The Drums Band Quotes

My favorite band at the moment is the Dresden Dolls, they're from Boston. It's a guy and a girl. She plays piano and he plays the drums and she also sings. You can find them on the web they're incredible.

Music shouldn't be just a tune, it should be a touch.

Music is the fastest motivator in the world.

I never studied anything, really. I didn't study the drums. I joined bands and made all the mistakes onstage

Anything with drums, bass, and guitars is under the pop umbrella. We'll continue to try new sounds as long as we're a band and just by growing up and moving on in your life doesn't mean you hate an earlier part of your life.

Anything with drums, bass, and guitars is under the pop umbrella. We'll continue to try new sounds as long as we're a band.

No, but . . . what will she eat?” “I guess I’ll have to find another source of blood. Hmm, who could it be? Let’s see . . .” I drum my fingers against the edge of the table to create suspense. It sure works on Ana, who’s looking at me gape-mouthed. “Who smells good around—” Lowe’s hand closes around mine. Our wedding bands clink together as he lifts it from the table and sets it in my lap, his grip lingering for a second. I feel hot. I shiver. Lowe clicks his tongue. “Stop playing with your food, wife,” he murmurs,

There was one dude in a jeans jacket who I swear to God shit in his pants when all of a sudden I was inches away from his face playing drums in the air.

There are quiet places also in the mind,” he said, meditatively. “But we build bandstand and factories on them. Deliberately—to put a stop to the quietness. We don’t like the quietness. All the thoughts, all the preoccupation in my head—round and round continually.” He made a circular motion with his hands. “And the jazz bands, the music hall songs, the boys shouting the news. What’s it all for? To put an end to the quiet, to break it up and disperse it, to pretend at any cost it isn’t there. Ah, but it is, it is there, in spite of everything, at the back of everything. Lying awake at night, sometimes—not restlessly, but serenely, waiting for sleep—the quiet re-establishes itself, piece by piece; all the broken bits, all the fragments of it we’ve been so busily dispersing all day long. It re-establishes itself, an inward quiet, like this outward quiet of grass and trees. It fills one, it grows –a crystal quiet, a growing expanding crystal. It grows, it becomes more perfect; it is beautiful and terrifying, yes, terrifying, as well as beautiful. For one’s alone in the crystal and there’s no support from outside, there’s nothing external and important, nothing external and trivial to pull oneself up by or to stand up, superiorly, contemptuously, so that one can look down. There’s nothing to laugh at or feel enthusiastic about. But the quiet grows and grows. Beautifully and unbearably. And at last you are conscious of something approaching; it is almost a faint sound of footsteps. Something inexpressibly lovely and wonderful advances through the crystal, nearer, nearer. And oh, inexpressibly terrifying. For if it were to touch you, if it were to seize and engulf you, you’d die; all the regular habitual, daily part of you would die. There would be and end of bandstands and whizzing factories, and one would have to begin living arduously in the quiet, arduously n some strange unheard-of manner. Nearer, nearer come the steps; but one can’t face the advancing thing. One daren’t. It’s too terrifying; it’s too painful to die. Quickly, before it is too late, start the factory wheels, bang the drum, blow up the saxophone. Think of the women you’d like to sleep with, the schemes for making money, the gossip about your friends, the last outrage of the politicians. Anything for a diversion. Break the silence, smash the crystal to pieces. There, it lies in bits; it is easily broken, hard to build up and easy to break. And the steps? Ah, those have taken themselves off, double quick. Double quick, they were gone at the flawing of the crystal. And by this time the lovely and terrifying thing is three infinities away, at least. And you lie tranquilly on your bed, thinking of what you’d do if you had ten thousand pounds and of all the fornications you’ll never commit.

We got hungry around three in the morning, and ordered a ton of pizza from an all-night pizza place. Afterward, Blake talked a guy into letting him borrow his skateboard, and he once again entertained all of us. If it had wheels, Blake could work it. “Is he your boyfriend?” a girl behind me asked. I turned to the group of girls watching Blake. They were all coifed and beautiful in their bikinis, not having gone in the water. My wet hair was pulled back in a ponytail by this point and I was wrapped in a towel. “No, he’s my boyfriend’s best friend. We’re watching his place while he’s . . . out of town.” A pang of fear jabbed me when I thought about Kai. “What’s your name?” asked a brunette with glossy lips. “Anna.” I smiled. “Hey. I’m Jenny,” she said. “This is Daniela and Tara.” “Hey,” I said to them. “So, your boyfriend lives here?” asked the blonde, Daniela. She had a cool accent—something European. “Yes,” I answered, pointing up to his apartment. The girls all shared looks, raising their sculpted eyebrows. “Wait,” said Jenny. “Is he that guy in the band?” The third girl, named Tara, gasped. “The drummer?” When I nodded, they shared awed looks. “Oh my gawd, don’t get mad at me for saying this,” said Jenny, “but he’s a total piece of eye candy.” Her friends all laughed. “Yum drum,” whispered Tara, and Daniela playfully shoved her. Jenny got serious. “But don’t worry. He, like, never comes out or talks to anyone. Now we know why.” She winked at me. “You are so adorable. Where are you from?” “Georgia.” This was met with a round of awwws. “Hey, you’re a Southern girl,” said Tara. “You should like this.” She held out a bottle of bourbon and I felt a tug toward it. My fingers reached out. “Maybe just one drink,” I said. Daniela grinned and turned up the music. Fifteen minutes and three shots later I’d dropped my towel and was dancing with the girls and telling them how much I loved them, while they drunkenly swore to sabotage the efforts of any girl who tried to talk to my man.

