought and for proposing new perspectives in their place.

For instance, to facilitate writing in the morning, I avoid checking my phone or my emails and leave my word processor open. Then, I often put on relaxing music and use a timer (I like to do 45-minute work sessions). By doing so, I’ve removed friction and obtained the buy-in from my mind. It wouldn’t make sense if I suddenly stopped the music, paused the timer, and moved on to another activity. My mind would see it as a waste of energy. Of course, I may still procrastinate, but removing friction and creating a simple routine reduces the chances of me doing so.

Diana had been finishing up a session with the Russian artist and mosaicist Boris Anrep at the National Gallery when the messenger arrived. Anrep had asked eleven friends to model for the nine Muses, plus Apollo and Dionysus, that he was depicting on a mosaic floor in the entryway to the famous museum. The chosen few were draped in togas and arranged in languid positions—Clive Bell as Dionysus, Virginia Woolf as Clio, Greta Garbo as Melpomene, and Diana as Polyhymnia, muse of sacred music and oratory, and so on—when a uniformed man clomped into the private

I put my playlist on shuffle mode and it’s giving my emotions whiplash. Songs bounce from Bad Omens, Eminem, Dolly Parton, Korn, to Sam Tinnesz.  One of the nice things about letting my clients choose the music during their sessions is I’ve been introduced to a lot of artists I might not have heard of otherwise. I’ve got one hell of an eclectic compilation rocking through my studio because of it.

And a million other distractions. Whenever that happens, I return my attention back to center. It’s like tuning to a radio station. I can easily lose the signal and let the dial wander to a different station, one filled with anxiety and stress. But I know what the bliss station feels like. I know the music it plays and how my body feels when I’m absorbed in it. Because I’ve been to the center so many times, I can usually find that station just a few minutes after I close my eyes. So I tune in there again now. I feel an immediate expansiveness in my consciousness, a sense of connection with the entire universe. I feel a sense of welcome, as though I’ve come home. I’m living at the address in consciousness where perfect well-being is the only reality. As I retune myself to center, another wave of bliss floods through my brain, mind, and body. I feel my consciousness lift out of my normal state, like a balloon rising in the wind, to meet and merge with a consciousness so vast and expansive that it has no end. I know that this is the same intelligence that runs the universe in such perfect order. It has a sense of rightness to it that all the cells in my body respond to. Every cell knows it’s come home, that it’s connected to the universal consciousness with which my mind has merged. The local reality field of my mind and body surrenders to union with the great nonlocal reality field of the universe. There is no room in this consciousness for worry, doubt, or fear. The anxious thoughts with which I began the meditation session are now left far behind me, as the balloon soars high above the world of ordinary local reality. My breath slows and deepens. Every breath is a connection with that great universal consciousness. Every inbreath flows out of that consciousness, while every outbreath flows into that consciousness. A warm feeling of well-being floods my body. Though the cool morning air felt chilly when I began the meditation, my body is now infused with the glow of connection. As I center myself again and again, I notice an intense glistening silver-white vortex of light above my head. I drift up through the portal. I find myself in a level of undifferentiated light. I look down at my mind, and it is flooded with that same white light. I am in Bliss Brain. Everything dissolves into the light. There’s no body, no me, no mind, no universe. Only the light. The light simply is. It has no beginning and no end. It stretches to infinity. It’s all there is; there’s nothing else in this real world of light other than the light. I lose myself in oneness with the light. 2.1. Entering Bliss Brain. There’s a tingling pressure in the center of my forehead where the connection to the light tunnel is strongest. Angelic music echoes in my brain, sound adding itself to light. My

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.

I became friendly with [a] bass player. . . . He told me about this place called the Berklee College of Music, and said that you didn’t have to audition. . . . They had a summer session you could attend; that was “Come one, come all.” So I went there and it opened a lot of doors for me. First of all, the ear training—to work on your ear and learn to hear things you’d heretofore not been able to ascertain, individual instruments, chords and where they went, and remember melodies better . . . I’d just thought, either you could do it or you couldn’t. That plus learning about chord progressions and music theory, and which chords sound good going into other chords . . . that was really a revelation. . . . So I started applying that to writing songs. Which were all terrible. But you do it enough, and you get better at it.

