Strings Of Guitar Quotes

It's alright, just wait and see, your string of lights is still bright to me. Who you are is not where you've been. You're still an innocent. It's okay life is a tough crowd, 32 is still growing up now.

Reese sucked in a breath and played faster, hurling the anger through his fingers until it spun all his fear, all his rage, into the gentle voice of music.

I've apparently been the victim of growing up, which apparently happens to all of us at one point or another. It's been going on for quite some time now, without me knowing it. I've found that growing up can mean a lot of things. For me, it doesn't mean I should become somebody completely new and stop loving the things I used to love. It means I've just added more things to my list. Like for example, I'm still beyond obsessed with the winter season and I still start putting up strings of lights in September. I still love sparkles and grocery shopping and really old cats that are only nice to you half the time. I still love writing in my journal and wearing dresses all the time and staring at chandeliers. But some new things I've fallen in love with -- mismatched everything. Mismatched chairs, mismatched colors, mismatched personalities. I love spraying perfumes I used to wear when I was in high school. It brings me back to the days of trying to get a close parking spot at school, trying to get noticed by soccer players, and trying to figure out how to avoid doing or saying anything uncool, and wishing every minute of every day that one day maybe I'd get a chance to win a Grammy. Or something crazy and out of reach like that. ;) I love old buildings with the paint chipping off the walls and my dad's stories about college. I love the freedom of living alone, but I also love things that make me feel seven again. Back then naivety was the norm and skepticism was a foreign language, and I just think every once in a while you need fries and a chocolate milkshake and your mom. I love picking up a cookbook and closing my eyes and opening it to a random page, then attempting to make that recipe. I've loved my fans from the very first day, but they've said things and done things recently that make me feel like they're my friends -- more now than ever before. I'll never go a day without thinking about our memories together.

She reminds him of every good day he's ever had. Every summer spent in fields of grass. Every sunrise. Every sunset. She tastes like dew and smells like light. And when she speaks, it's like someone slowly plucking the strings of a guitar, a sadly beautiful song starting to play, all his own. And he loves her.

The strands of DNA are like strings, and it’s as if I am a walking guitar, a musical being whose vibration can be heard as love.

If you play "I Don't Want To Know" by Fleetwood Mac loud enough -- you can hear Lindsey Buckingham's fingers sliding down the strings of his acoustic guitar. ...And we were convinced that this was the definitive illustration of what we both loved about music; we loved hearing the INSIDE of a song.

The string slices into the skin of his fingers and no matter how tough the calluses, it tears. But this beat is fast and even though his joints are aching, his arm's out of control like it has a mind of its own and the sweat tat drenches his hair and face seems to smother him, but nothing's going to stop Tom. He;s aiming for oblivion.

He's bent over the strings tuning his guitar with such passionate attention I almost feel I should look away but I can't. In fact I'm full on gawking wondering what it would be like to be cool and casual and fearless and passionate and so freaking alive just like he is- and for a split second I want to play with him. I want to disturb the birds. Later as he plays and plays as all the fog burns away I think he's right. That's exactly it- I am crazy sad and somewhere deep inside all I want is to fly.

I could write a song and her name would be the music. I could string, strum a guitar, and her body would be the melody.

A gut-string classical Spanish guitar, a sweet, lovely little lady. The smell of it. Even now, to open a guitar case, when it's an old wooden guitar, I could crawl in and close the lid.

Dr. Singh told me once that if you have a perfectly tuned guitar and a perfectly tuned violin in the same room, and you pluck the D string of a guitar, then all the way across the room, the D string on the guitar will also vibrate. I could always feel my mother's vibrating strings.

Jay took out his guitar. He was decent at it, but the piano was his best talent. He couldn’t get a certain riff right, so he handed the instrument to Kaidan, and my heart flipped. I recalled him saying he played guitar, but I’d never actually seen or heard him play. Kaidan began to pick at each string, testing and tuning with his full attention. I watched the way his hands moved across the wood and strings, gently, reverently, his body seeming to curl around it as if it were a part of him. . . . I felt my hands getting sweaty, because watching Kaidan get lost in music did crazy things to me. My breathing became ragged and I couldn’t take my eyes off him. He looked up at that moment and caught me staring hard. He knew. He knew what it did to me! I could tell because his badge expanded. He angled himself away from the others and signed to me, I want to be alone with you tonight. Patti did have a lot of guests staying in the house. I signed back, I’ll work on it. “Excellent,” he whispered, a hot grin sliding onto his face.

Bracelets with white symbols?” Michael made the question casual; in fact, he bent his head and concentrated on tuning his guitar, not that it needed it. Every note sounded perfect as it whispered out of the strings. “Do you remember?” “No.” She felt a pure burst of something that wasn’t quite panic, wasn’t quite excitement. “Does that mean they have Protection?” He hesitated for about a second, just long enough for her to know he was surprised. “You mean condoms?” he asked. “Doesn’t everybody?

I think the heart is kind of like a string. It's difficult and hard, and there are times it can't be helped. And that's because it hurts as if a string, stretched across the chest, is being torn apart. Like strumming a guitar string tightened to its limit. Sometimes it snaps, and you think it can't be fixed anymore. But, if you put a new string like this, and have someone fix it for you, won't the wound heal, even just a little bit?

What an unfortunate instrument the guitar is! An instrument of such great nobility, a genuine monarch of music-- reduced to a pitiful lump of wood with six strings, constantly abused by people with no ear and no voice.

George had taken off all ten of his fingers and tied them into a bundle with what appeared to be either his own small intestines, or a guitar string; as I walked into the room, he lovingly placed the bundle on his head.

I watched, through the keyhole, not the man showering, but the rain falling through him: guitar strings snapping over his globed shoulders

I stood in the middle of the room flipping and Pusher was plucking at the guitar, just one string, and I went up to him and said, 'Man don't pluck those dirty notes at ME,' and like he just got up without a word and left. [Mardou]

The multiple choices and possibilities of daily life are the music we dance to. They are like strings on a guitar. Strum and you create a pleasing sound. A harmonic.

The guitar poured out its soul, its history, its dreams, its pain, its victories, its secrets. The guitar’s strings purred with blues and ended with a haunting solitary song with no lyrics.

Lying on her side, the warm fire at her feet, Helen's laughter died away as Lucas suddenly went from tuning to playing. It was like an orchestra in an instrument. He played with both hands-not one hand picking and the other holding down strings-but with both hands so that it sounded like more than one guitar was playing. Sometimes he hit the strings to make them hum like a harp, and sometimes he hit the body of the guitar like a drum to add bass and keep time. It was the most fascinating thing Helen had ever watched, like Lucas had a dozen voices in his head, all singing the same song, and he'd figured a way to make them come out of ten fingers. Helen looked at his face and could tell why he loved it. It was like thinking for him, only this was a puzzle that he could share with her as he solved it. He'd walked into her head when he'd come to her world. And she'd walked into his when she finally heard him play. It was heaven.