We ate, did our homework, got good grades, kissed our parents goodnight and always had the secret door and shared experiences to go to. It was truly remarkable, and doing it as a group made us feel invulnerable. As soon as the drums and amps were set up and Jean and Kathie hit it, I tell you there was nothing more to say. Conversation stopped, and the magic carpet ride took off. I’ve never felt anything more powerful in my life.

Mac Rebennack, better known as Dr. John, once told me that when a brass band plays at a small club back up in one of the neighborhoods, it's as if the audience--dancing, singing to the refrains, laughing--is part of the band. They are two parts of the same thing. The dancers interpret, or it might be better to say literally embody, the sounds of the band, answering the instruments. Since everyone is listening to different parts of the music--she to the trumpet melody, he to the bass drum, she to the trombone--the audience is a working model in three dimensions of the music, a synesthesic transformation of materials. And of course the band is also watching the dancers, and getting ideas from the dancers' gestures. The relationship between band and audience is in that sense like the relationship between two lovers making love, where cause and effect becomes very hard to see, even impossible to call by its right name; one is literally getting down, as in particle physics, to some root stratum where one is freed from the lockstop of time itself, where time might even run backward, or sideways, and something eternal and transcendent is accessed.

Michael leaned in, his voice turning low and heavy. “And how about me?” I swallowed, still studying my drink. What song described him? What band? That was like trying to pick one food to eat for the rest of your life. “Disturbed,” I said, naming the band and still looking down at the glass. He said nothing. Only remained still before finally sitting back and tipping his drink up to his lips. Butterflies swarmed in my stomach, and I kept my breathing even. “Drowning Pool, Three Days Grace, Five Finger Death Punch,” I continued, “Thousand Foot Krutch, 10 Years, Nothing More, Breaking Benjamin, Papa Roach, Bush…” I paused, exhaling nice and slow despite the way my heart drummed. “Chevelle, Skillet, Garbage, Korn, Trivium, In This Moment…” I drifted off, peace settling over me as I looked up at him. “You’re in everything.

If we were a rock ‘n’ roll band, We’d travel all over the land. We’d play and we’d sing and wear spangly things, If we were a rock ‘n’ roll band. If we were a rock ‘n’ roll band, And we were up there on the stand, The people would hear us and love us and cheer us, Hurray for that rock ‘n’ roll band. If we were a rock ‘n’ roll band Then we’d have a million fans. We’d goggle and laugh and sign autographs, If we were a rock ‘n’ roll band. If we were a rock ‘n’ roll band, The people would all kiss our hands. We’d be millionaires and have extra long hair, If we were a rock ‘n’ roll band. But we ain’t no rock ‘n’ roll band, We’re just seven kids in the sand With homemade guitars and pails and jars And drums of potato chip cans. Just seven kids in the sand, Talkin’ and wavin’ our hands, And dreamin’ and thinkin’ oh wouldn’t it be grand, If we were a rock ‘n’ roll band.

A band with their drums and guitars, and… Masen?

The piercing fanfare of the brass against the brutal boom and rattle of the drums surged through the air. At the head of the Ferris band marched the drum majorette. A crimson and white shako crowned her long dark hair which flew out behind her and across her radiant face flushed with excitement. Her blue eyes flashed and her smile registered triumph at having been chosen.

As the drummer, I know that drums fully support the band. Their rhythm keeps things within the pulse and contributes to the overall energy of each performance. I am a very balanced person and I realize that through my personal level of balance, I also outwardly balance Stjepan and Luka.

Cinder." Kai pulled one leg onto the bank, turning his body so they were facing each other. He took her hands between his and her heart began to drum unexpectedly. Not because of his touch, and not even because of his low, serious tone, but because it occurred to Cinder all at once that Kai was nervous. Kai was never nervous. "I asked you once," he said, running his thumbs over her knuckles, "if you thought you would ever be willing to wear a crown again. Not as the queen of Luna, but ... as my empress. And you said that you would consider it, someday." She swallowed a breath of cool night air. "And ... this is that day?" His lips twitched, but didn't quite become a smile. "I love you. I want to be with you for the rest of my life. I want to marry you, and, yes, I want you to be my empress." Cinder gaped at him for a long moment before she whispered, "That's a lot of wanting." "You have no idea." She lowered her lashes. "I might have some idea." Kai released one of her hands and she looked up again to see him reaching into his pocket - the same that had held Wolf's and Scarlet's wedding rings before. His fist was closed when he pulled it out and Kai held it toward her, released a slow breath, and opened his fingers to reveal a stunning ring with a large ruby ringed in diamonds. It didn't take long for her retina scanner to measure the ring, and within seconds it was filling her in on far more information than she needed - inane worlds like carats and clarity scrolled past her vision. But it was the ring's history that snagged her attention. It had been his mother's engagement ring once, and his grandmother's before that. Kai took her hand and slipped the ring onto her finger. Metal clinked against metal, and the priceless gem looked as ridiculous against her cyborg plating as the simple gold band had looked on Wolf's enormous, deformed, slightly hairy hand. Cinder pressed her lips together and swallowed, hard, before daring to meet Kai's gaze again. "Cinder," he said, "will you marry me?" Absurd, she thought. The emperor of the Eastern Commonwealth was proposing to her. It was uncanny. It was hysterical. But it was Kai, and somehow, that also made it exactly right. "Yes," she whispered. "I will marry you." Those simple words hung between them for a breath, and then she grinned and kissed him, amazed that her declaration didn't bring the surge of anxiety she would have expected years ago. He drew her into his arms, laughing between kisses, and she suddenly started to laugh too. She felt strangely delirious. They had stood against all adversity to be together, and now they would forge their own path to love. She would be Kai's wife. She would be the Commonwealth's empress. And she had every intention of being blissfully happy for ever, ever after.