Some of the best musicians I know aren’t musicians.” And with that he turned away, impromptu jam session over.

Maddie," Scott said, his bruised face tight with anger. "I heard your keepers have been looking for me. Well, here I am." I stepped back, trying to slam the door shut in his face, but he jammed his foot in the gap. One heavy shove sent me staggering back a couple of steps, and Scott entered the foyer, closing the door behind him. "Guys!" I shouted, "Guys! Scott's here!" But the only response I got was the thumping sound of their music as Kody pushed them through a thirty-minute power session. Fuck. I

I keep a crumpled yellow note from that night; not all of the writing is decipherable, but some of it reads like this: "Pretty girl about 25 lying on wooden floor, two or three on her all the time, one kneeling between her legs, one sitting on her face and somebody else holding her feet...teeth and tongues and pubic hair, dim light in a wooden shack, sweat and semen gleaming on her thighs and stomach, red and white dress pushed up around her chest...people standing around yelling, wearing no pants, waiting first, second or third turns...girl jerking and moaning, not fighting, clinging, seems drunk, incoherent, not knowing, drowning..." It was not a particularly sexual scene. The impression I had at the time was one of vengeance. The atmosphere in the room was harsh and brittle, almost hysterical. Most people took a single turn, then either watched or wandered back to the party. But a hard core of eight or ten kept at her for several hours. /In all, she was penetrated in various ways no less than fifty times, and probably more. At one point, when the action slowed down, some of the Angels went out and got the girls's ex-husband, who was stumbling drunk. They led him into the shack and insisted he take his own turn. The room got nervous, for only a few of the outlaws were anxious to carry things that far. But the sight of her former old man brought the girl out of her daze just enough to break the silent tension. She leaned forward, resting on her elbows, and asked him to kiss her. He did, and then groggily took his turn while the others cheered. Afterward the girl rested for a while and then wandered around the party in a blank sort of way and danced with several people. Later she was taken back for another session. When she finally reappeared I saw her trying to dance with her ex-husband, but all she could do was hang on his neck and sway back and forth. She didn't even seem to heat the music. What would a jury make of that one?

It was very brave of them to accept at all, and in hindsight unfair of us to expect them to reveal their innermost psyches to a group of near strangers with a tape recorder set up. They were guarded, very reserved, and we didn’t use any material from their session. We must have had a very clear idea of what we did want, since it would have been unthinkable otherwise for us to turn down two such famous voices. In contrast, Paul’s guitarist Henry McCullough (‘I don’t know, I was really drunk at the time’) and his wife were frighteningly open: they went straight into a story of a recent and somewhat physically violent argument they had had, like some particularly aggressive edition of a Jerry Springer show.

In fact, I found myself overwhelmed by the computers on this record. I hadn’t played seriously for four years and didn’t even like the sound or feel of my own playing. Perhaps I had been demoralised by the conflict with Roger. Certainly I ended up struggling to play some parts satisfactorily. With time pressure on, I surrendered a number of parts to some of the best session players in Los Angeles, including Jim Keltner and Carmine Appice – an odd feeling, a bit like handing your car over to Michael Schumacher. This was not only a defeatist attitude, but meant I then had to learn the damn drum part to play it live (an experience to file under ‘never ever again’).