There are songs that you play that you have to restart, and songs that you play that you never get right. But when a song is complete, there is no more you can do.

..giving power to negative thoughts or fears was bringing ideas to life in physical world,idea in mind became emotion in heart,emotion turned into words spoken,written,painted,strummed across guitar strings,or vibrantly held note by Tibetan singing bowl, thoughts affected physical world.

The multiple choices and possibilities of daily life are the music we dance to. They are like strings on a guitar. Strum them and you create a pleasing sound. A harmonic. But then start adding strings. Ten strings, a hundred strings, a thousand, a million. Because they multiply!

Everything has a breaking point. A string of guitar, a heart, when no longer loved; Ropes of anchors holding ships tied, shell of an egg when bringing new life. Breakage is always a path to freedom. Even when falling into stygian gloom.

The multiple choices and possibilities of daily life are the music we dance to. They are like strings on a guitar. Strum them and you create a pleasing sound. A harmonic.

We walk by faith and not by sight – not because we are blind, but because faith gives us the courage to face or fears and puts those fears in a context that makes them less frightful. We walk by faith and not by sight because there are places to go that cannot be seen and the scope of our vision is too small for our strides. Faith is not a denial of facts – it is a broadening of focus. It does not deny the hardness of guitar strings, it plucks them into a sweetness of sound

To paint one must forget everything else. Where you live, who you know, what you eat, when to sleep. The landscape of the canvas becomes your only reality. The planet you inhabit is a single plane of infinite dimensions, stretched like a guitar string, and standing before you like a concubine waiting for your command.

Where I’ve been is places, and what I’ve seen is things, and there’ve been times I’ve run off from seeing them, off to other places and things. I keep moving, me and this guitar with the silver strings slung behind my shoulder. Sometimes I’ve got food with me, and an extra shirt maybe, but most times just the guitar, and trust to God for what I need else.

When I had lain awake a little awhile, those extraordinary voices with which silence teems, began to make themselves audible. The closet whispered, the fireplace sighed, the little washing-stand ticked, and one guitar-string played occasionally in the chest of drawers.

You be careful. I’d take you myself, but I’m busy as a cat in a mess of guitar strings.

The two of us were everything that we needed to be to one another as we sat behind those strings.

Buck had lobbied for a banjo player but Lane said they cost too much, which made no fucking sense to Buck because a banjo’s got fewer strings than a damn guitar.

There’s secrets hiding inside this six-string just waitin’ for somebody to find ‘em and turn ‘em into music.

See something you like?" Miller tensed, going tight as a guitar string. "No, but God...Have you ever seen a dick that big before?" Garrett couldn't resist teasing Miller a little. "Every morning when I take a piss." "You wish." Miller tore his gaze away from the room's occupants and turned to stare at Garrett. "I remember your dick just fine, and it didn't look anything like that." "Ah. Now you've gone and hurt my dick's feelings. Maybe you should kiss and make up.

Jazz presumes that it would be nice if the four of us--simpatico dudes that we are--while playing this complicated song together, might somehow be free and autonomous as well. Tragically, this never quite works out. At best, we can only be free one or two at a time--while the other dudes hold onto the wire. Which is not to say that no one has tried to dispense with wires. Many have, and sometimes it works--but it doesn't feel like jazz when it does. The music simply drifts away into the stratosphere of formal dialectic, beyond our social concerns. Rock-and-roll, on the other hand, presumes that the four of us--as damaged and anti-social as we are--might possibly get it to-fucking-gether, man, and play this simple song. And play it right, okay? Just this once, in tune and on the beat. But we can't. The song's too simple, and we're too complicated and too excited. We try like hell, but the guitars distort, the intonation bends, and the beat just moves, imperceptibly, against our formal expectations, whetehr we want it to or not. Just because we're breathing, man. Thus, in the process of trying to play this very simple song together, we create this hurricane of noise, this infinitely complicated, fractal filigree of delicate distinctions. And you can thank the wanking eighties, if you wish, and digital sequencers, too, for proving to everyone that technologically "perfect" rock--like "free" jazz--sucks rockets. Because order sucks. I mean, look at the Stones. Keith Richards is always on top of the beat, and Bill Wyman, until he quit, was always behind it, because Richards is leading the band and Charlie Watts is listening to him and Wyman is listening to Watts. So the beat is sliding on those tiny neural lapses, not so you can tell, of course, but so you can feel it in your stomach. And the intonation is wavering, too, with the pulse in the finger on the amplified string. This is the delicacy of rock-and-roll, the bodily rhetoric of tiny increments, necessary imperfections, and contingent community. And it has its virtues, because jazz only works if we're trying to be free and are, in fact, together. Rock-and-roll works because we're all a bunch of flakes. That's something you can depend on, and a good thing too, because in the twentieth century, that's all there is: jazz and rock-and-roll. The rest is term papers and advertising.

The strings on a guitar are like fishing lines, and I strum them out at sea. Each string has a distinct sound and flavor, but the most popular with the sharks is Leftover Meatloaf, which sounds like Color Me Badd’s 1991 song “I Wanna Sex You Up.

The multiple choices and possibilities of daily life are the music we dance to. They are like strings on a guitar. Strum them and you create a pleasing sound. A harmonic. But then start adding strings. Ten strings, a hundred strings, a thousand, a million.

We get tired, we get weary, we get out of tune with God's music. The praise we attempt to sing, the speaking of His grace…it falls flat like an old,weary guitar string. That's why we have to go out best to let Christ tune our hearts daily—with tension, with gentle rebukes and loving comfort, strumming and tightening until a pure note wings from our soul. And then we can honestly sing of His grace once again.

The planet you inhabit is a single plane of infinite dimensions, stretched like a guitar string, and standing before you like a concubine waiting for your command.

In the night his hand sometimes searches it out, and his fingers drift across the strings: then, the world.

I love you as a guitar loves those playful nimble hands. Without your touch, the strings of my heart can’t play the amazing songs of my life.

The cat hair floated in the air like a sound vibration, and I plucked it like a guitar string. Sometimes I can be so musical I’m like a living love song.

numb the constant fear vibrating through my veins; it’s like a plucked guitar string reverberating through my bones, making them rattle.

