Television Band Quotes

Boy bands, fan fiction, soap operas, reality TV, most shows and movies with female main characters . . . We’re still so rarely front and center, even rarer when you consider race and sexuality, and then when we do get something that’s just for us, we’re made to feel bad for liking it. We can’t win.

The tragedy of Tupac is that his untimely passing is representative of too many young black men in this country....If we had lost Oprah Winfrey at 25, we would have lost a relatively unknown, local market TV anchorwoman. If we had lost Malcolm X at 25, we would have lost a hustler named Detroit Red. And if I had left the world at 25, we would have lost a big-band trumpet player and aspiring composer--just a sliver of my eventual life potential.

One of the most unattractive human traits, and so easy to fall into, is resentment at the sudden shared popularity of a previously private pleasure. Which of us hasn't been annoyed when a band, writer, artist or television series that had been a minority interest of ours has suddenly achieved mainstream popularity? When it was at a cult level we moaned at the philistinism of a world that didn't appreciate it, and now that they do appreciate it we're all resentful and dog-in-the-manger about it.

Emma hears me come up the stairs and asks me to watch a movie with her. I stick Band-Aids on my weeping cuts, put on pink pajamas so we match, and snuggle with her under her rainbow comforter. She arranges all of her stuffed animals around us in a circle, everyone facing the TV, then presses play...Ghosts dare not enter here.

I worry about exposing him to bands like Journey, the appreciation of which will surely bring him nothing but the opprobrium of his peers. Though he has often been resistant - children so seldom know what is good for them - I have taught him to appreciate all the groundbreaking musicmakers of our time - Big Country, Haircut 100, Loverboy - and he is lucky for it. His brain is my laboratory, my depository. Into it I can stuff the books I choose, the television shows, the movies, my opinion about elected officials, historical events, neighbors, passersby. He is my twenty-four-hour classroom, my captive audience, forced to ingest everything I deem worthwhile. He is a lucky, lucky boy! And no one can stop me.

Chris Cornell: I think Pearl Jam was the band that set the perfect example. Their big video, "Jeremy," propelled them into becoming TV stars and one of the biggest rock bands on the planet, so they stopped making videos, which was proof positive that that wasn't where they wanted to be. And that made a lot of sense to me. Nirvana doing an Unplugged at the same time that they did it and making a video for "Heart-Shaped Box," that didn't make a lot of sense to me, because it seemed clear to me that Kurt was pretty disillusioned by the situation that he was being put in. It felt like, If he's so unhappy, he shouldn't be doing this kind of stuff.

most cherished desires of present-day Westerners are shaped by romantic, nationalist, capitalist and humanist myths that have been around for centuries. Friends giving advice often tell each other, ‘Follow your heart.’ But the heart is a double agent that usually takes its instructions from the dominant myths of the day, and the very recommendation to ‘follow your heart’ was implanted in our minds by a combination of nineteenth-century Romantic myths and twentieth-century consumerist myths. The Coca-Cola Company, for example, has marketed Diet Coke around the world under the slogan ‘Diet Coke. Do what feels good.’ Even what people take to be their most personal desires are usually programmed by the imagined order. Let’s consider, for example, the popular desire to take a holiday abroad. There is nothing natural or obvious about this. A chimpanzee alpha male would never think of using his power in order to go on holiday into the territory of a neighbouring chimpanzee band. The elite of ancient Egypt spent their fortunes building pyramids and having their corpses mummified, but none of them thought of going shopping in Babylon or taking a skiing holiday in Phoenicia. People today spend a great deal of money on holidays abroad because they are true believers in the myths of romantic consumerism. Romanticism tells us that in order to make the most of our human potential we must have as many different experiences as we can. We must open ourselves to a wide spectrum of emotions; we must sample various kinds of relationships; we must try different cuisines; we must learn to appreciate different styles of music. One of the best ways to do all that is to break free from our daily routine, leave behind our familiar setting, and go travelling in distant lands, where we can ‘experience’ the culture, the smells, the tastes and the norms of other people. We hear again and again the romantic myths about ‘how a new experience opened my eyes and changed my life’. Consumerism tells us that in order to be happy we must consume as many products and services as possible. If we feel that something is missing or not quite right, then we probably need to buy a product (a car, new clothes, organic food) or a service (housekeeping, relationship therapy, yoga classes). Every television commercial is another little legend about how consuming some product or service will make life better. 18. The Great Pyramid of Giza. The kind of thing rich people in ancient Egypt did with their money. Romanticism, which encourages variety, meshes perfectly with consumerism. Their marriage has given birth to the infinite ‘market of experiences’, on which the modern tourism industry is founded. The tourism industry does not sell flight tickets and hotel bedrooms. It sells experiences. Paris is not a city, nor India a country – they are both experiences, the consumption of which is supposed to widen our horizons, fulfil our human potential, and make us happier. Consequently, when the relationship between a millionaire and his wife is going through a rocky patch, he takes her on an expensive trip to Paris. The trip is not a reflection of some independent desire, but rather of an ardent belief in the myths of romantic consumerism. A wealthy man in ancient Egypt would never have dreamed of solving a relationship crisis by taking his wife on holiday to Babylon. Instead, he might have built for her the sumptuous tomb she had always wanted. Like the elite of ancient Egypt, most people in most cultures dedicate their lives to building pyramids. Only the names, shapes and sizes of these pyramids change from one culture to the other. They may take the form, for example, of a suburban cottage with a swimming pool and an evergreen lawn, or a gleaming penthouse with an enviable view. Few question the myths that cause us to desire the pyramid in the first place.

One thing you'll learn when you're in the business of selling utter shite to the Great British Public is that there's really no bottom to where they'll go. Shit food, shit TV, shit bands, shit films, shit houses. There is absolutely no fucking bottom with this stuff. The shittier you can make it - a bad photocopy of a bad photocopy of what was a shit idea in the first place - the more they'll eat it up with a big fucking spoon, from dawn till dusk, from now until the end of time. It's too good.

Remember, Thursday, that scientific thought -- indeed, any mode of thought, whether it be religious or philosophical or anything else -- is just like the fashions that we wear -- only much longer lived. It's a little like a boy band." "Scientific thought a boy band? How do you figure that?" "Well, every now and then a boy band comes along. We like it, buy the records, posters, parade them on TV, idolise them right up until --" ... "-- the next boy band?" I suggested. "Precisely. Aristotle was a boy band. A very good one but only number six or seven. He was the best boy band until Isaac Newton, but even Newton was transplanted by an even newer boy band. Same haircuts -- but different moves." "Einstein, right?" "Right. Do you see what I'm saying?" "I think so." "Good. So try and think of maybe thirty or forty boy bands past Einstein. To where we would regard Einstein as someone who glimpsed a truth, played one good chord on seven forgettable albums." "Where is this going, Dad?" "I'm nearly there. Imagine a boy band so good that you never needed another boy band ever again. Can you imagine that?

Tech-savvy types had figured out how to get around the system. With radios it was easy—open up the set, cut the conveyor belt attached to the dial, and replace it with a rubber band that could turn the dial wherever you liked. Television required a little more expertise.

An essential difference between British and American punk bands can be found in their respective views of rock & roll history. The British bands took a deliberately anti-intellectual stance, refuting any awareness of, or influence from, previous exponents of the form. The New York and Cleveland bands saw themselves as self-consciously drawing on and extending an existing tradition in American rock & roll. (...) A second difference between the British and American punk scenes was their relative gestation periods. The British weekly music press was reviewing Sex Pistols shows less than three months after their cacophonous debut. Within a year of the Pistols' first performance they had a record deal, with the 'major' label EMI. Within six months of their first gigs the Damned and the Clash also secured contracts, the latter with CBS. The CBGBs scene went largely ignored by the American music industry until 1976 -- two years after the debuts of Television, the Ramones and Blondie. Even then only Television signed to an established label.