What is sensory integration therapy? This form of occupational therapy helps children and adults with SPD (sensory processing disorder) use all their senses together. These are the senses of touch, taste, smell, sight, and hearing. Sensory integration therapy is claimed to help people with SPD respond to sensory inputs such as light, sound, touch, and others; and change challenging or repetitive behaviours. Someone in the family may have trouble receiving and responding to information through their senses. This is a condition called sensory processing disorder (SPD). These people are over-sensitive to things in their surroundings. This disorder is commonly identified in children and with conditions like autism spectrum disorder. The exact cause of sensory processing disorder is yet to be identified. However, previous studies have proven that over-sensitivity to light and sound has a strong genetic component. Other studies say that those with sensory processing conditions have abnormal brain activity when exposed simultaneously to light and sound. Treatment for sensory processing disorder in children and adults is called sensory integration therapy. Therapy sessions are play-oriented for children, so they should be fun and playful. This may include the use of swings, slides, and trampolines and may be able to calm an anxious child. In addition, children can make appropriate responses. They can also perform more normally. SPD can also affect adults Someone who struggles with SPD should consider receiving occupational therapy, which has an important role in identifying and treating sensory integration issues. Occupational therapists are health professionals using different therapeutic approaches so that people can do every work they need to do, inside and outside their homes. Through occupational therapy, affected individuals are helped to manage their immediate and long-term sensory symptoms. Sensory integration therapy for adults, especially for people living with dementia or Alzheimer's disease, may use everyday sounds, objects, foods, and other items to rouse their feelings and elicit positive responses. Suppose an adult is experiencing agitation or anxiety. In that case, soothing music can calm them, or smelling a scent familiar to them can help lessen their nervous excitement and encourage relaxation, as these things can stimulate their senses. Seniors with Alzheimer's/Dementia can regain their ability to connect with the world around them. This can help improve their well-being overall and quality of life. What Are The Benefits of Sensory Integration Therapy Sensory integration treatment offers several benefits to people with SPD: * efficient organisation of sensory information. These are the things the brain collects from one's senses - smell, touch, sight, etc. * Active involvement in an exploration of the environment. * Maximised ability to function in recreational and other daily activities. * Improved independence with daily living activities. * Improved performance in the home, school, and community. * self-regulations. Affected individuals get the ability to understand and manage their behaviours and understand their feelings about things that happen around them. * Sensory systems modulation. If you are searching for an occupational therapist to work with for a family with a sensory processing disorder, check out the Mission Walk Therapy & Rehabilitation Centre. The occupational therapy team of Mission Walk uses individualised care plans, along with the most advanced techniques, so that patients can perform games, school tasks, and other day-to-day activities with their best functional skills. Call Mission Walk today for more information or a free consultation on sensory integration therapy. Our customer service staff will be happy to help.

An integral part of a public offering is a “road show,” during which company leaders pitch their prospects to bankers and investment gurus. Brin and Page refused to see themselves as supplicants. According to Lise Buyer, the founders routinely spurned any advice from the experienced financial team they’d hired to guide them through the process. “If you told them you couldn’t do something a certain way, they would think you were an idiot,” she says. The tone of the road-show presentations was set early, as Brin and Page introduced themselves by first names, an opening more appropriate for bistro waiters than potential captains of industry. And of course they weren’t attired like executives—the day of their presentation of Google’s case to investors was one more in a lifetime of casual dress days for them. Google had prepared a video to promote the company, but viewers considered it amateurish. It was poorly lit and wasn’t even enlivened by the customary upbeat musical sound track. Though anyone who read the prospectus should have been prepared for that, some investors had difficulty with the heresy that Google was willing to forgo some profits for its founders’ idealistic views of what made the world a better place. On the video Brin cautioned that Google might apply its resources “to ameliorate a number of the world’s problems.” Probably the low point of the road show was a massive session involving 1,500 potential investors at the Waldorf-Astoria hotel in New York. Brin and Page caused a firestorm by refusing to answer many questions, cracking jokes instead. According to The Wall Street Journal, “Some investors sitting in the ballroom began speculating with each other whether the executives had spent any time practicing the presentation, or if they were winging it.” The latter was in fact the case—despite the desperate urging of Google’s IPO team, Page and Brin had refused to perform even a cursory run-through.

It was still rare for musicians to be allowed anywhere near the mixing desk, and not unknown for session players to be brought in to save on studio time: the Beatles had begun changing this, as their success convinced record companies to interfere less and less. Virtually every subsequent band owes a huge debt of gratitude to the Beatles for creating an attitude where popular music was made by the artists, and not constructed for them.