Alicia, we are all like guitars. Our heartstrings stretch to touch others in the universe. And when we think of people with love, those strings sing out, and the song goes on forever,

The art of sensuality encompassing the exploration and experiencing of all our senses... Those images are being born from and through living the moments of eating favorite chocolate cake with ice-cream, tranquil meditating, walking the beach and feeling the warm breeze on your face and the soothing sand beneath your feet, watching a never repeating its symphony sunset, dancing and feeling your body move through space, smelling flowers in a garden, painting or working with clay, with your fingertips gently touching piano keys or pulling the tense strings of guitar, caressing your ears with the whispers of one's soul, diving into the depth of loving you eyes, and, joining in a passionate kiss of life...the life of the artist...

Now I was pretty good at playing Rodeo. I'd been doing it for years. But he was a tricky bird to play. You could say that learning to play Rodeo was like learning to play a guitar, if the guitar had thirteen strings instead of six and three of them were out of tune and two of them were yarn and one of them was wired to an electric fence. He's a handful, is what I'm saying.

Scott smirked. "You know it's always worse when you're around. And I still think I can keep up with you. Of course, you're going to drive off, go back home, drink a fifth and play guitar all night and not feel a thing. On the other hand, I'll be up thirteen times to take a piss before five AM, have a hella case of acid reflux and sore fingers from shredding guitar strings.

The opening notes of a song began, some plucking of guitar strings. I knew the melody. It was Maroon 5’s “She Will Be Loved.” As pop songs went, it was pretty damn good, a bit of a favorite of mine.

I don't know how to play these guitar strings But I know how to play these heart stings, Play until my fingers bleed Doctors tell me the incision should only sting But even with only a memory I feel compelled to scream

Prayers For Rain' begins like practically every Cure song, with an introduction that's longer than most Bo Diddley singles. Never mind the omnipresent chill, why does Robert Smith write such interminable intros? I can put on 'Prayers For Rain,' then cook an omelette in the time it takes him to start singing. He seems to have a rule that the creepier the song, the longer the wait before it actually starts. I'm not sure if Smith spends the intro time applying eye-liner or manually reducing his serotonin level, but one must endure a lot of doom-filled guitar patterns, cathedral-reverb drums and modal string synth wanderings during the opening of 'Prayers for Rain.

Garcia had traded his Sears electric guitar for an acoustic model shortly after arriving in Palo Alto, and late that spring Barbara bought him a better guitar, and shortly after that, a lovely sounding Stella twelve-string.

Merrill Hartweiss scales a rocky incline toward Renna. The noon sun bakes the hillside as Merrill's boots dig into the broiling sands. Yet another gypsy tune enters his head. It starts off slowly. A lone guitar, its strings strummed with the lustful passion of a young man brushing his fingertips softly against the breasts of his lover. Another guitar joins, like a second hand, exploring her hot flesh, stroking the side of her bare abdomen, and gradually moving upward toward her chest. Then, a female voice joins the guitars; it is slightly raspy, yet sultry; filled with a fiery allure. The guitars pick up in intensity and tempo. There is a rhythmic clapping now, in synchronization with the strumming. The man has entered his lover. Sweat begins to form on Merrill's forehead, then quickly turns to vapor, dissipating into the blistering heat from the sunlight reflecting off the sands. Steady clapping, louder still. The tempo quickens, progressively and with a vigorous intensity. The man arches his back, cresting then falling; cresting, arching, rising and falling deeper again and again into his lover. The clapping, now faster, still rhythmic, but so much more intense. The guitars keep pace with increasing ferocity. In the woman's voice, short, quick breaths form words as she cries out her lover's name from deep within the throes of a forbidden love

It is also possible to carve atomic devices using electron beams. For example, scientists at Cornell University have made the world’s smallest guitar, one that is twenty times smaller than a human hair, carved out of crystalline silicon. It has six strings, each one hundred atoms thick, and the strings can be plucked using an atomic force microscope. (This guitar will actually play music, but the frequencies it produces are well above the range of the human ear.)

She rubbed it onto his hands one day in Year Eleven, feeling the texture of his fingertips, callused by the strings of his guitar, and his palms, rough from woodwork. ("Productive, despite your lazy streak," she had said, inspecting them.)

It’s already beautiful. You’re so talented.” “So are you,” he said, not looking up from his work. “But all the pieces of your talent—singing, guitar, songwriting…They’re scattered all over, like my installation. Or a constellation. Put them together…” Now he looked up, his smile gentle. “The whole might be pretty spectacular.” A hundred different emotions boiled up in me. Jonah’s words were fragments of my own thoughts. Insights I’d never had the guts to string together on my own. I

I loved how he played with me, as if I was an object that existed only for his pleasure. It should have felt wrong, maybe even degrading, but it didn't because Danner was playing me the way he played his guitar, masterfully, removed only because he needed to focus to strum every string just right.

His arms tightened around my back. His mouth and nose pressed against the crown of my head, and inside, a mournful Crosby, Stills, Nash & Young cover picked up, guitar twanging like its strings were crying. Gus rocked me side to side. “I want to know you,” I told him. “I want that,” he murmured into my hair.

Kay yawned and rested her forehead against the windowpane, her fingers idly strumming the guitar: the strings sang a hollow, lulling tune, as monotonously soothing as the Southern landscape, smudged in darkness, flowing past the window. An icy winter moon rolled above the train across the night sky like a thin white wheel.

When a guitar string is plucked or when children jiggle a jump rope, the shape that appears is a sine wave. The ripples on a pond, the ridges of sand dunes, the stripes of a zebra—all are manifestations of nature’s most basic mechanism of pattern formation: the emergence of sinusoidal structure from a background of bland uniformity.

The Fury Of Guitars And Sopranos " This singing is a kind of dying, a kind of birth, a votive candle. I have a dream-mother who sings with her guitar, nursing the bedroom with a moonlight and beautiful olives. A flute came too, joining the five strings, a God finger over the holes. I knew a beautiful woman once who sang with her fingertips and her eyes were brown like small birds. At the cup of her breasts I drew wine. At the mound of her legs I drew figs. She sang for my thirst, mysterious songs of God that would have laid an army down. It was as if a morning-glory had bloomed in her throat and all that blue and small pollen ate into my heart violent and religious.

And messengers must have come running to Don Jorge, telling him the service was on the point of beginning, and he must have waved them away with a grave gesture of a long white hand, while in his mind the distant sound of chanting, the jingle of the silver bit of his roan horse stamping nervously where he was tied to a twined Moorish column, memories of cavalcades filing with braying of trumpets and flutter of crimson damask into conquered towns, of court ladies dancing, and the noise of pigeons in the eaves, drew together like strings plucked in succession on a guitar into a great wave of rhythm in which his life was sucked away into this one poem in praise of death.