It's all there, it's all waiting. Of course it can be done; it depends upon ourselves. You say: "But again, we're scattered individuals. Everything's against us. Governments, money, press, television - all the new forces are used against us." All the great forces, all the material powers of the world, you say, are against you. And so they are - you're quite right to feel that. And I don't underrate them, but I don't despair and you shouldn't despair. Because you, like I, have read something of history. You know something of the record of the achievement of Europeans. And dark as this hour is, it's no darker, it's not as dark as some of the hours you've known in European history. When everything was cowardice, treachery, and betrayal. And when the Saracen hordes from far outside Europe swept right across that continent, and would've come on over our own Britain too, if they hadn't been stopped. And it didn't only happen once, it's happened more than once. Small bands of men in resolution, in absolute determination, giving themselves completely and saying "Europe shall live!" And they stood firm and faced the menace to Europe: its values, its civilizations, the glory of its achievement - all those things in mortal danger. And they stood firm, they faced it, they came together, and more and more ran it to their standards, and those hordes were thrown back. Again and again and again, our Europe lived in triumph because the will of Europe still endured! We've got other forces against us - not those particular forces, but the power of money, the power of press. All those things are against us. And how can you stop it? My friends, by an act of will, an act of the European will. My friends, today, just as much as in the past, we can meet the dark forces which in another way threaten our European life with eternal night. We can rally those forces, and in the end, we can prevail and we can triumph!

Like boy bands, these shows are for teen girls, and therefore they’ll always have to fight to be taken seriously, even if they come up with something as transcendent as “I Want It That Way.

2001’s production notes contain a number of startlingly prescient glimpses of the world we live in today. As of mid-1965, approximately the same time that the US Department of Defense was conceiving of the internet’s direct predecessor, ARPANET (Advanced Research Projects Agency Network), Kubrick’s intrepid band of futurists had seemingly already visualized important aspects of the new technology’s implications. One document sent from Tony Masters to Roger Caras on June 29 listed matter-of-factly—under a letterhead replete with the roaring MGM lion—nine props that he asked Caras to help him with. Number one was “2001 newspaper to be read on some kind of television screen. Should be designed television screen shape; i.e., wider than it is high.

The unchurched kids laughed at the Bible studies based on television shows or songs of the moment. They weren't impressed at all by the video clips provided by the denomination's publisher, or by the knock-off Christian boy bands crooning about the hotness of sexual purity. What riveted their attention wasn't what was relatable to them but what wasn't.

In his book The Economy of Prestige, author and professor James English suggests that awards serve a dual, seemingly contradictory role in society: first, they exist in order to bestow a marker of quality on items (such as films, music, and TV shows) that don’t have any intrinsic value. But awards also create a forum where the value of what awards represent—the commodification of art—can be debated.

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

Let me first establish—on your behalf—feelings of animosity and disgust at the mendacity inherent in this concept of "cartoon." Whenever someone hits you with a conversational shot that is crude or is intended to hurt, and you bristle, the shooter quickly throws up his/her hands and tries to get you to believe, "I was only kidding. It was all in fun. Boy, are you overreacting. You musn't take it seriously, it was just a joke." Well, we know it wasn't any such thing. It was a snippet of truth slipping past the cultural safeguards that keep us dealing with one another with civility. It was for real. Similarly, when such films as Streets of Fire and Gremlins and Temple of Doom are made, we are expected to take them seriously enough to plonk down five bucks for a ticket. When they fail to deliver what they've promised in all those tv clips, and we express our anger at having been fleeced, the shooters tell us we're overreacting and we should feel a lot better about losing our five or ten or whatever amount they got out of us, because it was all a gag. I wonder how well they'd take the gag if we paid for the tickets with counterfeit bills. Or pried open the firedoor at the theater and sneaked in with the entire Duke University Marching Band. "It was all a joke, fellahs; don't take it so seriously; gawd, are you overreacting!" No, they cannot have that cake and eat it, too.

This book is dedicated to everyone who has ever loved a story so much they could quote it. There's nothing in the world quite like being part of a fandom. Never let anyone shame you for it. Read those books. Watch those movies. Binge those TV shows. Love those characters. Admire those celebrities. Write that fan-fiction. Draw that fan art. Go to those conventions. Sing that (on-hiatus, totally-not-broken-up) boy band at the top or your lungs. Do what makes you happy.

Mijn broer bezit geen platen die in de top dertig staan. Dat intrigeert me. De top dertig, dat is voor de popmuziek toch wat het klassement van de Tour is voor het wielrennen? Maar voor mijn broer lijkt het een erezaak te zijn om vooral niet bovenaan te eindigen. Waar is zijn klassement dan op gebaseerd? Mijn broer luistert naar artiesten met rare namen. Julian Cope. Talking Heads. Television. Elvis Costello, Wat voor namen zijn dat? Television! Een band die zichzelf televisie noemt. Kansloze missie.

One problem is that here in the Twin Cities it’s hard to find that many freaks—at least, any who care to come on TV and talk about it,” said Fielding. “We don’t have a reliable supply of cross-dressers, hermaphrodites, eunuchs, or geeks. We have plenty of alcoholics, but how interesting are they? They don’t remember anything. This is Minnesota, we’re a journalistically challenged state. I mean, when was the last time a band of Lutherans holed up in a compound with automatic weapons? We don’t have that here.

The last year had been a series of wrong turns, bad choices, abandoned projects. There was the all-girl band in which she had played bass, variously called Throat, Slaughterhouse Six and Bad Biscuit, which had been unable to decide on a name, let alone a musical direction. There was the alternative club night that no-one had gone to, the abandoned first novel, the abandoned second novel, several miserable summer jobs selling cashmere and tartan to tourists. At her very, very lowest ebb she had taken a course in Circus Skills until it transpired that she had none. Trapeze was not the solution. The much-advertised Second Summer of Love had been one of melancholy and lost momentum. Even her beloved Edinburgh had started to bore and depress her. Living in a her University town felt like staying on at a party that everyone else had left, and so in October she had given up the flat in Rankellior Street and moved back to her parents for a long, fraught, wet winter of recriminations and slammed doors and afternoon TV in a house that now seemed impossibly small.

I woke a few moments ago from a fever and a host of interlocking fever dreams, one after the next. There was one where I was in London, walking through old abandoned formerly beautiful buildings, all of them about to be demolished. Sometimes I'd find myself walking past the enormous line of people waiting to attend the television memorial for a dead author friend of mine, but his memorial was a television spectacular with comedians and big band music. There was the one where I had accidentally connected my bank card to a portable printer and the little printer kept printing cash but on the wrong paper and at the wrong size, so my money had huge, incredibly detailed faces on it, works of art that could not be spent. Then I woke from one dream into another: I was asleep in the passenger seat of the car, and saw that we were driving through a densely populated town, and that the driver was also asleep. I tried hard to wake her up and failed, and knew that no one was in control, no one was at the wheel, and soon someone was going to be killed, and I was shouting and calling without effect; but I whimpered and snuffled enough in the real world that my wife stroked my face and said, "Honey? You're having a nightmare," and, finally, I woke for real. But I woke into a world in which, somewhere, I am still being driven through my life by a sleeping driver, in which money is only good as art, in which we can write the finest books but at the end the crowds will come out and say good-bye for the entertainment, in which the buildings and cities we inhabit will relentlessly be destroyed by progress and time: a world colored by dreams and illuminated by them, too.