Heightened capacity for visual imagery and fantasy “Was able to move imaginary parts in relation to each other.” “It was the non-specific fantasy that triggered the idea.” “The next insight came as an image of an oyster shell, with the mother-of-pearl shining in different colors. I translated that in the idea of an interferometer—two layers separated by a gap equal to the wavelength it is desired to reflect.” “As soon as I began to visualize the problem, one possibility immediately occurred. A few problems with that concept occurred, which seemed to solve themselves rather quickly…. Visualizing the required cross section was instantaneous.” “Somewhere along in here, I began to see an image of the circuit. The gates themselves were little silver cones linked together by lines. I watched the circuit flipping through its paces….” “I began visualizing all the properties known to me that a photon possesses and attempted to make a model for a photon…. The photon was comprised of an electron and a positron cloud moving together in an intermeshed synchronized helical orbit…. This model was reduced for visualizing purposes to a black-and-white ball propagating in a screwlike fashion through space. I kept putting the model through all sorts of known tests.” 5. Increased ability to concentrate “Was able to shut out virtually all distracting influences.” “I was easily able to follow a train of thought to a conclusion where normally I would have been distracted many times.” “I was impressed with the intensity of concentration, the forcefulness and exuberance with which I could proceed toward the solution.” “I considered the process of photoconductivity…. I kept asking myself, ‘What is light? and subsequently, ‘What is a photon?’ The latter question I repeated to myself several hundred times till it was being said automatically in synchronism with each breath. I probably never in my life pressured myself as intently with a question as I did this one.” “It is hard to estimate how long this problem might have taken without the psychedelic agent, but it was the type of problem that might never have been solved. It would have taken a great deal of effort and racking of the brains to arrive at what seemed to come more easily during the session.” 6. Heightened empathy with external processes and objects “…the sense of the problem as a living thing that is growing toward its inherent solution.” “First I somehow considered being the needle and being bounced around in the groove.” “I spent a productive period …climbing down on my retina, walking around and thinking about certain problems relating to the mechanism of vision.” “Ability to grasp the problem in its entirety, to ‘dive’ into it without reservations, almost like becoming the problem.” “Awareness of the problem itself rather than the ‘I’ that is trying to solve it.” 7. Heightened empathy with people “It was also felt that group performance was affected in …subtle ways. This may be evidence that some sort of group action was going on all the time.” “Only at intervals did I become aware of the music. Sometimes, when I felt the other guys listening to it, it was a physical feeling of them listening to it.” “Sometimes we even had the feeling of having the same thoughts or ideas.” 8. Subconscious data more accessible “…brought about almost total recall of a course that I had had in thermodynamics; something that I had never given any thought about in years.” “I was in my early teens and wandering through the gardens where I actually grew up. I felt all my prior emotions in relation to my surroundings.

The day of the experimental session was spent as follows: 8:30. Arrival at session room 9:00. Psychedelic material taken (200 milligrams of mescaline), equivalent to 100 micrograms of LSDb 9:00–12:00. Music played while subjects relaxed with eyes closed 12:00–1:00. Psychological testing 1:00–5:00. Participants worked on problems 5:00–6:00. Discussion of experience; review of solutions

Miles,” I said, confused, “am I in the band?” Miles turned to look at me, a hint of a smile on his face. “You makin’ a record, muthafucka!” he said. And then he was gone. That Tuesday, May 14, I went down to the CBS 30th Street Studio with the rest of the guys. We still had never really played the tunes for the record together, but Miles wasn’t interested in rehearsing. He just wanted us to play, with the tape recorders rolling, to capture whatever was going to happen. I later found out that this was the way Miles always recorded: He wanted to capture the first, most honest version of a song, even if there were mistakes in it. Miles believed that if you rehearse a song too much, you stifle the creative moment. Music was about spontaneity and discovery, and that’s what he tried to capture on his records. The first time the horns made it through the entire melody, that was the take that would be on the record. Miles didn’t waste words, and he didn’t waste time. In 1956, with his first quintet, he recorded four full records in one day—Cookin’, Relaxin’, Workin’, and Steamin’—with just a few tracks added from an earlier session. He just went into the studio and played. When you record like that, it’s scary at first, but then it sharpens you up. You’re forced to go in with confidence, because you know you just have to do it.