Moshe watched spellbound from the wings as Webb, a tiny man with a curved spine clad in a white suit, roared with laughter and enthusiasm as he played, egging his band on from the rear with his masterful drumming, the thunderous band shaking the floor with rip-roaring waves of gorgeous sound. That man, Moshe decided, was a joymaker. And Moshe could not help but notice that Webb, like his lovely Chona, had a physical disability. Though he was a hunchback of some kind, he moved with a certain feeling of joy, a lightness, as if every moment were precious.

filmed for broadcast by the BBC, but the film crew became unexpectedly incapacitated. It was rumored that someone—or perhaps some band—dosed them with LSD.

March 6, 1961 I remembered a party in a house outside of Ann Arbor. There was a jazz band -- piano, bass, drums, and sax -- playing in one of the large rooms. A heavy odor of marijuana hung in the air. The host appeared now and then looking pleased, as if he liked seeing strangers in every room, the party out of his control. It wasn't wild, but with a constant flow of people, who knows what they're doing. It became late and I was a little drunk, wandering from one part of the house to another. I entered a long hall and was surprised by the silence, as if I had entered another house. A girl at the other end of the hall was walking toward me. I saw large blue eyes and very black hair. She was about average height, doll-like features delicate as cut glass, extremely pretty, maybe the prettiest girl I'd ever seen. When she came up to me I took her in my arms and kissed her. She let it happen. We were like creatures in a dream. Holding her hand, I drew her with me and we passed through rooms where people stood about, and then left the house. As we drove away, she said her name was Margo. She was a freshman at the university, from a town in northern Michigan. I took her home. It was obvious she'd never gone home with a man. She didn't seem fearful, only uncertain, the question in her eyes: "What happens next?" What happened next was nothing much. We fell asleep in our clothes. I wasn't the one to make her no different from everyone.

On vacation you can be anyone you want Like a good book or an incredible outfit, being on vacation transports you into another version of yourself.
In your day-to-day life, maybe you can’t even bob your head to the radio without being embarrassed, but on the right twinkly-light-strung patio, with the right steel drum band, you’ll find yourself whirling and twirling with the best of them. On vacation, your hair changes. The water is different, maybe the shampoo. Maybe you don’t bother to wash your hair at all, or brush it, because the salty ocean water curls it up in a way you love. You think, Maybe I could do this at home too. Maybe I could be this person who doesn’t brush her hair, who doesn’t mind being sweaty or having sand in all her crevices. On vacation, you strike up conversations with strangers, and forget that there are any stakes. If it turns out impossibly awkward, who cares? You’ll never see them again!

Gus doesn’t belong in this world. He was born with a Hollywood chin, a butter touch, and an ear that can hear rhythms tapped out from Neptune. In another life he would have been drumming in Johnny Carson’s band, drinking water out of a mug. But in this one he has a disease and he can’t say no to shysters like Charlie, who uses his wife and kid to cheat on Gus’s lousy, glowing heart.

We entered the cool cave of the practice space with all the long-haired, goateed boys stoned on clouds of pot and playing with power tools. I tossed my fluffy coat into the hollow of my bass drum and lay on the carpet with my worn newspaper. A shirtless boy came in and told us he had to cut the power for a minute, and I thought about being along in the cool black room with Joey. Let's go smoke, she said, and I grabbed the cigarettes off the amp. She started talking to me about Wonder Woman. I feel like something big is happening, but I don't know what to do about it. With The Straight Girl? I asked in the blankest voice possible. With everything. Back in the sun we walked to the edge of the parking lot where a black Impala convertible sat, rusted and rotting, looking like it just got dredged from a swamp. Rainwater pooling on the floor. We climbed up onto it and sat our butts backward on the edge of the windshield, feet stretched into the front seat. Before she even joined the band, I would think of her each time I passed the car, the little round medallions with the red and black racing flags affixed to the dash. On the rusting Chevy, Joey told me about her date the other night with a girl she used to like who she maybe liked again. How her heart was shut off and it felt pretty good. How she just wanted to play around with this girl and that girl and this girl and I smoked my cigarette and went Uh-Huh. The sun made me feel like a restless country girl even though I'd never been on a farm. I knew what I stood for, even if nobody else did. I knew the piece of me on the inside, truer than all the rest, that never comes out. Doesn't everyone have one? Some kind of grand inner princess waiting to toss her hair down, forever waiting at the tower window. Some jungle animal so noble and fierce you had to crawl on your belly through dangerous grasses to get a glimpse. I gave Joey my cigarette so I could unlace the ratty green laces of my boots, pull them off, tug the linty wool tights off my legs. I stretched them pale over the car, the hair springing like weeds and my big toenail looking cracked and ugly. I knew exactly who I was when the sun came back and the air turned warm. Joey climbed over the hood of the car, dusty black, and said Let's lie down, I love lying in the sun, but there wasn't any sun there. We moved across the street onto the shining white sidewalk and she stretched out, eyes closed. I smoked my cigarette, tossed it into the gutter and lay down beside her. She said she was sick of all the people who thought she felt too much, who wanted her to be calm and contained. Who? I asked. All the flowers, the superheroes. I thought about how she had kissed me the other night, quick and hard, before taking off on a date in her leather chaps, hankies flying, and I sat on the couch and cried at everything she didn't know about how much I liked her, and someone put an arm around me and said, You're feeling things, that's good. Yeah, I said to Joey on the sidewalk, I Feel Like I Could Calm Down Some. Awww, you're perfect. She flipped her hand over and touched my head. Listen, we're barely here at all, I wanted to tell her, rolling over, looking into her face, we're barely here at all and everything goes so fast can't you just kiss me? My eyes were shut and the cars sounded close when they passed. The sun was weak but it baked the grime on my skin and made it smell delicious. A little kid smell. We sat up to pop some candy into our mouths, and then Joey lay her head on my lap, spent from sugar and coffee. Her arm curled back around me and my fingers fell into her slippery hair. On the February sidewalk that felt like spring.