Now, as all of you will have had reason aplenty to discover for yourselves, there are new gods growing in America, clinging to growing knots of belief: gods of credit-card and freeway, of internet and telephone, of radio and hospital and television, gods of plastic and of beeper and of neon. Proud gods, fat and foolish creatures, puffed up with their own newness and importance. “They are aware of us, and they fear us, and they hate us,” said Odin. “You are fooling yourselves if you believe otherwise. They will destroy us, if they can. It is time for us to band together. It is time for us to act.

Amsterdam, I dreamed about my mother for the first time in years. I’d been shut up in my hotel for more than a week, afraid to telephone anybody or go out; and my heart scrambled and floundered at even the most innocent noises: elevator bell, rattle of the minibar cart, even church clocks tolling the hour, de Westertoren, Krijtberg, a dark edge to the clangor, an inwrought fairy-tale sense of doom. By day I sat on the foot of the bed straining to puzzle out the Dutch-language news on television (which was hopeless, since I knew not a word of Dutch) and when I gave up, I sat by the window staring out at the canal with my camel’s-hair coat thrown over my clothes—for I’d left New York in a hurry and the things I’d brought weren’t warm enough, even indoors. Outside, all was activity and cheer. It was Christmas, lights twinkling on the canal bridges at night; red-cheeked dames en heren, scarves flying in the icy wind, clattered down the cobblestones with Christmas trees lashed to the backs of their bicycles. In the afternoons, an amateur band played Christmas carols that hung tinny and fragile in the winter air. Chaotic room-service trays; too many cigarettes; lukewarm vodka from duty free. During those restless, shut-up days, I got to know every inch of the room as a prisoner comes to know his cell. It was my first time in Amsterdam; I’d seen almost nothing

Distractions. . . . that's what makes up a big part of our lives, y'know? The distractions. Lots of times, we're like moths fluttering around a porch light. Bugs'll swarm around that bult, all distracted, forgetting in their minuscule insect brains that there's something else they should be doing, like biting people or making more bugs. We're like that, although our brains are generally larger. . . Human distractions are bigger, better lightbulbs. We got TVs and computers. We got blinking casino lights and live bands on cruise ships playing yet another version of 'Hot, Hot, Hot' until you wanna puke, but in the end, they're all just porch light. So we go from one bright bulb to another until we hit the bug zapper, and it's all over.

In the elaborate con that is American electoral politics, the Republican voter has long been the easiest mark in the game, the biggest dope in the room. Everyone inside the Beltway knows this. The Republican voters themselves are the only ones who never saw it. Elections are about a lot of things, but at the highest level, they’re about money. The people who sponsor election campaigns, who pay the hundreds of millions of dollars to fund the candidates’ charter jets and TV ads and 25-piece marching bands, those people have concrete needs. They want tax breaks, federal contracts, regulatory relief, cheap financing, free security for shipping lanes, antitrust waivers and dozens of other things. They mostly don’t care about abortion or gay marriage or school vouchers or any of the social issues the rest of us spend our time arguing about. It’s about money for them, and as far as that goes, the CEO class has had a brilliantly winning electoral strategy for a generation. They donate heavily to both parties, essentially hiring two different sets of politicians to market their needs to the population. The Republicans give them everything that they want, while the Democrats only give them mostly everything. They get everything from the Republicans because you don’t have to make a single concession to a Republican voter. All you have to do to secure a Republican vote is show lots of pictures of gay people kissing or black kids with their pants pulled down or Mexican babies at an emergency room. Then you push forward some dingbat like Michele Bachmann or Sarah Palin to reassure everyone that the Republican Party knows who the real Americans are. Call it the “Rove 1-2.” That’s literally all it’s taken to secure decades of Republican votes, a few patriotic words and a little over-the-pants rubbing. Policywise, a typical Republican voter never even asks a politician to go to second base. While we always got free trade agreements and wars and bailouts and mass deregulation of industry and lots of other stuff the donors definitely wanted, we didn’t get Roe v. Wade overturned or prayer in schools or balanced budgets or censorship of movies and video games or any of a dozen other things Republican voters said they wanted.

As part of the deal, Dylan appeared in a television ad for the iPod, featuring his new album, Modern Times. This was one of the most astonishing cases of flipping the script since Tom Sawyer persuaded his friends to whitewash the fence. In the past, getting celebrities to do an ad required paying them a lot of money. But by 2006 the tables were turned. Major artists wanted to appear in iPod ads; the exposure would guarantee success. James Vincent had predicted this a few years earlier, when Jobs had said he had contacts with many musicians and could pay them to appear in ads. "No, things are going to soon change,' Vincent replied. "Apple is a different kind of brand, and it's cooler than the brand of most artists. We should talk about the opportunity we offer the bands, not pay them.

Pretty much everyone we went to college with has a Hazel Bradford story. Of course, my old roommate Mike has many—mostly of the wild sexual variety—but others have ones more similar to mine: Hazel Bradford doing a mud run half marathon and coming to her night lab before showering because she didn’t want to be late. Hazel Bradford getting more than a thousand signatures of support to enter a local hot dog eating contest/fund-raiser before remembering, onstage and while televised, that she was trying to be a vegetarian. Hazel Bradford holding a yard sale of her ex-boyfriend’s clothes while he was still asleep at the party where she found him naked with someone else (incidentally, another guy from his terrible garage band). And—my personal favorite—Hazel Bradford giving an oral presentation on the anatomy and function of the penis in Human Anatomy.

They started calling people my grandfather’s age “generation ink”. He represents the era when extensive tattoos tipped into the mainstream. Now the old men and women sit together in the lounge room of my grandfather’s nursing home, watching daytime television. They don’t watch sport. Tattoos from their wrist to shoulders and across their chest, snake beneath their woolen cardigans and cotton shirts. Withered souls eternally painted in often incomprehensible scrawling. Faded colours. But that’s not to say that they regret getting inked. Far from it. It’s a part of who they are. As real and as precious as the blank skin they were born with. Their tastes in music haven’t mellowed either. They slowly approach the sound-system, leaning on their walking frame, and skip to songs by Pantera and Sepultura. Or Metallica, Slayer and Iron Maiden. My grandfather enjoyed punk and post-rock bands like Millencolin, Thursday, Coheed and Cambria or At The Drive-In.

If anything, it was hotter in the house. Crazy July heat. It got in your head. The kitchen was full of dirty dishes. Flies buzzed around a green plastic Hefty bag filled with Beefaroni and tuna-fish cans. The living room was dominated by a big old Zenith black-and-white TV he had rescued from the Naples dump. A big spayed brindle cat, name of Bernie Carbo, slept on top of it like a dead thing. The bedroom was where he worked on his writing. The bed itself was a rollaway, not made, the sheets stiff with come. No matter how much he was getting (and over the last two weeks that had been zero), he masturbated a great deal. Masturbation, he believed, was a sign of creativity. Across from the bed was his desk. A big old-fashioned Underwood sat on top of it. Manuscripts were stacked to both sides. More manuscripts, some in boxes, some secured with rubber bands, were piled up in one corner. He wrote a lot and he moved around a lot and his main luggage was his work--mostly poems, a few stories, a surreal play in which the characters spoke a grand total of nine words, and a novel he had attacked badly from six different angles. It had been five years since he had lived in one place long enough to get completely unpacked.