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I’ve got to get Brittany alone if I’m gonna have any chance of saving face and saving my Honda. Does her freakout session mean she really doesn’t hate me? I’ve never seen that girl do anything not scripted or 100 percent intentional. She’s a robot. Or so I thought. She’s always looked and acted like a princess on camera every time I’ve seen her. Who knew it’d be my bloody arm that would crack her. I look over at Brittany. She’s focused on my arm and Miss Koto’s ministrations. I wish we were back in the library. I could swear back there she was thinking about getting it on with me. I’m sporting la tengo dura right here in front of Miss Koto just thinking about it. Gracias a Dios the nurse walks over to the medicine cabinet. Where’s a large chem book when you need one? “Let’s hang Thursday after school. You know, to work on the outline,” I tell Brittany for two reasons. First, I need to stop thinking about getting naked with her in front of Miss Koto. Second, I want Brittany to myself. “I’m busy Thursday,” she says. Probably with Burro Face. Obviously she’d rather be with that pendejo than me. “Friday then,” I say, testing her although I probably shouldn’t. Testing a girl like Brittany could put a serious damper on my ego. Although I caught her at a time when she’s vulnerable and still shaking from seeing my blood. I admit I’m a manipulative asshole. She bites her bottom lip that she thinks is glossed with the wrong color. “I can’t Friday, either.” My hard-on is officially deflated. “What about Saturday morning?” she says. “We can meet at the Fairfield Library.” “You sure you can pencil me into your busy schedule?” “Shut up. I’ll meet you there at ten.” “It’s a date,” I say while Miss Koto, obviously eavesdropping, finishes wrapping my arm with dorky gauze. Brittany gathers her books. “It’s not a date, Alex,” she says over her shoulder. I grab my book and hurry into the hallway after her. She’s walking alone. The loudspeaker music isn’t playing so class is still on. “It might not be a date, but you still owe me a kiss. I always collect debts.” My chem partner’s eyes go from dull to shining mad and full of fire. Mmm, dangerous. I wink at her. “And don’t sweat about what lip gloss to wear on Saturday. You’ll just have to reapply it after we make out.

The Guiding Light is the longest-running serial in broadcast history. Still seen on CBS television, its roots go back almost 60 years, to radio’s pioneering soaps. Though its original characters have been swallowed and eclipsed by time, it still has faint ties to the show that was first simulcast July 20, 1952, and in time replaced its radio counterpart with a daily one-hour TV show. Its creator, Irna Phillips, was often called “the queen of soaps.” She was so influential in the field that she was compared with Frank and Anne Hummert, though the comparison was weak. While the Hummerts employed a huge stable of writers and turned out dozens of serials, Phillips wrote her own—two million words of it each year. Using a large month-by-month work chart, Phillips plotted up to half a dozen serials at once, dictating the action to a secretary. Mentally juggling the fates of scores of characters, she churned out quarter-hour slices of life in sessions filled with high drama, acting the parts and changing her voice for the various speaking roles, while secretaries scribbled the dialogue that flowed from her lips. She gave up teaching early in life to enter radio as an actress at Chicago’s WGN. She was 25 that year, 1930. In 1932 she began to write. She discovered that cliffhanger endings were surefire for bringing those early audiences back to their sets each day, but that slow and skillful character development was what kept the audience for years. She decided that the organ was the ideal musical instrument for those little shows and that the instrument should be played with pomp and power, with all the authority of a religious service in a great European cathedral. The music gave weight to the dialogue, which was usually focused and intense.

We got stiffed on the gig and drove back to Waco in silence. The sun was coming up over the Brazos when we got back to campus. That was the end of my career with Ramsey Horton and the K-otics, but I had learned his Floyd Cramer licks, without which I would not have known what to play on the Rolling Stones’ session in Muscle Shoals.

Consider a congenitally deaf person hearing a sublime symphony during a psychedelic session. That person would not be able to recognise, to know, that this symphony was sound, let alone music – but the person would no doubt come to stress the ineffable experience as awe-inspiring. And so it can be with us and our other awe-inspiring, yet ineffable, psychedelic experiences. We are offered entry into other modes of value.