I came to that wooden marching band. I stopped and looked. There was a trumpet, trombone, clarinet, and drum. Birds don't live alone, I told myself. They live in flocks. Like people. People are always in a group. Like that little wooden band.

Flags were everywhere, and in the Square the band was playing “Yankee Doodle.” The fifes tooted and the flutes shrilled and the drums came in with rub-a-dub-dub. Yankee Doodle went to town, Riding on a pony, He stuck a feather in his hat And called it macaroni!

Betelgeuse. Sirius. Orion. Antares. The sky is very large, and you are very small. Let the words wash through him, the voice and its memories pass over him, shivering his skin like the touch of a ghost, vanishing into darkness. The Pleiades. Cassiopeia. Taurus. Heaven is wide, and you are very small. Dead, but none the less powerful for being dead. He spread his hands wide, gripping the fence—those were powerful, too. Enough to beat a man to death, enough to choke out a life. But even death was not enough to loose the bands of rage. With great effort, he let go. Turned his hands palm upward, in gesture of surrender. He reached beyond the stars, searching. The words formed themselves quietly in his mind, by habit, so quietly he was not aware of them until he found them echoed in a whisper on his lips.

In the morning it was raining. A fog had come over the mountains from the sea. You could not see the tops of the mountains. The plateau was dull and gloomy, and the shapes of the trees and the houses were changed. I walked out beyond the town to look at the weather. The bad weather was coming over the mountains from the sea. The flags in the square hung wet form the with poles and the banners were wet and hung damp against the front of the houses, and in between the steady drizzle the rain came down and drove every one under the arcades and made pools of water in the square, and the streets were dark and deserted; yet the fiesta kept up without any pause. It was only driven under covers. The covered seats of the bull-ring had been crowded with people sitting out of the rain watching the concourse of Basque and Navarrais dancers and singers, and afterward the Val Carlos dancers in their costumes danced down the street in the rain, the drums sounding hallow and damp, and the chiefs of the bands riding ahead of their big, heavy-footed horse, their costumes wet, the horses’ coats wet in the rain. The crowd was in the cafés and the dancers came in, too, and sat, their tight-wound white legs under the tables, shaking the water from their belled caps, and spreading their red and purple jackets over the chairs to dry. It was raining hard outside.

The red-jacketed band stirred to life. The first musician raised his trumpet. The trombone dipped. The drumstick rose. Lea lowered her clarinet. It had been Brent's idea not to have their insturments rise and fall in unison. The staggered motion gave it a more exciting rhythm.

Dave and Serge...played the Fiddler's Elbow as if it were Giants Stadium, and even though it was acoustic, they just about blew the place up. They were standing on chairs adn lying on the floor, they were funny, they charmed everyone in the pub apart from an old drunk ditting next to the drum kit...who put his fingers firmly in his ears during Serge's extended harmonica solo. It was utterly bizarre and very moving: most musicians wouldn't have bothered turning up, let alone almost killing themselves. And I was reminded...how rarely one feels included in a live show. Usually you watch, and listen, and drift off, and the band plays well or doesn't and it doesn't matter much either way. It can actually be a very lonely experience. But I felt a part of the music, and a part of the people I'd gone with, and, to cut this short before the encores, I didn't want to read for about a fortnight afterward. I wanted to write, but I didn't want to read no book. I was too itchy, too energized, and if young people feel like that every night of the week, then, yes, literature 's dead as a dodo. (Nick's thoughts after seeing Marah at a little pub called Fiddler's Elbow.)

One Day you might desperately need to hear power chords and indulgent drum solos. Another might be a day for orchestral sounds. Picking one band above all else is just wrong. But, then again, it's not like what I say has to be etched in blood. Changing my mind later doesn't necessarily mean I'm a total waffler.

PAUL IS SOMEBODY WHO DOES THINGS WITH ENTHUSIASM, which makes people feel appalled and insulted at things he chooses to do. If you’re under thirty, you have never heard of a song called “Spies Like Us,” and I am a horrible person for being the one to tell you. It was the theme for a big-budget Hollywood spy comedy starring Chevy Chase and Dan Aykroyd. Nobody saw the movie, but Paul’s theme was worse than the movie could have been. MTV played it constantly during the 1985 holiday season, though radio wouldn’t touch it. Paul does a rap that goes something like, “Oooh oooh, no one can dance like you.” In the video he plays multiple roles as members of a studio band, mugging and biting his lower lip. The drumming is where his cheeky-chappy act gets profoundly upsetting. You see this video, you’re going to be depressed for at least ten minutes about the existential condition of Paul-dom. His enthusiasm makes you doubt the sincerity of his other public displays. It makes you doubt yourself. You might think it’s a cheap laugh but it will cost you something.