The cardinal directions are north, west, south, and east. The cardinal temperatures are 35º Fahrenheit, 67º Fahrenheit, 3º Celsius, and 10º Kelvin. The cardinal locations are a cave, a long-abandoned cabin, the bottom of an oceanic trench, and City Hall. The cardinal emotions are wild abandon, guarded affection, directionless jealousy, and irritation. The cardinal birds are hawk, sparrow, finch, and owl. The cardinal names are Jeremy, Kim, Trigger, and Jamie. And, finally, the cardinal sounds are a door slamming, slight movement in still water, popcorn popping, and a standard guitar G string being snipped with wire cutters. This has been the Children’s Fun Fact Science Corner.

He played the opening bars again, opening a door for her, inviting her to join. She started quietly, almost voiceless, only a thin string of sound weaving herself into his tune, as if her voice were just another string on the guitar between his fingers. She had to be careful, so no one saw the changes on her face. But she didn't want to be careful; she couldn't be careful. He played and she sang to him, and inside her more and more blocks of ice began to melt, cracking and falling into the frozen sea between them. She sang of all the things that were happening to her and him, the world that collapsed over both of them, the things that might be in store, if only they dared to believe it was possible.

People everywhere, enjoying life, smiling, and just slowing down to let the world take care of itself for a few hours. The feeling was contagious. Especially when I stepped into McPherson's Pub to grab a bite of the special and listen to some traditional Irish music. The fiddle made me want to dance with myself, and many did. The drum beat like my very own heart. And some little flute that looked no wider than a pencil reminded me of the Aran Islands floating not too far from Abbeyglen. God was here tonight. In the strings of the guitar and the call of the singer's voice. I realize how often I overlook him back at home. And I know I don't want to do that anymore. The LORD will send His faithful love by day; His song will be with me in the night a prayer to the Gid of my life.

I think the heart is kind of like a string. It's difficult and hard, and there are times it can't be helped. And that's because it hurts as if a string, stretched across the chest, is being torn apart. Like strumming a guitar string tightened to its limit. Sometimes it snaps, and you think it can't be fixed anymore. But, if you put a new string like this, and have someone fix it for you, won't the wound heal, even just a little bit?

The advisors, on the other hand, were like older brothers and sisters. My favorite was Bill Symes, who'd been a founding member of Fellowship in 1967. He was in his early twenties now and studying religion at Webster University. He had shoulders like a two-oxen yoke, a ponytail as thick as a pony's tail, and feet requiring the largest size of Earth Shoes. He was a good musician, a passionate attacker of steel acoustical guitar strings. He liked to walk into Burger King and loudly order two Whoppers with no meat. If he was losing a Spades game, he would take a card out of his hand, tell the other players, "Play this suit!" and then lick the card and stick it to his forehead facing out. In discussions, he liked to lean into other people's space and bark at them. He said, "You better deal with that!" He said, "Sounds to me like you've got a problem that you're not talking about!" He said, "You know what? I don't think you believe one word of what you just said to me!" He said, "Any resistance will be met with an aggressive response!" If you hesitated when he moved to hug you, he backed away and spread his arms wide and goggled at you with raised eyebrows, as if to say, "Hello? Are you going to hug me, or what?" If he wasn't playing guitar he was reading Jung, and if he wasn't reading Jung he was birdwatching, and if he wasn't birdwatching he was practicing tai chi, and if you came up to him during his practice and asked him how he would defend himself if you tried to mug him with a gun, he would demonstrate, in dreamy Eastern motion, how to remove a wallet from a back pocket and hand it over. Listening to the radio in his VW Bug, he might suddenly cry out, "I want to hear... 'La Grange' by ZZ Top!" and slap the dashboard. The radio would then play "La Grange.

knew how I felt, and he let me love him. He wanted me to. He stepped closer to me. “One minute you like me. Then Cam…” Conrad paused. “And then Jeremiah. Isn’t that right? You want to have your cake and eat it too, but you also want your cookies, and your ice cream…” “Shut up!” I yelled. “You’re the one who’s been playing games, Belly.” He was trying to sound casual, offhand, but his body was tense, like every muscle was as tight as his stupid guitar strings.

She leaned back enough to free a hand and brushed his lips with her fingers. He felt the calluses from her guitar strings, the soft surrounding skin, as she examined the previous night's injury. Then, almost shyly, she kissed him, sending shock waves through his body. Ignoring the pain in his lips, he responded, hungry and curious, every nerve in his body awake. He kissed her until his lip started to bleed a little, and would have kept going had she not pulled away.

You stop by a bookstore and buy a full-color insect picture book. Within its pages is a photo of a water-strider, darting over the water with long slender legs as taut as guitar strings. If a raindrop should hit it or the current turn rough all of a sudden, it looks as if it would get swallowed up. But as vulnerable as it appears, it also has a kind of charm. Why must it walk on water? There's more than enough land in the world for its legs to stand safely on. (Waxen Wings)

Young has a personal relationship with electricity. In Europe, where the electrical current is sixty cycles, not fifty, he can pinpoint the fluctuation --- by degrees. It dumbfounded Cragg. "He'll say, 'Larry, there's a hundred volts coming out of the wall, isn't there?' I'll go measure it, and yeah, sure --- he can hear the difference." Shakey's innovations are everywhere. Intent on controlling amp volume from his guitar instead of the amp, Young had a remote device designed called the Whizzer. Guitarists marvel at the stomp box that lies onstage at Young's feet: a byzantine gang of effects that can be utilized without any degradation to the original signal. Just constructing the box's angular red wooden housing to Young's extreme specifications had craftsmen pulling their hair out. Cradled in a stand in front of the amps is the fuse for the dynamite, Young's trademark ax--Old Black, a '53 Gold Top Les Paul some knot-head daubed with black paint eons ago. Old Black's features include a Bigsby wang bar, which pulls strings and bends notes, and Firebird picking so sensitive you can talk through it. It's a demonic instrument. "Old black doesn't sound like any other guitar," said Cragg, shaking his head. For Cragg, Old Black is a nightmare. Young won't permit the ancient frets to be changed, likes his strings old and used, and the Bigsby causes the guitar to go out of tune constantly. "At Sound check, everything will work great. Neil picks up the guitar, and for some reason that's when things go wrong.