It's all there, it's all waiting. Of course it can be done; it depends upon ourselves. You say: "But again, we're scattered individuals. Everything's against us. Governments, money, press, television - all the new forces are used against us." All the great forces, all the material powers of the world, you say, are against you. And so they are - you're quite right to feel that. And I don't underrate them, but I don't despair and you shouldn't despair. Because you, like I, have read something of history. You know something of the record of the achievement of Europeans. And dark as this hour is, it's no darker, it's not as dark as some of the hours you've known in European history. When everything was cowardice, treachery, and betrayal. And when the Saracen hordes from far outside Europe swept right across that continent, and would've come on over our own Britain too, if they hadn't been stopped. And it didn't only happen once, it's happened more than once. Small bands of men in resolution, in absolute determination, giving themselves completely and saying "Europe shall live!" And they stood firm and faced the menace to Europe: its values, its civilizations, the glory of its achievement - all those things in mortal danger. And they stood firm, they faced it, they came together, and more and more ran it to their standards, and those hordes were thrown back. Again and again and again, our Europe lived in triumph because the will of Europe still endured! We've got other forces against us - not those particular forces, but the power of money, the power of press. All those things are against us. And how can you stop it? My friends, by an act of will, an act of the European will. My friends, today, just as much as in the past, we can meet the dark forces which in another way threaten our European life with eternal night. We can rally those forces, and in the end, we can prevail and we can triumph!

Business leadership is based on two elements: vision and technical competence. Top people in a given industry always embody at least one of those two elements. Sometimes, but rarely, they embody both of them. Simply put, vision is the ability to see what other people don’t. It’s a Ford executive named Lee Iacocca realizing that a market existed for an automobile that was both a racing car and a street vehicle—and coming up with the Mustang. It’s Steven Jobs realizing that computers needed to be sold in a single box, like a television sets, instead of piece by piece. About one hundred years ago, Walter Chrysler was a plant manager for a locomotive company. Then he decided to go into the car business, which was a hot new industry at the time. The trouble was, Walter Chrysler didn’t know a lot about cars, except that they were beginning to outnumber horses on the public roadways. To remedy this problem, Chrysler bought one of the Model T Fords that were becoming so popular. To learn how it worked, he took it apart and put it back together. Then, just to be sure he understood everything, he repeated this. Then, to be absolutely certain he knew what made a car work, he took it apart and put it together forty-eight more times, for a grand total of fifty. By the time he was finished, Chrysler not only had a vision of thousands of cars on American highways, he also had the mechanical details of those cars engraved in his consciousness. Perhaps you’ve seen the play called The Music Man. It’s about a fast-talking man who arrives in a small town with the intention of hugely upgrading a marching band. However, he can’t play any instruments, doesn’t know how to lead a band, and doesn’t really have any musical skills whatsoever. The Music Man is a comedy, but it’s not totally unrealistic. Some managers in the computer industry don’t know how to format a document. Some automobile executives could not change a tire. There was once even a vice president who couldn’t spell potato. It’s not a good idea to lack the fundamental technical skills of your industry, and it’s really not a good idea to get caught lacking them. So let’s see what you can do to avoid those problems.

Give us an idea of…” Noya Baram rubs her temples. “Oh, well.” Augie begins to stroll around again. “The examples are limitless. Small examples: elevators stop working. Grocery-store scanners. Train and bus passes. Televisions. Phones. Radios. Traffic lights. Credit-card scanners. Home alarm systems. Laptop computers will lose all their software, all files, everything erased. Your computer will be nothing but a keyboard and a blank screen. “Electricity would be severely compromised. Which means refrigerators. In some cases, heat. Water—well, we have already seen the effect on water-purification plants. Clean water in America will quickly become a scarcity. “That means health problems on a massive scale. Who will care for the sick? Hospitals? Will they have the necessary resources to treat you? Surgical operations these days are highly computerized. And they will not have access to any of your prior medical records online. “For that matter, will they treat you at all? Do you have health insurance? Says who? A card in your pocket? They won’t be able to look you up and confirm it. Nor will they be able to seek reimbursement from the insurer. And even if they could get in contact with the insurance company, the insurance company won’t know whether you’re its customer. Does it have handwritten lists of its policyholders? No. It’s all on computers. Computers that have been erased. Will the hospitals work for free? “No websites, of course. No e-commerce. Conveyor belts. Sophisticated machinery inside manufacturing plants. Payroll records. “Planes will be grounded. Even trains may not operate in most places. Cars, at least any built since, oh, 2010 or so, will be affected. “Legal records. Welfare records. Law enforcement databases. The ability of local police to identify criminals, to coordinate with other states and the federal government through databases—no more. “Bank records. You think you have ten thousand dollars in your savings account? Fifty thousand dollars in a retirement account? You think you have a pension that allows you to receive a fixed payment every month?” He shakes his head. “Not if computer files and their backups are erased. Do banks have a large wad of cash, wrapped in a rubber band with your name on it, sitting in a vault somewhere? Of course not. It’s all data.” “Mother of God,” says Chancellor Richter, wiping his face with a handkerchief.

Jon Stewart: [at anchor desk] The media, of course, must walk a fine line covering this story. With more we turn to Steve Carell in the Daily Show news center. Steve? Steve Carell: [standing in front of a bank of TV monitors] Jon, this is in many ways an unprecedented situation for us. [A blue band with white letters—the “crawl,” or “chyron” in TV lingo—scrolls across the screen, at Carell’s waist level] Crawl: MAJORITY LEADER DASCHLE RECEIVES LETTER CONTAINING ANTHRAX. Steve Carell: On the one hand, we must alert the country to the latest events. Crawl: AL QAEDA VOWS NEW ATTACKS. Steve Carell: And on the other hand, we musn’t cause undue alarm. Crawl: FBI WARNS SOMETHING BAD TO HAPPEN SOMEWHERE SOMETIME. Steve Carell: Scaremongering isn’t the way to go. Crawl: WHITE POWDER FOUND ON DONUT IN ST. LOUIS. Steve Carell: So far the media has in fact shown restraint. Crawl: STORMS BATTER NEW ENGLAND—LINK TO TERRORISM STILL UNDETERMINED. Steve Carell: And I must stress this—there is absolutely no need to panic. Crawl: [picking up speed as it moves left to right] CIA: THAT GUY SITTING ACROSS FROM YOU ON THE BUS LOOKS A LITTLE SHIFTY. Steve Carell: Patience, diligence, and above all, responsibility. Crawl: A FRIEND OF THIS GUY I KNOW CONFIRMS HIS GIRLFRIEND TOLD HIM “THEY’RE PLANNING SOMETHING IN A MALL OR SOMETHING.” Steve Carell: Jon, we have a job to do here, but we also need perspective. Crawl: [accelerating] OH, F—! WHAT WAS THAT SOUND? SERIOUSLY, DID YOU HEAR A SOUND? Steve Carell: And in keeping that perspective— Crawl: “THE HORROR, THE HORROR”—KURTZ. POLL: 91% OF AMERICANS “WANT MOMMY.” Steve Carell: Okay, that was—no, no, no, that was unacceptable. Jon, would you excuse me for a minute? [walks out of frame] Crawl: CHICKEN LITTLE: “THE SKY IS FALLING! THE SKY IS FALLING!” OH GOD, OH GOD. [Carell confronts technician typing the crawl, beats him up as screen goes snowy] Jon Stewart: We’re having some technical difficulties with the crawl. Ah, Steve Carell is back! Steve Carell: Sorry about that, Jon. As I was saying, we journalists have to make sure that our worst instincts are curbed in the sake of national interest. Crawl: EVERYTHING IS GOING TO BE JUST WONDERFUL WITH LOLLIPOPS AND RAINBOWS AND HAPPY FEELINGS FOR EVERYONE. Steve Carell: It’s a unique challenge, but one I think the greatest free press in the world can easily attain. Crawl: BUNNIES ARE CUTE, CUDDLY, AND COMFORTING. Steve Carell: Jon?