Which homily brings me directly to a brace of the most finished little fiends that ever banged drum or tootled fife in the Band of a British Regiment. They ended their sinful career by open and flagrant mutiny and were shot for it. Their names were Jakin and Lew — Piggy Lew and they were bold, bad drummer-boys, both of them frequently birched by the Drum-Major of the Fore and Aft.

So it’s democracy versus capitalism at this point, friends, and we out on this frontier outpost of the human world are perhaps better positioned than anyone else to see this and to fight this global battle, there’s empty land here, there’s scarce and nonrenewable resources here, and we’re going to get swept up into the fight and we cannot choose not to be part of it, we are one of the prizes and our fate will be decided by what happens throughout the human world. That being the case, we had better band together for the common good, for Mars and for us and for all the people on earth and for the seven generations, it’s going to be hard it’s going to take years, and the stronger we are the better our chances, which is why I’m so happy to see that burning meteor in the sky pumping the matrix of life into our world, and why I’m so happy to see you all here to celebrate it together, a representative congress of all that I love in this world, but look I think that steel-drum band is ready to play aren’t you” (shouts of assent) “so why don’t you folks start and we’ll dance till dawn and tomorrow scatter on the winds and down the sides of this great mountain, to carry the gift everywhere.

If these weren't the worst odds he had ever faced,they came damn close.Still, he sensed the wings of panic moving through the riders and thought he might have a decent enough chance. Thought but was destined never to know, for just then a great fluttering shattered the forest stillness,a sound somewhere between the howl of wind and the throb of drums.A terrible beating that grew louder and louder as the air thickened,becoming almost solid,and the men began to scream. Ravens filled the sky.They swarmed from the surrounding trees,darting at the riders,going for their eyes. Even as they did,out into the clearing before the lodge ran a band of stout little men, weirdly dressed,sporting long beards, and looking as though they had just crawled from beneath a bridge. They seized the bridles of the horses and whispered to the animals, causing them to rear so violently that the riders were tumbled from their saddles and fell one after another to the ground. The birds swooped lower, still attacking,as the men huddled,arms wrapped around their heads,thrashing frantically.Before Dragon's startled gaze,the little men loosed the horses and turned to go.One,who looked somehow familiar, gave him a cocky grin and waved. Friends in high places...and low.

But the intimate candor of their voices, the wit of the guitars and drums—it all makes Rubber Soul my favorite story they had to tell. Even the American version—this is the only case where the shamefully butchered U.S. LP might top the U.K. original, if only because it opens with the magnificent one-two punch of “I’ve Just Seen a Face” and “Norwegian Wood.” I still can’t decide which Rubber Soul is my favorite, having had a mere lifetime to make up my mind.

Expanding further on his own observations of Prince’s writing style(s) during the course of the album’s recording, fellow Paisley Park engineer Eddie Miller, who engineered the recording of ‘Electric Chair’ among other Prince recordings during the Batman era, recalled that “he would write all sorts of ways. I have to admit that I listened to some of his cassette demos that he would sometimes bring into the studio to reference (as I remember, he would hold the cassette player up to his ear, so you couldn’t really hear it.). They were fascinating. His cassette demo technique was extremely crude but ingenious—it’s like something you’d do if you had no access to any equipment. He’d use two cheap cassette recorders. If he wanted to hear drums, he’d record a human beat box rhythm for the length of the song—and most likely, he’d have the form of the song in his head while he was recording this. By the way, it was the same in the studio when he’d do his one man band approach to recording a song. He’d know the song in his head, and start out recording the drums for the song (it would essentially become the ‘click track’—the way a click track should be). Back to the cassette demo—he’d then play his beat box groove over the speaker on the cassette recorder and sing the bass line while recording all this onto the second cassette machine. He’d build up a rhythm track this way, and then add vocals. And there’s your demo.

Carl Franzoni perhaps summed it up best when he declared rather bluntly that, “the Byrds’ records were manufactured.” The first album in particular was an entirely engineered affair created by taking a collection of songs by outside songwriters and having them performed by a group of nameless studio musicians (for the record, the actual musicians were Glen Campbell on guitar, Hal Blaine on drums, Larry Knechtel on bass, Leon Russell on electric piano, and Jerry Cole on rhythm guitar), after which the band’s trademark vocal harmonies, entirely a studio creation, were added to the mix. As would be expected, the Byrds’ live performances, according to Barney Hoskyns’ Waiting for the Sun, “weren’t terribly good.” But that didn’t matter much; the band got a lot of assistance from the media, with Time being among the first to champion the new band. And they also got a tremendous assist from Vito and the Freaks and from the Young Turks, as previously discussed.

All right; let's go!" Trot decided. "But where's Button-Bright?" Just at this important moment Button-Bright was lost again, and they all scattered in search of him. He had been standing beside them just a few minutes before, but his friends had an exciting hunt for him before they finally discovered the boy seated among the members of the band, beating the end of the bass drum with the bone of a turkey-leg that he had taken from the table in the banquet room. "Hello, Trot," he said, looking up at the little girl when she found him. "This is the first chance I ever had to pound a drum with a reg'lar drum stick. And I ate all the meat off the bone myself.