I’ve sat at the piano for hours already, looking for lyrics and melodies, but everything sounds the same and I feel as uninspired as ever. Does it mean I’m finished? A more sobering thought: if I’m finished, would I miss it? But the truth is, I’ve been here before. Many times. We all have. So how do we find the faith to press on? Remember. Remember, Hebrew children, who you once were in Egypt. Remember the altars set up along the way to remind yourselves that you made the journey and God rescued you from sword and famine, from chariots and pestilence, that once you were there, but now you are here. It happened. Our memories are fallible, residing in that most complex and mysterious organ in the human body (and therefore the known universe), capable of being suppressed, manipulated, altered, but also profoundly powerful and able to transport a person to a place fifty years ago all because of a whiff of your grandfather’s cologne or an old book or the salty air. As often as you do this, do it in remembrance of me. Remember with every sip of wine that we shared this meal, you and I. Remember. So I look at the last album, the last book, and am forced to admit that I didn’t know anymore then than I do now. Every song is an Ebenezer stone, evidence of God’s faithfulness. I just need to remember. Trust is crucial. So is self-forgetfulness and risk and a measure of audacity. And now that I think about it, there’s also wonder, insight, familiarity with Scripture, passion, a good night’s sleep, breakfast (preferably an egg sandwich), an encouraging voice, diligence, patience. I need silence. Privacy. Time—that’s what I need: more time. But first I need a vacation, because I’ve been really grinding away at this other stuff and my mental cache is full. A deadline would be great. I work best with deadlines, and maybe some bills piling up. Some new guitar strings would help, and a nice candle. And that’s all I need, in the words of Steve Martin’s The Jerk. This is the truth: all I really need is a guitar, some paper, and discipline. If only I would apply myself.

When his solo came at the end of the song, he poured his heart into it, directing all of his energy into the guitar in his hands and projecting it out toward her. As his fingers moved over the strings, he imagined them moving over her skin. Caressing her body, intimately exploring the sensitive flesh of her inner folds. In his mind, he could see it all so clearly, the images from that night flooding his brain as he played. Touching her. Kissing her. He was momentarily transported back to that night and he lost himself in it.

Lover winds a guitar string tight enough to slice your fingertip when you strum. It’s the guitar beat against the belly of the bluesman, sitting ugly on a stool, legs open in front of everyone. Lover is Winslow with sun blinding and wind sticking dust to your cheekbones when you peel out from the crater. The swirling force of cream stirring itself in a reheated cup of coffee steamed by exhaustion. The hands that stripped him bare in his sleep, played his hormones like a mean, magic riff 'til he woke up wet and high inside his bones.

Bend your right arm and relax your right hand," El Maestro instructed. "Do not squeeze it in; you are not choking something. And do not push down; you are not drowning something. Your right fingers are talking to the strings. Would you talk to someone by choking or drowning them?" "No, Maestro." "No, you would not." "What do I do with my left hand?" “The left hand finds the beauty. She makes the notes and chords. You can show off all you want with your right hand, boy, but you are nothing without the left, understand? “ “Yes, Maestro

Long ago, when New York City was affordable, people who felt they didn’t fit into the mainstream could take a chance and head there from wherever they were. Bob Dylan came east from Minnesota in the winter of 1961 and made his way downtown to Greenwich Village. Like countless others before him, he came to shed the constricted definition of his birthplace and the confinement of his past. I first saw Bob at Gerde’s Folk City, the Italian bar and restaurant cum music venue on the corner of Mercer and West Fourth Streets, one block west of Broadway and a few blocks east of Washington Square Park. Bob was playing back-up harmonica for various musicians and as a duo with another folksinger, Mark Spoelstra, before he played sets by himself. Mark played the twelve string guitar and had a melodious singing voice. Bob’s raspy voice and harmonica added a little dimension to the act. Their repertoire consisted of traditional folk songs and the songs of Woody Guthrie. They weren’t half bad. Bob was developing his image into his own version of a rambling troubadour, in the Guthrie mode.

If I Were Another If I were another on the road, I would not have looked back, I would have said what one traveler said to another: Stranger! awaken the guitar more! Delay our tomorrow so our road may extend and space may widen for us, and we may get rescued from our story together: you are so much yourself ... and I am so much other than myself right here before you! If I were another I would have belonged to the road, neither you nor I would return. Awaken the guitar and we might sense the unknown and the route that tempts the traveler to test gravity. I am only my steps, and you are both my compass and my chasm. If I were another on the road, I would have hidden my emotions in the suitcase, so my poem would be of water, diaphanous, white, abstract, and lightweight ... stronger than memory, and weaker than dewdrops, and I would have said: My identity is this expanse! If I were another on the road, I would have said to the guitar: Teach me an extra string! Because the house is farther, and the road to it prettier— that's what my new song would say. Whenever the road lengthens the meaning renews, and I become two on this road: I ... and another!

Daniel." He looked up. "El-la.I was wondering if you'd catch me." He offered me a cigarette. I gave him a shame-on-you look;he grinned. "This is your band?" I asked. Visible piercings aside, no one looked like that went by the name Ax. "Nope,but I go to school with the lead's sister. Regular guy got food poisoning at a Christmas party last night.I've played with them before." "Weddings?" It wasn't quite how I'd pictured him performing. "Usually clubs, but the last one was a bar mitzvah. Musicians have to eat, too," he added, a little sharply. "Sorry." I wanted to wave the smoke away, but figured that might be adding insult to inury. "I thought you played the guitar." "Guitar, piano, a little violin, but badly, and I'll have to garrote you ith one of the strings if you tell anyone." That's the thing about Daniel. Obviously-the violin being a case in point-I don't know him very well,but he seems to hold a grudge for even less time than Frankie. "Secret's safe with me." He shrugged, telling me he didn't really care. Then, "Nice dress." "Just when I start liking you a litte.." He made his vampire-boy face. I could see why it usually worked. "You like me,Ella. Wanna do something when this is over?" "Tempting," I said. "No, I mean that. But no,thanks. I'm not at my best these days." "You're good," he said quietly, blowing out a stream of smoke. "You'll be fine." "Yeah." I shivered. It was bitter outside. "I should go in." "You should." The cold didn't seem to be bothering him at all, and he wasn't even wearing a jacket over his white dress shirt. I turned to go. "Oh, I think I figured it out, by the way." "Figured out what?" "The question.The one everyone should ask before getting involved with someone. Not 'Will he-slash-she make me happy?' but 'Does it bring out the best in me,being with him?'" "Him-slash-her," Daniel corrected, clearly amused. Then, "Nope. No way. Wasn't me who posed the question to you, Marino.I would never be so Emo." "Of course not.But it was one smart boy." I waved. "Hug Frankie for me." "Will do. Hey.Any requests for the band?" "'Don't Stop Believin'," I shot back. He rolled his eyes. "I'm curious, in that last song-are the words really 'I cut my chest wide open'?" "Yup.Followed by, "They come and watch us bleed.Is it art like I was hoping now?" Avett Brothers. Too gruesome for you?" "You have no idea," I told him. How much I get it.