Almost a decade ago, I was browsing in a Barnes & Noble when I came across a book called Route 666: On the Road to Nirvana. It was a music book about a band I liked, so I started paging through it immediately. What I remember are two sentences on the fourth page which discussed how awesome it was that 'Smells Like Teen Spirit' was on the radio, and how this was almost akin to America electing a new president: 'It's not that everything will change at once,' wrote the author, 'it's that at least the people have voted for better principles. Nirvana's being on the radio means my own values are winning: I'm no longer in the opposition.' I have never forgotten those two sentences, and there are two reasons why this memory has stuck with me. The first reason is that this was just about the craziest, scariest idea I'd ever stumbled across. The second reason, however, is way worse; what I have slowly come to realize is that most people think this way all the time. They don't merely want to hold their values; they want their values to win. And I suspect this is why people so often feel 'betrayed' by art and consumerism, and by the way the world works. I'm sure the author of Route 666 felt completely 'betrayed' when Limp Bizkit and Matchbox 20 became superfamous five years after Cobain's death and she was forced to return to 'the opposition' ...If you feel betrayed by culture, it's not because you're right and the universe is fucked; it's only because you're not like most other people. But this should make you happy, because—in all likelihood—you hate those other people, anyway. You are being betrayed by a culture that has no relationship to who you are or how you live... Do you want to be happy? I suspect that you do. Well, here’s the first step to happiness: Don’t get pissed off that people who aren’t you happen to think Paris Hilton is interesting and deserves to be on TV every other day; the fame surrounding Paris Hilton is not a reflection on your life (unless you want it to be). Don’t get pissed off because the Yeah Yeah Yeahs aren’t on the radio enough; you can buy the goddamn record and play “Maps” all goddamn day (if that’s what you want). Don’t get pissed off because people didn’t vote the way you voted. You knew that the country was polarized, and you knew that half of America is more upset by gay people getting married than it is about starting a war under false pretenses. You always knew that many Americans worry more about God than they worry about the economy, and you always knew those same Americans assume you’re insane for feeling otherwise (just as you find them insane for supporting a theocracy). You knew this was a democracy when you agreed to participate, so you knew this was how things might work out. So don’t get pissed off over the fact that the way you feel about culture isn’t some kind of universal consensus. Because if you do, you will end up feeling betrayed. And it will be your own fault. You will feel bad, and you will deserve it. Now it’s quite possible you disagree with me on this issue. And if you do, I know what your argument is: you’re thinking, But I’m idealistic. This is what people who want to inflict their values on other people always think; they think that there is some kind of romantic, respectable aura that insulates the inflexible, and that their disappointment with culture latently proves that they’re tragically trapped by their own intellect and good taste. Somehow, they think their sense of betrayal gives them integrity. It does not. If you really have integrity—if you truly live by your ideals, and those ideals dictate how you engage with the world at large—you will never feel betrayed by culture. You will simply enjoy culture more.

Just about every kid in America wished they could be Kyle Keeley. Especially when he zoomed across their TV screens as a flaming squirrel in a holiday commercial for Squirrel Squad Six, the hysterically crazy new Lemoncello video game. Kyle’s friends Akimi Hughes and Sierra Russell were also in that commercial. They thumbed controllers and tried to blast Kyle out of the sky. He dodged every rubber band, coconut custard pie, mud clod, and wadded-up sock ball they flung his way. It was awesome. In the commercial for Mr. Lemoncello’s See Ya, Wouldn’t Want to Be Ya board game, Kyle starred as the yellow pawn. His head became the bubble tip at the top of the playing piece. Kyle’s buddy Miguel Fernandez was the green pawn. Kyle and Miguel slid around the life-size game like hockey pucks. When Miguel landed on the same square as Kyle, that meant Kyle’s pawn had to be bumped back to the starting line. “See ya!” shouted Miguel. “Wouldn’t want to be ya!” Kyle was yanked up off the ground by a hidden cable and hurled backward, soaring above the board. It was also awesome. But Kyle’s absolute favorite starring role was in the commercial for Mr. Lemoncello’s You Seriously Can’t Say That game, where the object was to get your teammates to guess the word on your card without using any of the forbidden words listed on the same card. Akimi, Sierra, Miguel, and the perpetually perky Haley Daley sat on a circular couch and played the guessers. Kyle stood in front of them as the clue giver. “Salsa,” said Kyle. “Nachos!” said Akimi. A buzzer sounded. Akimi’s guess was wrong. Kyle tried again. “Horseradish sauce!” “Something nobody ever eats,” said Haley. Another buzzer. Kyle goofed up and said one of the forbidden words: “Ketchup!

Just about every kid in America wished they could be Kyle Keeley. Especially when he zoomed across their TV screens as a flaming squirrel in a holiday commercial for Squirrel Squad Six, the hysterically crazy new Lemoncello video game. Kyle’s friends Akimi Hughes and Sierra Russell were also in that commercial. They thumbed controllers and tried to blast Kyle out of the sky. He dodged every rubber band, coconut custard pie, mud clod, and wadded-up sock ball they flung his way. It was awesome. In the commercial for Mr. Lemoncello’s See Ya, Wouldn’t Want to Be Ya board game, Kyle starred as the yellow pawn. His head became the bubble tip at the top of the playing piece. Kyle’s buddy Miguel Fernandez was the green pawn. Kyle and Miguel slid around the life-size game like hockey pucks. When Miguel landed on the same square as Kyle, that meant Kyle’s pawn had to be bumped back to the starting line. “See ya!” shouted Miguel. “Wouldn’t want to be ya!” Kyle was yanked up off the ground by a hidden cable and hurled backward, soaring above the board. It was also awesome. But Kyle’s absolute favorite starring role was in the commercial for Mr. Lemoncello’s You Seriously Can’t Say That game, where the object was to get your teammates to guess the word on your card without using any of the forbidden words listed on the same card. Akimi, Sierra, Miguel, and the perpetually perky Haley Daley sat on a circular couch and played the guessers. Kyle stood in front of them as the clue giver. “Salsa,” said Kyle. “Nachos!” said Akimi. A buzzer sounded. Akimi’s guess was wrong. Kyle tried again. “Horseradish sauce!” “Something nobody ever eats,” said Haley. Another buzzer. Kyle goofed up and said one of the forbidden words: “Ketchup!” SPLAT! Fifty gallons of syrupy, goopy tomato sauce slimed him from above. It oozed down his face and dribbled off his ears. Everybody laughed. So Kyle, who loved being the class clown almost as much as he loved playing (and winning) Mr. Lemoncello’s wacky games, went ahead and read the whole list of banned words as quickly as he could. “Mustard-mayonnaise-pickle-relish.” SQUOOSH! He was drenched by buckets of yellow glop, white sludge, and chunky green gunk. The slop slid along his sleeves, trickled into his pants, and puddled on the floor. His four friends busted a gut laughing at Kyle, who was soaked in more “condiments” (the word on his card) than a mile-

This is funny but it saddens me that ‘art project’ is now a byword for useless, unskilled amateurism. You know that often someone who’s not very good at making television programmes becomes a video artist, and someone who’s not particularly good at writing hit songs becomes an art band.

Have you ever noticed that the things people LOVE says a lot about them? Even random stuff like your favourite band, movie or lip gloss colour can be a reflection of YOU. The same thing can be said for your friends and other important people in your life. What “other important people” you ask? Hmmm . . . like maybe . . . your CRUSH!!! YEP! That super cute guy who gives you a severe case of RCS! So, just for fun, I’ve made a little guide about what YOUR choice in boys says about you. Enjoy!!! IF YOU LIKE EMO GUYS (Think Edward from Twilight) You like to talk about things . . . A LOT! You crush on emo boys because they’re all sensitive and stuff. Just beware; sometimes dark and brooding guys can be kind of a downer! IF YOU LIKE TROUBLE MAKERS (the boy who’s on a first name basis with the principal’s receptionist) You don’t like following the rules and you crush on boys who make their own. Let’s face it: there’s something kind of exciting about them. But a word of caution my rebel loving friends: sometimes the bad boy is BAD BAD news!! IF YOU LIKE PREPPY GUYS (think shirts, polos and a general feel of being ironed from head to toe) You’re totally organized. You probably have colour-coordinated folders for every subject, and maybe, just MAYBE, you aspire to fold sweaters at the Gap. A preppy boy makes you weak in the khaki knees!! IF YOU LIKE MUSICIAN TYPES (OK, so this one is fairly obvious, but in case you’ve just arrived on Earth, I’m talking about future Justin Biebers) You’re totally into music, and you’re probably also super creative. And (let’s be honest) you also like the attention of walking around with band boy. Everyone’s always like, “Nice set for the talent show!” or “Saw you on YouTube!” or “Would you sign my forehead?!?