The concerts went off as Concert for Bangladesh on August 1 (afternoon and evening shows), with Ringo Starr double-drumming next to Jim Keltner and an all-star band, including Billy Preston, Leon Russell, Klaus Voormann, Badfinger, and Eric Clapton. Reunion rumors evaporated the minute Harrison introduced Bob Dylan, who hadn’t performed widely in America since his motorcycle accident in 1966. Except for the Woody Guthrie memorial concert with the Band in 1968, Dylan hadn’t appeared on a New York stage since 1966, and he quickly upstaged everybody by reworking five songs that signaled a larger return to form. Once again, Harrison trumped expectations by bringing in a ringer.

those manufacturing companies: America! With our pocket money we bought flat packets of chewing gum, beautifully wrapped, that included a picture of a movie star – we collected those – and it all smelled strange and rosy: America! On short-wave radio an army station crackled into the room, with an announcer who might start talking right over a swing band: America! Lionel Hampton came to the Netherlands in September 1953 and his saxophonist lay on his back onstage and carried on playing. Hampton abandoned his vibraphone to play drums for a while and to do an improvised dance to ‘Hey-Ba-Ba-Re-Bop’. De Gelderlander, our provincial newspaper, wrote: ‘How vast must be the emptiness of those hearts that have lost any longing for values more exalted than those of Negro moaning.’ But

What was captured on tape sounded apocalyptic. 'Eruption' (first titled 'Guitar Solo,' according to the song’s track sheet), takes flight after a quick drum fill and a power chord. Edward sends notes and harmonics soaring before diving down with some gravity-defying tremolo bar bends. Alex and Michael then fire off a flak burst of three chords. Edward maneuvers again, twisting and turning, strafing and bombing before turning on the jets and heading skyward with a flurry of notes. He recedes again, leaving only a descending low note in his wake. After another pause, he attacks again, faster than ever. He weaves and twists and then unleashes his secret weapon: his two-handed tapping technique that would astound and confound guitarists across the world. Finally, an atomic blast, courtesy of Edward’s Univox echo chamber, concludes this minute and forty-three seconds of open warfare on the guitar world.

Almost a hundred years earlier, to the day, Samuel Smiles had written the final pages of his book Self-Help. It included this moving tale of heroism as an example for the Victorian Englishman to follow. For the fate of my great-grandfather, Walter, it was poignant in the extreme. The vessel was steaming along the African coast with 472 men and 166 women and children on board. The men consisted principally of recruits who had been only a short time in the service. At two o’clock in the morning, while all were asleep below, the ship struck with violence upon a hidden rock, which penetrated her bottom; and it was at once felt that she would go down. The roll of the drums called the soldiers to arms on the upper deck, and the men mustered as if on parade. The word was passed to “save the women and children”; and the helpless creatures were brought from below, mostly undressed, and handed silently into the boats. When they had all left the ship’s side, the commander of the vessel thoughtlessly called out, “All those that can swim, jump overboard and make for the boats.” But Captain Wright, of the 91st Highlanders, said, “No! If you do that, the boats with the women will be swamped.” So the brave men stood motionless. Not a heart quailed; no one flinched from his duty. “There was not a murmur, nor a cry among them,” said Captain Wright, a survivor, “until the vessel made her final plunge.” Down went the ship, and down went the heroic band, firing a volley shot of joy as they sank beneath the waves. Glory and honor to the gentle and the brave! The examples of such men never die, but, like their memories, they are immortal. As a young man, Walter undoubtedly would have read and known those words from his grandfather’s book. Poignant in the extreme. Indeed, the examples of such men never die, but, like their memories, they are immortal.

The whole brigade took a queer, perverse pride in the regimental band of the 6th Wisconsin—not because it was so good, but because it was so terrible. It was able to play only one selection, something called “The Village Quickstep,” and its dreadful inefficiency (the colonel referred to it in his memoirs as “that execrable band”) might have been due to the colonel’s quaint habit of assigning men to the band not for musical ability but as punishment for misdemeanors—or so, at least, the regiment stoutly believed. The only good thing about the band was its drum major, one William Whaley, who was an expert at high and fancy twirling of his baton. At one review, in camp around Washington, the brigade had paraded before McClellan, who had been so taken with this drum major’s “lofty pomposity” (as a comrade described it) that he took off his cap in jovial salute—whereupon the luckless Whaley, overcome by the honor, dropped his baton ignominiously in the mud, so that his big moment became a fizzle.4

Hang on, Levon,” said Elf. “Hang on. Are you saying you want to sack Griff because his brother just died in a horrific car crash and he’s too full of grief to play? Seriously?” “I am laying out the facts. Because somebody has to. Or there is no band. Of course we give Griff time. Of course. But you heard Griff. You saw him. It is entirely possible he won’t be back.” “Drummers like Griff don’t grow on trees,” said Elf. “You think I don’t know that?” asked Levon. “I chose him! But a drummer who can’t drum isn’t a drummer. Jasper. Speak.” Jasper drew a spiral on the steamy glass. “Eight days.” “Speak English, not Cryptic Crossword. Please. I have a headache as big as East Anglia.” “My Dutch grandfather used to say, ‘If you don’t know what to do, do nothing for eight days.’ ” Dean asked, “Why eight?” “Less than eight is haste. More than eight is procrastination. Eight days is long enough for the world to shuffle the deck and deal you another hand.” Without warning, the train shuddered into motion. The passengers raised a weary ironic cheer.