Both ‘Childhood’ and ‘Smile’ were recorded live with an orchestra at the Hit Factory on the same day, with the majority of Michael’s live vocals from the sessions used on the final versions. But Michael was so unhappy with his vocals for ‘Smile’ that he recorded over a dozen takes. “Michael did a bunch of takes live with orchestra that would be called amazing by most standards,” Rob Hoffman said. “He then did more later that day, and I think some the next as well. In all I think there were 14 takes.” Michael may not have been satisfied, but the orchestra was blown away by the performance. “When we finished recording with the orchestra, Michael asked me if he could go out in the studio and meet the musicians,” Bruce Swedien said. “During the recording, the entire orchestra had been listening to Michael sing through their individual headphones. When Michael walked out in the studio to meet the orchestra, they gave him a standing ovation. Every member of the 50-piece orchestra stood up and tapped their music stands with their bows, as loud as they could! Michael was thrilled.

Manson had played guitar for years, and he spent time jamming with other musicians on his ward, developing the musical skills he would come to believe guaranteed him ultimate stardom. His unrealistic dream to become bigger than the Beatles, who were at that time at the height of their American invasion, was fueled by a fellow inmate, Phil Kauffman. Kauffman had some vague experience in the L.A. music scene and promised Manson that he would get him a session with a producer at the music division of Universal Studios. This casual invitation warped in Manson’s mind and he became convinced that there was a man in L.A. who was going to make him a superstar. While serving time at McNeil Prison, Manson also became embroiled with a quasi-religious group that had a major influence on his later role as a cult leader—Scientologists. Again, prison authorities encouraged Manson’s education. As with Dale Carnegie, the pimps, the Nazarene Church, and pop music, Manson took what he wanted from the information offered and used it to form a doctrine of his own. Manson’s main takeaway from Scientology was the belief that we are all immortal beings trapped in human bodies on this planet we call earth. Life on earth is just a sliver of our potential experience and so to die is simply to move on. Manson would later use this skewed Scientology-based moral perspective as justification to convince his followers to kill.

In May 1969, Melcher agreed to visit Spahn Ranch again, and this time he showed up. Melcher listened to Manson’s music and promised him a recording session with a friend who owned a mobile recording studio in a van. Melcher returned in June with the recording van, but the entire day was a disaster, and Melcher declined to support Manson any further.

A 1978 study added support for the finding that the more stimuli present while you are learning, the deeper information is processed in your brain. There were two groups that had two study sessions. One group studied vocabulary in two different rooms, and the other studied vocabulary in the same room twice. The first group showed far better recall. What does this mean for you? You should change locations as frequently as possible while learning the same information. If you can’t change your scenery completely, change what’s on your desk, the music you are listening to – anything that impacts any of your five senses. The more change of stimuli, the more roots the information will take to your brain.

I was and still am a big Dylan fan and admirer, so I asked Bob Johnston if there was any way he could let me play on just one session. Sessions in Nashville are scheduled so you can fit four into a day: 10: 00 a.m., 2: 00 p.m., 6: 00 p.m., and 10: 00 p.m. As it happened, the guitar player they had scheduled for the 6: 00 p.m. session couldn’t make it and wouldn’t show up until the 10: 00 p.m. session, so Bob fit me in for 6: 00 p.m. I was the hungriest musician in the studio. I hung on every note that Bob Dylan sang and played on his guitar and did my best to interpret his music with feeling and passion. When the session was over, I was packing up my guitars to head to my club gig, and Bob Dylan asked Bob Johnston, “Where is Charlie going?” Bob told him I was leaving and that he had another guitar player coming in. Then Bob Dylan said nine little words that would affect my life from that moment on. He said, “I don’t want another guitar player. I want him.” And there it was. After all the put downs, condescension, and snide remarks, after all the times I’d driven to the hill above my house and shook my fist at Nashville and said, “You will not beat me.” After all that rejection, none other than the legendary Bob Dylan was saying that I might be worth something after all. It’s bits of encouragement like that that keep you going. Once in a while something just lights you up and you say, “Yeah, I can do this.