Do we know that it is a form of madness to watch our sons and daughters fight in the name of nationalism and defense? And how dare we use music to glorify such madness? Music is sacred. And to have a band procession salute the flag and soldiers is preposterous. It is as insane as watching someone getting raped on television while listening to Beethoven’s Symphony Number 9!" Nejoud Al-Yagout

approaches. At 0900 the American president went on national television to state, “The only

Here's how to get started with the antipolitical politics of the Benedict Option. Secede culturally from the mainstream. Turn off the television. Put the smartphones away. Read books. Play games. Make music. Feast with your neighbors. It is not enough to avoid what is bad; you must also embrace what is good. Start a church, or a group within your church. Open a classical Christian school, or join and strengthen one that exists. Plant a garden, and participate in a local farmer's market. Teach kids how to play music, and start a band. Join the volunteer fire department.

I’M SITTING at the counter in my favorite New York diner, tucking into eggs over easy with hash browns—very English, the breakfast fry-up, but very American, too. I’m washing it down with cranberry juice—caffeine is probably the only vice I don’t have—and someone turns on the radio. Most of the time, I don’t hear music. My brain just tunes it out. We’re all bombarded with some sort of music on a daily basis—in shops, TV commercials, restaurants, lifts—most of it simply noise pollution, deadening us to the real joy of music. So I only listen when I really want to. But the Puerto Rican waitress has turned on a Spanish channel, and a seductive salsa rhythm seeps into the room. It’s a charanga band—a traditional group that uses flute and violin over the standard latin rhythm section of congas, bongos, and timbales—and now I’m half-listening. Then the violinist takes a solo, and I’m hooked. He’s a great, inspired player. The band is playing a simple three-chord vamp, and he follows the chords closely, and yet still manages to come up with witty, ingenious, melodic twists. And the way he plays with the time! Dragging a phrase, and then ending it right on the beat. Setting up syncopations—accents that go against the beat—and then turning them around, playing them backwards. Then he hits an unexpected high note, and it’s like a shaft of light going right through my body, filling me with warmth. Without even thinking, I cry out—“Yeah!” or “All right!” or something—and I marvel at the way that music, after all these years, can still surprise me. The guy next to me just goes on munching his cheeseburger. But something special has happened, even if I’m the only one who knows it. The band on the radio are most likely second- or third-generation Puerto Ricans who were raised uptown, way uptown—in the Bronx—in a different world from me. But through the music, they’ve connected with an Englishman way downtown, in a way that would otherwise never happen.

People in concert crowds were not used to being noticed and singled out by a band—it was as if the television set had started talking back to them.

What is the Wii U, Gubben?" Farfar said, unable to keep the grin off his face as he balled the wrapping paper in his hands and stared at the box in his lap. "Don't we already have a Wii?" Then, more concerned, "How much did you spend on this?" "Not too much," I said, grinning back. "It's refurbished." "And old," Jorge added helpfully. "And old. Nintendo's already moved on to newer systems. Plus," I said, tossing a second present onto Farfar's lap and picking up his blue Wii remote from the coffee table, strumming the rubber bands holding the battery cover in place with my thumb. "This system's backward compatible." I watched Farfar peel back the paper one his unauthorized second present and nod to himself. He let out a sound like a deeply satisfied bear. "Oh, god," Maggie said, laughing. "Let's hook it up, Gubben." "They released a deluxe edition for the newer system," I explained, leading to our lengthy, highly technical discussion of Mario Kart 8 for Wii U vs. 8 Deluxe for the Switch, while I hooked up the new system to the TV

Compared to all this, Ronstadt and Browne were still trying to graduate from the kids' table. Ronstadt had released her first album for Geffen, Don't Cry Now, in September 1973. Browne followed a few weeks later, in October, with his second album, For Everyman. Both albums sold respectably, but neither cracked the Top 40 on the Billboard album chart. And while Geffen had great expectations for both artists, in early 1974 each was still building an audience. Their tour itinerary reflected their transitional position. It brought them to big venues in Detroit, Boston, Philadelphia, and Washington, DC, but also took them far from the bright lights to small community theaters and college campuses in Oxnard, San Luis Obispo, New Haven, and Cortland, New York. At either end, there wasn't much glamour in the experience. They had moved up from the lowest rung on the touring ladder, when they had lugged their gear in and out of station wagons, but had progressed only to a Continental Trailways bus without beds that both bands crammed into for the late-night drives between shows. "The first thing that happened is we were driving all night, and the next morning we were exhausted," Browne remembered. "Like, no one slept a wink. We were sitting up all night on a bus."' "Touring was misery," Ronstadt said, looking back. "Touring is just hard. You don't get to meet anybody. You are always in a bubble . . . You saw the world outside the bus window, and you did the sound check every day."9 The performances were uneven, too. "While Browne is much more assured and confident on stage than he was a year or two ago, he's still very much like a smart kid with a grown-up gift for songwriting," sniffed Judith Sims of Rolling Stone. She treated Ronstadt even more dismissively, describing her as peddling "country schmaltz."' The young rock journalist Cameron Crowe, catching the tour a few days later in Berkeley, described Browne's set as "painfully mediocre."" But Ronstadt and Browne found their footing as they progressed, each alternating lead billing depending on who had sold more records in each market. By the time the cavalcade rolled into Carnegie Hall, the reception for Browne and Ronstadt was strong enough that the promoters added a second show. In February 1974, Jackson Browne and Linda Ronstadt were still at the edge of the stardom they would soon achieve.

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.

Only after the nation had been herded into suburbs for over a decade were perceptive critics like Lewis Mumford able to see the type of person the housers were trying (and succeeding) to engineer. The suburbs fostered what Mumford called “compulsory mobility,” which was more controlling than the compulsory stability of being forced to live within the medieval city’s walls, because it limited the possibility of human interaction much more dramatically. And without the possibility of contact that is not managed for commercial or other purposes congenial to those who want to control him, man is reduced to the most vulnerable form of individual life and political impotence. The sprawling nature of the suburb was itself a form of control. “Sprawling isolation,” according to Mumford, “has proved an even more effective method of keeping a population under control” than enclosure and close supervision because it dramatically limits the possibility of human interaction and the unpredictable and uncontrollable flow of information that goes with it. Modern forms of social control depend on controlling the flow of information, not on constant supervision. By limiting the options to choosing a Ford over a Chevy or Coke over Pepsi, the people who control the flow of information channel behavior into certain acceptable patterns while at the same time promoting the illusion of freedom of choice. By inhibiting direct contact, the suburb allows information to be “monopolized by central agents and conveyed through guarded channels, too costly to be utilized by small groups or private individuals.” As a result, “each member of Suburbia becomes imprisoned by the very separation that he has prized: he is fed through a narrow opening: a telephone line, a radio band, a television circuit.*! Here Mumford is articulating, without being specific about it, one of the prime goals of psychological warfare, namely, the prohibition of unauthorized communication among subject peoples. Mumford goes on to say that “this is not . . . the result of a conscious conspiracy by a cunning minority” but his disclaimer is less persuasive than the picture of social control he paints. If, one wonders, this system has not been put into effect by conscious design, how did it get there? Is it possible to have social control without social controllers?