Jolly Marchers by Maisie Aletha Smikle Dam Dam Didley Doe Dee Daw Didley Doe Dee Dam Doe Fa So La Ti Doe Animals in a row Prancing as they go Jiggling and Wiggling Tails and head bobbing Mice on drums Elephants on flute Zebras blare the trumpets Squirrels blow trombones Skunks get funky on clarinets Bees on violins Hogs on guitar Parrots and crickets sing Aha Aha Vultures cheer Mosquitoes twirl Wings clapping and flapping Heads go up and down bobbing Marching and skanking Rocking and bobbing Wiggling and singing Dee Daw Didley Doe This is not a circus There are no clowns There is not a palace There are no crowns On and on they go Monkeys in tow Tigers in bow Onlookers stare and glow Donkey takes the podium As conductor of the band Waving his marching wand The band comes to a stand Mule takes a stool And sits in the cool They have reached the bend Where the march ends The ants were nesting So they missed the fest Some got on tambourines And insist they must join in The ants jiggle and wiggle Some play the fiddle Dancing and singing Didley Dam Didley Doe

Perjuangan Remaja Bontang Menggapai 12 menit sebagai Sejarah. Melihat judul buku 12 menit. Tentu kita sudah dibawa pertanyaan, apakah maksud dari 12 menit itu. Tentu banyak arti dengan 12 menit ini. Tapi dalam novel ini digambarkan 12 menit harus diraih dengan syarat yang tidak mudah, melalui pengorbanan yang tidak sedikit. Perjuangan keras para generasi remaja bontang untuk meraih kesuksean. Bisa dibilang, 12 menit ini awal dari sejarah besar untuk kota kecil di Kalimantan Timur. Sebuah novel fiksi yang syarat dengan makna, yang patut di miliki oleh semua golongan usia. Novel karya Oka Aorora dengan tebal 343 halaman menggambarkan bagaimana sebuah kesuksesan tidak dapat diraih dengan instan, tetapi harus dengan perjuangan yang sangat keras. Apapun resiko yang dihadapi, menyulutkan semangat baja yang tidak mengenal rasa takut, lelah, dan tekat harus terus di pupuk agar lebih subur. Cara pengarang mendiskripsikan tokoh dalam cerita ini sungguh unik. Terdapat 4 tokoh yang digambarkan dalam novel ini. Seperti Rene, pelatih alumni sebuah universitas di Amerika memiliki karakter yang sangat kuat, disiplin tinggi, keras, tapi juga lembut hatinya, ini digambarkan bagaimana dia mempertahankan satu persatu tim nya yang mengalami down dan masalah pelik dalam latihan. Dia juga tidak segan-segan meminta maaf kepada anak dididiknya ketika dia merasa bersalah. Tokoh kedua adalah Elaine. Putri semata wayang dari bos besar sebuah perusahaan yang dikenal sangat cerdas, berbakat dan dianugrahi perawakan yang elok. Dia mempunyai sifat ramah, yang pada akhirnya bagaimana dia harus bisa meyakinkan ayahnya untuk ikut menyutujui pilihan hidupnya. Tara gadis berjilbab yang pawai bermain drum ini memiliki keterbatasan pada pendengarannya. Sehingga untuk mendengar diperlukan alat bantu khusus. Bagaimana perjuangannya untuk bisa bangkit dari trauma masa lalu saat terjadi kecelakaan yang mengakibatkan ayah yang dicintainya pergi untuk selamanya, selain itu akibat lain dia harus kehilangan 80% dari pendengarannya. Lahang, seorang pemuda dari pesisir pantai yang berusaha mewujudkan mimipi almh. Ibunya untuk bisa melihat monas, tetapi dia dihadapakan pada pilihan paling sulit antara mimpinya atau menemani ayahnya yang sakit kanker otak stadium lanjut. Semua tokoh dalam novel ini dikemas dengan sangat apik dan ringan, sehingga ketika kita membacanya, pembaca seolah-olah ikut merasakan beban dan sulitnya hidup yang dialami oleh tokoh-tokoh tersebut. Bahasa yang digunakan pun sangat sederhana, dan mudah di pahami oleh pembaca, tidak njilmet, tetapi bisa memberi kobaran api yang menyala besar. Kelebihan dalam novel ini ke 4 tokoh memiliki karakter yang sama, yaitu keinginan yang kuat untuk membawa marching band bontang pupuk Kalimantan timur menjadi juara umum di GMPB. Terwujudkah mimpi anak negeri terpencil itu?Dreaming is believing. Meski harus dilalui dengan jerih payah tim yang luar biasa. Perbedaan masalah setiap tokoh membawa mereka pada jalan keberhasilan, penulis menggambarkan bagaimana seorang rene yang tidak hanya menjadi pelatih di lapangan. Tetapi dia bisa sebagai sahabat, saudara untuk tempat bercerita. Semisal ketika dia membantu Elaine mengalami dilema diantara dua pilhan antara mengikuti olimpiade fisika, atau terus berjuang dimarching band, dan perjuangannya menghadapi larangan keras dari ayahnya. Tara seorang gadis pendiam yang hampir berputus asa dan sempat keluar dari tim inti. Tetapi rene sebagai pelatih tidak tinggal diam, di semangati tara dan dibantu kakek neneknya, akhirnya membawa tara kembali dan meraih keberhasilan. Lahang pemuda dengan persolan pelik, ayahnya menderita sakit yang parah. Rene sempat menawarkan bantuan tetapi ditolaknya, ketika perjuangan tinggal selangkah lagi dia hampir putus asa karena ayahnya telah pergi ke Rahmatulloh. Kata-kata dari Rene meyakinkan lahang utnuk terus berjuang meski peri