... and that did it. That brought those depthless blue eyes within a foot, perhaps six inches, maybe even closer, and something happened inside Enrique, like a guitar string suddenly unstrung. There was a shock and a vibration in his heart, a palpable break inside the cavity of his chest. He had dropped out of high school and never took a class in anatomy, but he did know that the cardiovascular system wasn't supposed to react as if it were the source and center of feeling. And yet he would have sworn to all and sundry - not that he expected to admit it to anyone - that Margaret, or at least her bright blue eyes, had just snapped his brittle heart.

Old couples began to pair off and spin each other around, and the younger ones lined the walls, clapping and stomping their feet and swishing their drinks. In that little pub, on that little stage by the windows, Kevin was a life force, a star. With the aid of an instrument, he could spend four hours in a new country and fit in better than Maggie could after four months. He sang about drunk tanks and love and Christmas hopes, but in the spaces between the words of the song and in the cold shadows of his closed eyes rested all the things that he allowed to escape from himself only on the stage. Watching him, Maggie thought of their conversation earlier that day--how he had quit the band, quit his music, hadn't picked up a guitar in months. She could see the way he picked gingerly at the strings on his uncalloused fingers. His voice wasn't beautiful, but it had always contained a kind of arresting truth. Now too, Maggie detected a new quality--a desperation that had not been there before. Looking around the table at her family, she knew that Nanny Eli heard it, too. Her grandmother was leaning forward, holding her cigarette aloft while the ash grew longer and longer, and she was not listening to her son like the rest of them were but watching him, the movements of his long, skeletal fingers, the closed bruises of his eyes.

What is there about our generation, man, that makes us sweat this root scene so much? Look at us. We wander across America in dedicated droves. Equipped with sideburns, sandals, and a steel string guitar. Relentlessly tracking our lost root beds. Yet all the while guarding against that most ignoble of ends, becoming root bound. What, pray, is it we hope to do with the object of our search if we succeed? If we have no intention of attaching ourselves to these roots. What use do you suppose we have in mind? Boil us up a tea and use them like sassafras as a purgative? Stash them away in our cedar chest with our high school diploma and prom programs? It's always been a mystery to me.

Sarah sits up and reaches over, plucking a string on my guitar. It’s propped against the nightstand on her side of the bed. “So . . . do you actually know how to play this thing?” “I do.” She lies down on her side, arm bent, resting her head in her hand, regarding me curiously. “You mean like, ‘Twinkle, Twinkle, Little Star,’ the ‘ABC’s,’ and such?” I roll my eyes. “You do realize that’s the same song, don’t you?” Her nose scrunches as she thinks about it, and her lips move as she silently sings the tunes in her head. It’s fucking adorable. Then she covers her face and laughs out loud. “Oh my God, I’m an imbecile!” “You shouldn’t be so hard on yourself, but if you say so.” She narrows her eyes. “Bully.” Then she sticks out her tongue. Big mistake. Because it’s soft and pink and very wet . . . and it makes me want to suck on it. And then that makes me think of other pink, soft, and wet places on her sweet-smelling body . . . and then I’m hard. Painfully, achingly hard. Thank God for thick bedcovers. If this innocent, blushing bird realized there was a hot, hard, raging boner in her bed, mere inches away from her, she would either pass out from all the blood rushing to her cheeks or hit the ceiling in shock—clinging to it by her fingernails like a petrified cat over water. “Well, you learn something new every day.” She chuckles. “But you really know how to play the guitar?” “You sound doubtful.” She shrugs. “A lot has been written about you, but I’ve never once heard that you play an instrument.” I lean in close and whisper, “It’s a secret. I’m good at a lot of things that no one knows about.” Her eyes roll again. “Let me guess—you’re fantastic in bed . . . but everybody knows that.” Then she makes like she’s playing the drums and does the sound effects for the punch-line rim shot. “Ba dumb ba, chhhh.” And I laugh hard—almost as hard as my cock is. “Shy, clever, a naughty sense of humor, and a total nutter. That’s a damn strange combo, Titebottum.” “Wait till you get to know me—I’m definitely one of a kind.” The funny thing is, I’m starting to think that’s absolutely true. I rub my hands together, then gesture to the guitar. “Anyway, pass it here. And name a musician. Any musician.” “Umm . . . Ed Sheeran.” I shake my head. “All the girls love Ed Sheeran.” “He’s a great singer. And he has the whole ginger thing going for him,” she teases. “If you were born a prince with red hair? Women everywhere would adore you.” “Women everywhere already adore me.” “If you were a ginger prince, there’d be more.” “All right, hush now smartarse-bottum. And listen.” Then I play “Thinking Out Loud.” About halfway through, I glance over at Sarah. She has the most beautiful smile, and I think something to myself that I’ve never thought in all my twenty-five years: this is how it feels to be Ed Sheeran.

You okay, Bobert?” He says pretty much what I expect: “I don’t know how I’m going to pair Ramón. He’ll drown Lisa.” Robert’s pianist, a man named Luther, is pretty wonderful. “Can Luther carry the solos?” “On piano?” I shrug. “Just spitballing here.” He appears to consider it, and then shakes his head. “The songs don’t lend themselves to keys. The strings have a richness, a vibrancy that the piano can’t mimic. It needs to stir something inside you. Luther is amazing, but we need a musician who demands your attention. Who makes you feel.” The idea seems to heat my blood, and I straighten. “Wait. Wait.” Robert looks up, confused. I hold up my hand. “An idea is forming in my brain.” His expression clears in understanding. “No, Buttercup.” “He’s exactly what you’re describing,” I insist. “You’ve never heard him, but trust me—he is.” “He plays guitar. Honey, I know you’re enamored, but—” “It’s not that, I swear. And he’s not just some busker hanging out on the street. He’s gifted, Robert. Listening to him play is like watching Luis onstage. I feel the notes. I know I’m not . . .” I search for words, flushing. Trying to tell Robert how to do his job is dangerous; he may be my uncle, but he’s been a brilliant musician for much longer. “I’m not a trained musician like you are,” I say carefully, “but I feel like classical guitar might work here. It’s gentle, and soft, yes, but has the passion and—the vibrancy you mention? It has that. If we’re changing the sound entirely by bringing in Ramón, why not change it this way, too? Have a guitar sing with Ramón, instead of a violin?” Robert stares at me, speechless. “Just come with me once.” I grow dizzy from the awareness that I might be convincing him. “Once. That’s all it will take. I know it.