A good producer knows how to capture the best performances from musicians, create a cohesive sound, and make a record that sounds great on different playback systems. That’s really important with a band like Electrasy because they needed to transfer their raw, live power to radio, TV, and different formats.

I can't believe gow many famous people and TV cameras there are in this room," said Mrs Walker, looking around at the other tables. "I feel like a star." "You always look like a star to me," said Mr Walker, smiling at her.

THE POWER OF MSCI, FTSE RUSSELL, and S&P Dow Jones Indices is largely over only stock markets. Of even greater and direct importance to countries are their presence and weighting in various influential bond market indices. These may not have the cachet of the brand-name stock market benchmarks bandied about on TV bulletins, but indices like the Bloomberg Barclays Global Aggregate or JPMorgan’s EMBI and GBI-EM are also powerful in their own way.

The planetary crisis we find ourselves in is a result of this system. The natural human instinct for survival, enabled by our technological gifts, has caused the greatest mass extinction of other species since the Cretaceous period and brought our own endangerment into the realm of the plausible. To really alter our path, we need to confront the design flaws of the Neolithic Revolution, evidenced by our addiction to growth and the accumulation of more surplus than we need. That’s not to suggest some twenty-first-century nomadology. Even the most imaginative science fiction writers would find it challenging to envision a human society that had developed without agriculture, without the bureaucratic systems it engendered to count the accumulated wealth—the original reason we developed mathematics and written language. But we know that the tiny bands of humans who managed to survive into the nineteenth and twentieth centuries outside that system were—and in a few cases, are—happier than us, even if they do not get to read novels, hear symphonies, or binge-watch a season of a television series after dinner. Walking in the edgelands of the twenty-first-century city, finding the wild nature they harbor, you can get glimpses of your own true nature as a creature that lives in and from the world, and maybe even a way to be a nomad without leaving your house. Finding such places is easier than you think. Finding your personal connection is harder.

I sat with her on the kitchen floor. Octonauts Band-Aid, Popsicle from the freezer, and she was laughing again. As I watched those bright eyes, the rage in me quelled. I thought of the last lines I’d delivered as Haley. It’s a magical place. I’ve seen that magic in your eyes. There’s only one Tree Hill, and it’s your home. I wanted Rosie to be able to feel that kind of magic and peace. I had her. I had her. Nothing else mattered.

Denny Cordell and Leon Russell ran a record company much the way Russell put together Joe Cocker’s Mad Dogs and Englishmen tour, which was basically a hippie commune on wheels. The Mad Dogs and Englishmen experience would stand as a kind of summit of seventies excess, with three drummers and a choir and endless hangers-on. But Russell’s and Cordell’s careers started well before that. Leon Russell had been a member of the Wrecking Crew, playing on Phil Spector records, Beach Boys and Byrds records, Monkees and Paul Revere and the Raiders records. He’d been a member of the Shindogs, the house band on television’s Shindig! He’d had his own hits and seen his songs become hits for other artists, from Gary Lewis and the Playboys to the Carpenters. When George Harrison organized the Bangladesh concert, he called Russell, who helped put the band together. At those shows, Russell stood out like the natural star he was. Denny

It's amazing how a strip of sticky plastic will make my kids' pain vanish. Lucas will be howling about a stepped-on finger, but as soon as the SpongeBob Band-Aid touches his pinkie, he's all smiles. My sons are so convinced of the magical healing powers of Band-Aids, they think they can solve almost any problem. A couple of years ago, when out Sony TV blew a fuse, Jasper stuck a Band-Aid on the screen hoping to revive it.

was surprised by how quickly I was forgotten, how calm the waters were, as soon as I paddled out of the center of the evangelical right-wing whitewater. From one day to the next, I went from daily calls to be on some TV show, or be on the radio, or to be a participant in this or that symposium, march, seminar, or publishing venture, to blessed silence. It was a relief. It also confirmed what I already knew: that evangelicalism is not so much a religion as a series of fast-moving personality cults. As soon as a leader steps aside, or is shoved aside, or stumbles, the crowd looks for the next man or woman to briefly follow. There is always a bigger show down the street, another even better Bible-study leader or congregation to try, another hot author/guru to read, another trend, from speaking in tongues to giving homeschooling a try. And most evangelicals spend a good portion of their time wandering from church to church, from leader to leader, even from one radio and TV personality to another, in the same way that when I was a teen I’d switch my loyalty from one rock band to another. It’s all about who is “hot.” In

Movies, music, TV, images and even food have become perfected to such an extent that it’s hard to even remember the way things used to be. We look at computers more than we look at the outside world. It may be true in some sense that movies and TV are more entertaining now, although I don’t personally think so. Magazines think they need to Photoshop their images to keep selling copies. There is no defense for artificial food whatsoever, and the problem with artificial music is that the public doesn’t realize that what they’re listening to is not real. It’s not human. The use of live instruments in recordings and in live “concerts” is so rare now that young people (especially in the United States) don’t have hardly any idea whatsoever about how to dance to live music of any sort. They don’t hear human salsa bands, string quartets, jazz bands, funk bands, rock bands or solo instrumentalists anymore. We have enough DJs. We need more high-level live music. There

One hundred and eighty-eight years ago this week, a small band of valiant men began a long struggle for freedom," he told television cameras. "Now our generation of Americans has been called on to continue the unending search for justice within our own borders." (quoting, President Lyndon B. Johnson)

The average artist has a naïve, unrealistic, and disconnected view of what the music industry is, how it works, what is involved in “making it”, and what actually is happening behind the scenes. Too many artists take at face value what they see on some TV documentary or read in a fan magazine. Whether you are working with others in a band, looking to connect with a manager, an agent, a label, or an investor, or you just want to work in the industry, it is more crucial than ever to know what you are working for and toward.

A lot of bands make two different music videos for their latest songs. A censored version for American TV, and an uncensored version that includes nudity for European music stations. The so-called Land of The Free doesn't seem so free anymore, when you realize that other countries have a lot more freedom.

One reason for the popularity of music with a beat is that, once public schools began to drop music from their curriculum, people found it more and more difficult to access styles of music removed from everyday experience. So they began to ask for worship music that sounded more like what they heard on their radios, televisions, and stereos. 80 Like it or not, in the United States the megachurch movement has changed the way many people think about church music. Nowadays, “thousands of North American Christians simply assume that music in worship is properly rendered by a guitar-led praise band, not an organ; and that the basic genre of liturgical music is not hymnody, but choruses and ballads.” 81

Reality TV... The curse of the twenty-first century. Why were people so fascinated by being spectators to other people's lives? Watching people bake cakes, build tree houses, or just invading rich families' living rooms. It was like watching a soap opera without the plot.

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I stand for love and peace,” he told the Times. “To my way of thinking, they’re the same thing. But the man who said ‘My country, right or wrong’ made a slight error in judgment. My country wrong needs my help.

The band could not have known that the Alvin brothers were already well aware of Los Lobos, and had been for more than five years, for they had seen the band’s TV debut on La Cultura in 1975. “The first time we had ever heard of them,” says Dave Alvin, “Phil and I were at home, and we watched a thing on the local PBS station, channel 28. It was a half-hour documentary on this band from East L.A. that played traditional acoustic Mexican music from all of the various states.” Phil Alvin adds that the Lobos’ example in fact had an impact on the genre-defying way in which the Blasters conceived of their own music: “I remember watching it and really being just impressed, particularly about the way they talked about Mexican music and the variety of it. When we went down to Rockin’ Ronnie’s and he kept pressuring us to say we played rockabilly and stuff like that, I remember thinking of those guys when I [told him]

Rock music carried the Woodstock Nation’s banner while television represented much of what the bands and their audience stood against. More than a wasteland, TV was the idiot engine of the Establishment, electronic opiate of the consumerist masses, and thus a favorite object of ridicule and contempt.