He took the trophy and the mic and said, ‘Uhm,’ and then laughed, almost as if he were at a loss for words. When the presenters insisted though, he looked to the audience and thanked his crew again, Danny Boyle especially, the people of Mumbai and the optimism that he believed was the essence of the film. ‘All my life,’ he said, finally looking like he was starting to choke up, ‘I had a choice of hate and love. I chose love. And I’m here. God bless.’ Truer words he could not have spoken. At every point in his life he had faced this crucial choice. When his father died. When he had to start working before he was even a teenager. When he had to drop out of school. When he had to grow up faster than any child could have reasonably been expected to; when he had to become the man of the house at eleven, had to take care of his family. When he felt creatively stifled during his days as a sessions player and wondered if this was all his life was going to be about. When he felt his music wasn’t being appreciated widely or truly enough before Roja. When it seemed he was all alone, with no one to turn to. When he became famous. He could have chosen to be bitter, prideful or sad at every stage. But he didn’t. If not for his music, then simply for his capacity to choose light over dark, A.R. Rahman deserves every bit of adulation he got that day and ever since. His speech done, AR lowered his mic, as if not trusting himself to keep his composure for much longer, and walked off the stage.

In a now-famous experiment, he and his colleagues compared three groups of expert violinists at the elite Music Academy in West Berlin. The researchers asked the professors to divide the students into three groups: the “best violinists,” who had the potential for careers as international soloists; the “good violinists”; and a third group training to be violin teachers rather than performers. Then they interviewed the musicians and asked them to keep detailed diaries of their time. They found a striking difference among the groups. All three groups spent the same amount of time—over fifty hours a week— participating in music-related activities. All three had similar classroom requirements making demands on their time. But the two best groups spent most of their music-related time practicing in solitude: 24.3 hours a week, or 3.5 hours a day, for the best group, compared with only 9.3 hours a week, or 1.3 hours a day, for the worst group. The best violinists rated “practice alone” as the most important of all their music-related activities. Elite musicians—even those who perform in groups—describe practice sessions with their chamber group as “leisure” compared with solo practice, where the real work gets done. Ericsson and his cohorts found similar effects of solitude when they studied other kinds of expert performers. “Serious study alone” is the strongest predictor of skill for tournament-rated chess players, for example; grandmasters typically spend a whopping five thousand hours—almost five times as many hours as intermediatelevel players—studying the game by themselves during their first ten years of learning to play. College students who tend to study alone learn more over time than those who work in groups. Even elite athletes in team sports often spend unusual amounts of time in solitary practice. What’s so magical about solitude? In many fields, Ericsson told me, it’s only when you’re alone that you can engage in Deliberate Practice, which he has identified as the key to exceptional achievement. When you practice deliberately, you identify the tasks or knowledge that are just out of your reach, strive to upgrade your performance, monitor your progress, and revise accordingly. Practice sessions that fall short of this standard are not only less useful—they’re counterproductive. They reinforce existing cognitive mechanisms instead of improving them. Deliberate Practice is best conducted alone for several reasons. It takes intense concentration, and other people can be distracting. It requires deep motivation, often self-generated. But most important, it involves working on the task that’s most challenging to you personally. Only when you’re alone, Ericsson told me, can you “go directly to the part that’s challenging to you. If you want to improve what you’re doing, you have to be the one who generates the move. Imagine a group class—you’re the one generating the move only a small percentage of the time.” To see Deliberate Practice in action, we need look no further than the story of Stephen Wozniak. The Homebrew meeting was the catalyst that inspired him to build that first PC, but the knowledge base and work habits that made it possible came from another place entirely: Woz had deliberately practiced engineering ever since he was a little kid. (Ericsson says that it takes approximately ten thousand hours of Deliberate Practice to gain true expertise, so it helps to start young.)

She did her usual yoga and meditation session on the balcony, overlooking the ocean, then followed up with a blunt and trap music as she dressed and prepared to start her day.