The beauty of the principle idea of string theory is that all the known elementary particles are supposed to represent merely different vibration modes of the same basic string. Just as a violin or a guitar string can be plucked to produce different harmonics, different vibrational patterns of a basic string correspond to distinct matter particles, such as electrons and quarks. The same applies to the force carriers as well. Messenger particles such as gluons or the W and Z owe their existence to yet other harmonics. Put simply, all the matter and force particles of the standard model are part of the repertoire that strings can play. Most impressively, however, a particular configuration of vibrating string was found to have properties that match precisely the graviton-the anticipated messenger of the gravitational force. This was the first time that the four basic forces of nature have been housed, if tentatively, under one roof.

In the time of chimpanzees, I was a monkey Butane in my veins and I'm out to cut the junkie With the plastic eyeballs, spray paint the vegetables Dog food stalls with the beefcake pantyhose Kill the headlights and put it in neutral Stock car flamin' with a loser in the cruise control Baby's in Reno with the Vitamin D Got a couple of couches, sleep on the love seat Someone came in sayin' I'm insane to complain About a shotgun wedding and a stain on my shirt Don't believe everything that you breathe You get a parking violation and a maggot on your sleeve So shave your face with some mace in the dark Savin' all your food stamps and burnin' down the trailer park Yo, cut it Soy un perdedor I'm a loser, baby, so why don't you kill me? (Double barrel buckshot) Soy un perdedor I'm a loser baby, so why don't you kill me? Forces of evil on a bozo nightmare Ban all the music with a phony gas chamber 'Cause one's got a weasel and the other's got a flag One's on the pole, shove the other in a bag With the rerun shows and the cocaine nose-job The daytime crap of the folksinger slob He hung himself with a guitar string A slab of turkey neck and it's hangin' from a pigeon wing You can't write if you can't relate Trade the cash for the beef, for the body, for the hate And my time is a piece of wax fallin' on a termite That's chokin' on the splinters Soy un perdedor I'm a loser baby, so why don't you kill me? (Get crazy with the cheese whiz) Soy un perdedor I'm a loser baby, so why don't you kill me? (Drive-by body pierce) Yo, bring it on down I'm a driver, I'm a winner Things are gonna change, I can feel it Soy un perdedor I'm a loser baby, so why don't you kill me? (I can't believe you) Soy un perdedor I'm a loser baby, so why don't you kill me? Soy un perdedor I'm a loser baby, so why don't you kill me? (Sprechen sie Deutsche, baby) Soy un perdedor I'm a loser, baby, so why don't you kill me? (Know what I'm sayin'?)

More Activities to Develop Sensory-Motor Skills Sensory processing is the foundation for fine-motor skills, motor planning, and bilateral coordination. All these skills improve as the child tries the following activities that integrate the sensations. FINE-MOTOR SKILLS Flour Sifting—Spread newspaper on the kitchen floor and provide flour, scoop, and sifter. (A turn handle is easier to manipulate than a squeeze handle, but both develop fine-motor muscles in the hands.) Let the child scoop and sift. Stringing and Lacing—Provide shoelaces, lengths of yarn on plastic needles, or pipe cleaners, and buttons, macaroni, cereal “Os,” beads, spools, paper clips, and jingle bells. Making bracelets and necklaces develops eye-hand coordination, tactile discrimination, and bilateral coordination. Egg Carton Collections—The child may enjoy sorting shells, pinecones, pebbles, nuts, beans, beads, buttons, bottle caps, and other found objects and organizing them in the individual egg compartments. Household Tools—Picking up cereal pieces with tweezers; stretching rubber bands over a box to make a “guitar”; hanging napkins, doll clothes, and paper towels with clothespins; and smashing egg cartons with a mallet are activities that strengthen many skills.

Then I looked up. I didn't notice that your ears stick out, just a little, so you look like a pixie sometimes, or an elf. I didn't notice that the corners of you mouth always seem like they're trying to smile, while the rest of your mouth wants to pout. I didn't notice the little bump on your nose, near the bridge but slightly to the right-the bump I'd trace with my finger over and over, not soon enough. I didn't notice your long hands and rough finger-tips, or the dozens-is it hundreds?-of bracelets on your left wrist, made of busted guitar strings. I noticed your eyes, because they looked wet; maybe it was a trick of the light-the fluorescent and neon lights falling over your face from the bodega next door. But I didn't think about love, and I didn't see right down to your heart. But I must have stared-did I?-because there was your spirit, right there before me, and when you found my eyes I knew I'd pulled that spirit back from someplace amazing, not Greenpoint, not the summer sidewalk in front of Fish's bar, smelling of old alcohol and piss. But it must have been a trick of the light, because when you stood up, you were smiling, and your bright eyes looked alive and right there, with me, on Franklin Avenue in Brooklyn, New York, Earth.

I have just spoken of that morbid condition of the auditory nerve which rendered all music intolerable to the sufferer, with the exception of certain effects of stringed instruments. It was, perhaps, the narrow limits to which he thus confined himself upon the guitar which gave birth, in great measure, to the fantastic character of his performances. But the fervid facility of his impromptus could not be so accounted for. They must have been, and were, in the notes, as well as in the words of his wild fantasies (for he not unfrequently accompanied himself with rhymed verbal improvisations), the result of that intense mental collectedness and concentration to which I have previously alluded as observable only in particular moments of the highest artificial excitement. The words of one of these rhapsodies I have easily remembered. I was, perhaps, the more forcibly impressed with it as he gave it, because, in the under or mystic current of its meaning, I fancied that I perceived, and for the first time, a full consciousness on the part of Usher of the tottering of his lofty reason upon her throne. The verses, which were entitled “The Haunted Palace,” ran very nearly, if not accurately, thus:— I. In the greenest of our valleys, By good angels tenanted, Once a fair and stately palace— Radiant palace—reared its head. In the monarch Thought’s dominion— It stood there! Never seraph spread a pinion Over fabric half so fair. II. Banners yellow, glorious, golden, On its roof did float and flow (This—all this—was in the olden Time long ago); And every gentle air that dallied, In that sweet day, Along the ramparts plumed and pallid, A winged odor went away. III. Wanderers in that happy valley Through two luminous windows saw Spirits moving musically To a lute’s well-timed law; Round about a throne, where sitting (Porphyrogene!) In state his glory well befitting, The ruler of the realm was seen. IV. And all with pearl and ruby glowing Was the fair palace door, Through which came flowing, flowing, flowing And sparkling evermore, A troop of Echoes whose sweet duty Was but to sing, In voices of surpassing beauty, The wit and wisdom of their king. V. But evil things, in robes of sorrow, Assailed the monarch’s high estate; (Ah, let us mourn, for never morrow Shall dawn upon him, desolate!) And, round about his home, the glory That blushed and bloomed Is but a dim-remembered story Of the old time entombed. VI. And travellers now within that valley, Through the red-litten windows see Vast forms that move fantastically To a discordant melody; While, like a rapid ghastly river, Through the pale door; A hideous throng rush out forever, And laugh—but smile no more.