Because of the picture's constant theatrical circulation all during the forties, two presentations on the Lux Radio Theatre, and finally as a staple of early television, the tale was familiar to almost two generations of moviegoers. Hart's task was to preserve the potent appeal of this Hollywood myth while making it viable for a modern-day audience. The problem was complicated by the necessity of rewriting the part of Esther/Vicki to suit Judy Garland. The original film had walked a delicate dramatic path in interweaving the lives and careers of Vicki and Norman Maine. In emphasizing the "star power" of Lester/Garland, more screen time would have to be devoted to her, thus altering the careful balance of the original. Hart later recalled: "It was a difficult story to do because the original was so famous and when you tamper with the original, you're inviting all sorts of unfavorable criticism. It had to be changed because I had to say new things about Hollywood-which is quite a feat in itself as the subject has been worn pretty thin. The attitude of the original was more naive because it was made in the days when there was a more wide-eyed feeling about the movies ... (and) the emphasis had to be shifted to the woman, rather than the original emphasis on the Fredric March character. Add to that the necessity of making this a musical drama, and you'll understand the immediate problems." To make sure that his retelling accurately reflected the Garland persona, Hart had a series of informal conversations with her and Luft regarding experiences of hers that he might be able to incorporate into the script. Luft recalls: "We were having dinner with Moss and Kitty [Carlisle], and Judy was throwing ideas at Moss, cautiously, and so was I. I remember Judy telling the story of when she was a kid, she was on tour with a band and they were in Kansas City at the Mulebach Hotel-all the singers and performers stayed there. And I think her mother ran into a big producer who was traveling through and she invited him to come and see the act, and supposedly afterward he was very interested in Judy's career. Nothing happened, though. Judy thought it would be a kind of a cute idea to lay onto Moss-that maybe it might be something he could use in his writing.

One memorable offstage incident was reported in detail by Tork to writer Dave Zimmer: “We were in this hotel room. Jimi and Stephen (Stills) were sitting on these beds facing each other, just flailing away on acoustic guitars. In between ’em was Micky Dolenz, slapping his guitar like, ‘slap, whacka, slap, whacka, slap.’ And all of a sudden Micky quit. Then Stephen and Jimi stopped and Stephen said to Micky, ‘Why’d you stop playing? Micky said, ‘I didn’t know you were listening.’ So there’s one for ya—Hendrix, Stills, and Dolenz.

Like boy bands, these shows are for teen girls, and therefore they'll always have to fight to be taken seriously, even if they come up with something as transcendent as "I Want it That Way".

Here’s how to get started with the antipolitical politics of the Benedict Option. Secede culturally from the mainstream. Turn off the television. Put the smartphones away. Read books. Play games. Make music. Feast with your neighbors. It is not enough to avoid what is bad; you must also embrace what is good. Start a church, or a group within your church. Open a classical Christian school, or join and strengthen one that exists. Plant a garden, and participate in a local farmer’s market. Teach kids how to play music, and start a band. Join the volunteer fire department.

Pros and Cons for Interruption: As a marketer, you can target people who are interested in certain people, ideas, TV shows, or bands, and then you can interrupt them with your ads.

Every year millions of American men buy televisions in order to watch football. The various companies that produce TVs are aware of this, and try to run advertisements for their contraptions that feature games. Unfortunately, the NFL only sells footage to its official television company. That means if, say, Zenith is the NFL’s TV of choice, Panasonic, Sony, and myriad other entities can’t use league action. “So every year—every single year—I get calls from the companies, wanting to purchase USFL stock footage,” Cohen said. “I averaged about $100,000 a year for a long time. Dom was right.” Don’t blink, or you might miss ubiquitous snippets of USFL game footage. That game Julie Taylor was watching in the student lounge on Friday Night Lights? Blitz-Bandits at Tampa Stadium. The “Bubble Bowl” game in the SpongeBob SquarePants episode “Band Geeks”? Bandits-Showboats at the Liberty Bowl. A Scientology advertisement stars Anthony Carter scoring a touchdown for the Panthers; Russ Feingold, a United States senator running for reelection in 2010, ran a spot with Gamblers receivers Clarence Verdin and Gerald McNeil dancing in the end zone;

Evenings after the dishes, Grandma hobbled around the house with her frayed prayer book which was held together with rubber bands. Then she’d settle in front of the television to watch her westerns—“Bonanza,” “Rawhide”—while I sat out at the kitchen signing corny get-well cards to Ma and pages of complaints to Jeanette.

Gracie sat quietly while Justin and Danielle talked. She eavesdropped halfheartedly, absorbed with re-creating the incident up at the latrine that Danielle seemed to have already forgotten. Something had happened up there that bothered her, because it suggested someone on the trip had an agenda besides the adventure itself. It reminded her that people could be evil, something she believed more and more the older she got. Danielle, however, was at her charming best. Subjects ranged from their schools to Facebook pages to sports, television shows, and bands. Gracie found herself rolling her eyes each time Danielle and Justin discovered more and more common bonds. When Danielle mentioned their parents were divorced, Justin said, “Shit, mine too.

Gary never stopped being a rock star, not even on his days off. He vanished into the bathroom for a long time to fix his hair and dressed in black skinny jeans accompanied by a red belt with three different chains hanging from it. His t-shirt had diagonal, red and black stripes on it, and his red canvas shoes were as seen on TV. It was hard to say whether Gary had dressed and behaved like a rock star from a young age or if he had assumed his role so well that he couldn’t even give it up in his spare time.

You're talking to a guy who would've done anything to have a mom. We all would have. One who wanted to have us in the first place and who wanted to play with us. Protect us. Do the Band Aid thing. You know, like on television when the kid falls down and the mom cares. There's no just there. It's the most important thing -- ever.

My favorite prototypical Beatlemaniac appears in the great documentary The Compleat Beatles, in a TV news clip.

When the slicing ceases, he holds up the ponytail no longer attached to my head. I take out the hair band and give my head a shake. The picture on the television screen showed a girl with long, dark hair. The girl in the mirror has chin length light brown hair. She is practically unrecognizable.

Building a Better Battery Boyoun Kim By BRIAN X. CHEN and NICK BILTON SAN FRANCISCO — The next breakthrough smartphone, or maybe the one after that, might not have a traditional battery as its sole source of power. Instead, it could pull energy from the air or power itself through television, cellular or Wi-Fi signals. Engineers at Apple even tried for many years to build a smarter battery by adding solar charging to iPhones and iPods, a former Apple executive said. And they have continued to experiment with solar charging, two people who work at the company said. Batteries, long the poor cousin to computer chips in research-obsessed Silicon Valley, are now the rage. As tech companies push their businesses into making wearable devices like fitness bands, eyeglasses and smart watches, the limitations of battery technology have become the biggest obstacle to sales and greater profits. Consumers are unlikely to embrace a wristwatch computer like the one being worked on by Apple, or Google’s smart glasses, if they work only a few hours between charges and must be removed to be plugged in.

One thing you learn when you’re in the business of selling utter shite to the Great British Public is that there’s really no bottom to where they’ll go. Shit food, shit TV, shit bands, shit films, shit houses. There is absolutely no fucking bottom with this stuff. The shittier you can make it – a bad photocopy of a bad photocopy of what was a shit idea in the first place – the more they’ll eat it up with a fucking big spoon, from dawn till dusk, from now until the end of time.