This guy Lobo, whose real and true name was Wolfgang Fink, played better than good flamenco guitar in a place called Mamma Mia in Puerto Vallarta. Had a partner name of Willie Royal, tall gangly guy who was balding a little early and wore glasses and played hot gypsy-jazz violin. They'd worked out a repertoire of their own tunes, "Improvisation #18" and "Gypsy Rock" as examples, played 'em high and hard, rolled through "Amsterdam" and "The Sultan's Dream" with enough power to set you two times free or even beyond that when the day had been tolerable and the night held promise. Lobo, sun worn and hard lined in the face looking over at Willie Royal bobbing and weaving and twisting his face into a mean imitation of a death mask when he really got into it, right wrist looking almost limp but moving his bow at warp speed across the strings, punctuated here and there by Lobo's stabbing ruscados and finger tapping on the guitar top. Good music, wonderful music, tight and wild all at the same time. On those nights when the sweat ran down your back and veneered your face and the gringitas looked good enough to swallow whole - knowing too they looked just that way and them watching the crowd to see who might be man enough to try it - people would be riding on the music, drinking and clapping in flamenco time, dancing around the dinner tables.

One of the fundamental conditions of happiness is to know that everything that one does has a meaning in eternity; but who in these days can still conceive of a civilization within which all vital manifestations would be developed "in the likeness of Heaven"? In a theocentric society the humblest activity participates in this heavenly benediction. The words of a street singer heard by the author in Morocco are worth quoting here. The singer was asked why the little Arab guitar which he used to accompany his chanting of legends had only two strings. He gave this answer: "To add a third string to this instrument would be to take the first step towards heresy. When God created the soul of Adam it did not want to enter into his body, and circled like a bird round about its cage. Then God commanded the angels to play on the two strings that are called the male and the female, and the soul, thinking that the melody resided in the instrument- which is the body- entered it and remained within it. For this reason two strings, which are always called the male and the female, are enough to deliver the soul from the body." This legend holds more meaning than appears at first sight, for it summarizes the whole traditional doctrine of sacred art. The ultimate objective of sacred art is not the evocation of feelings nor the communication of impressions; it is a symbol, and as such it finds simple -and primordial means sufficient; it could not in any case be anything more than allusive, its real object being ineffable. It is of angelic origin, because its models reflect supra-formal realities. It recapitulates the creation- the "Divine Art"- in parables, thus demonstrating the symbolical nature of the world, and delivering the human spirit from its attachment to crude and ephemeral "facts

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.

Atbilde nebija tālu. Tai bija viduklis, izteiksmīgi gurni un g-string. Un vēl piecas citas. Ģitāra.

The only way a djinni can advance in rank and increase in power is to obtain more knowledge. For example, djinn can manipulate the matter in the universe by changing the vibration of strings. This action is much like playing a guitar: the more chords a person knows, the wider the repetoire. Individual string vibrations determine the type of particles and matter formed, and djinn are able to change the "notes" of the strings, thus changing one form of matter into another.

By the 1860s more and more banjo makers followed in Ashborn's footsteps, for, as we shall see, most often inventive banjo design, that which might indeed lead to true innovation, originated with those makers who wholeheartedly embraced the possibilities of mechanized production. Most violin makers, for example, as well as guitar makers such as Martin, continued to build instruments by traditional methods, patiently training apprentices in the various steps necessary to produce an entire instrument by themselves. But by the 1860s the banjo had become anything but traditional, with a score of patents filed in which its design was changed, often quite radically, as various banjo makers capitalized on the nation's growing infatuation with the instrument. Its basic form - a five-string neck and a circular sounding chamber - established, the banjo began to appear in a bewildering number of variations as makers sought to adapt the instrument to the new kinds of music people wished to play on it. In 1840 the banjo had been a symbol of the American South in general and the slave plantation in particular. But after its initial popularization on the minstrel stage led to its wholesale embrace by Victorian America, it came to represent the aspirations of a burgeoning mechanic class who brought to its design and manufacture the same invention through which they had transformed other areas of American industry. It truly was becoming America's instrument.

The multiple choices and possibilities of daily life are the music we dance to. They are like strings on a guitar. Strum them and you make a pleasing sound. A harmonic.

Vibrating strings of a guitar is like putting millions of heart to skip a beat at a time.

Basically, Sam Phillips recorded Bill Haley, Johnny Cash, and all those other Memphis guys; Chuck Berry played the top two strings; Elvis appeared on The Ed Sullivan Show above the waist; the Beatles made all the girls squirm by singing about wanting to hold their “hands”; Ray Davies got lost in a sunset; Pete Townshend smashed his guitar; Brian Wilson heard magic in his head and made it come out of a studio; the Rolling Stones urinated on a garage door; and then (skipping a bit) you’ve got Joey Levine and Chapman-Chinn and Mott the Hoople and Iggy and the Runaways and KISS and the Pink Fairies and Rick Nielsen and Jonathan Richman and Johnny Ramone and Lemmy and the Young brothers and Cook and Jones and Pete Shelley and Feargal Sharkey and Rob Halford … and Foghat. You get what I’m saying. It didn’t happen in a vacuum, but it did happen, and now here we are in the aftermath.

Late in 1967, still struggling to write a keeper song, Allman found himself sitting in a room in Pensacola’s Evergreen Motel, holding Duane’s guitar, which was tuned to open E. “I picked up the guitar and didn’t know it was natural-tuned,” Allman recalls. “I just started strumming it and hit these beautiful chords. It was just open strings, then an E shape first fret, then moved to the second fret. This is a great example of the way different tunings can open up different roads to you as a songwriter.

I stood knee deep in the cold water, eyes closed, and listened to the end of the day over the river. Then I opened my eyes and pulled the line and began making long casts upstream just off the bank. The new rod was light and alive in my hand, it was beautiful, and the line sang out fast and smooth with a whisper like scratching a guitar string. I didn't mind the sound at all.

Logan is quiet. A little too quiet. He’s strung tighter than my guitar strings. “You okay?” I ask. I sign while I talk. Trip smacks himself in the forehead with his open palm. “Oh my God,” he cries. “I completely forgot about your impairment!” He says the next few words, punctuating each one with a pause. “Do. You. Need. For. Us. To. Talk. Slowly?” “I can keep up,” Logan says. “But thank you for the offer.” “Just. Let. Us. Know. If. We. Need. To. Talk. Slower.” Trip smiles, and I want to punch him in the face. Logan lifts his head, a smile I know he doesn’t feel tilting the corners of his lips. “Thanks.