Fifteen years had passed since I first learned to improvise by copying George Shearing records. From the beginning, the goal was to move beyond imitation and find my own voice, and I felt that that was finally happening. Miles had been the guiding light to my growth, encouraging all of us in the band to develop our own styles of playing, and during my five and a half years in the quintet I did start to develop my own sound. But it wasn’t until I got out on my own that I felt I could really explore it. Now that I had my own sextet, I started thinking analytically about what actually goes on within a jazz group. At every moment onstage players are making choices, and each choice affects every other member of the group. So each player has to be prepared to change directions at any given moment—just as Miles did when I played that “wrong” chord onstage a few years earlier. Everybody in a jazz ensemble has learned the basic framework of harmony and scales and how they fit. They know the basic song structure of having the rhythm section—piano, bass, and drums—playing together while the horns carry the melody. But apart from those basics, jazz is incredibly broad. There are really uncountable ways of playing it. For the pianist alone there are so many choices to make: what pitch, how many notes, whether to play a chord or a line. I have ten fingers, and they’re in motion almost all the time, so all of those decisions must happen in an instant. I’m reacting to what the rest of the band is playing, but if I’m only reacting, then I’m not really making a choice; I’m just getting hit and being pushed along. Acting is making a choice, so all the players must be ready to act as well as react. The players have to be talented enough, and confident enough, to do both. I had watched Miles surround himself with amazing musicians and then give them the freedom to act.

The Unknown Soldier A tale to tell in bloody rhyme, A story to last ’til the dawn of end’s time. Of a loving boy who left dear home, To bear his countries burdens; her honor to sow. –A common boy, I say, who left kith and kin, To battle der Kaiser and all that was therein. The Arsenal of Democracy was his kind, –To make the world safe–was their call and chime. Trained he thus in the far army camps, Drilled he often in the march and stamp. Laughed he did with new found friends, Lived they together for the noble end. Greyish mottled images clipp’ed and hack´ed– Black and white broke drum Ʀ…ɧ..λ..t…ʮ..m..ȿ —marching armies off to ’ttack. Images scratched, chopped, theatrical exaggerate, Confetti parades, shouts of high praise To where hell would sup and partake with all bon hope as the transport do them take Faded icons board the ship– To steel them away collaged together –joined in spirit and hip. Timeworn humanity of once what was To broker peace in eagles and doves. Mortal clay in the earth but to grapple and smite As warbirds ironed soar in heaven’s light. All called all forward to divinities’ kept date, Heroes all–all aces and fates. Paris–Used to sing and play at some cards, A common Joe everybody knew from own heart. He could have been called ‘the kid’ by the ‘old man,’ But a common private now taking orders to stand. Receiving letters from his shy sweet one, Read them over and over until they faded to none. Trained like hell with his Commander-in-Arms, –To avoid the dangers of a most bloody harm. Aye, this boy was mortal, true enough said, He could be one of thousands alive but now surely dead. How he sang and cried and ate the gruel of rations, And grumbled as soldiers do at war’s great contagions. Out–out to the battle this young did go, To become a man; the world to show. (An ocean away his mother cried so– To return her boy safe as far as the heavens go). Lay he down in trenched hole, With balls bursting overhead upon the knoll. Listened hardnfast to the “Sarge” bearing the news, —“We’re going over soon—” was all he knew. The whistle blew; up and over they went, Charging the Hun, his life to be spent (“Avoid the gas boys that’ll blister yer arse!!”). Running through wires razored and deadened trees, Fell he into a gouge to find in shelter of need (They say he bayoneted one just as he–, face to face in War’s Dance of trialed humanity). A nameless sonnuvabitch shell then did untimely RiiiiiiiP the field asunder in burrrstzʑ–and he tripped. And on the field of battle’s blood did he die, Faceless in a puddle as blurrs of ghosting men shrieked as they were fleeing by–. Perished he alone in the no man’s land, Surrounded by an army of his brother’s teeming bands . . . And a world away a mother sighed, Listened to the rain and lay down and cried. . . . Today lays the grave somber and white, Guarded decades long in both the dark and the light. Silent sentinels watch o’er and with him do walk, Speak they neither; their duty talks. Lone, stark sentries perform the unsmiling task, –Guarding this one dead–at the nation’s bequest. Cared over day and night in both rain or sun, Present changing of the guard and their duty is done (The changing of the guard ’tis poetry motioned A Nation defining itself–telling of rifles twirl-clicking under the intensest of devotions). This poem–of The Unknown, taken thus, Is rend eternal by Divinity’s Iron Trust. How he, a common soldier, gained the estate Of bearing his countries glory unto his unknown fate. Here rests in honored glory a warrior known but to God, Now rests he in peace from the conflict path he trod. He is our friend, our family, brother, our mother’s son –belongs he to us all, For he has stood in our place–heeding God’s final call.

I stepped back suddenly, snapping the band of energy that had seemed to be drawing me closer to her as I unbuckled my belt and unbuttoned my fly. “What are you doing?” she gasped, staring at me as I dropped my jeans, knocking my boxers off with them and letting her get a good eyeful of the full length of my cock. Her gaze stayed glued on it and blood began to rush that way at the feeling of her attention, like that part of me still hadn't agreed to my decision to have nothing more to do with her beyond making sure she left this place. I gritted my teeth as my dick continued to get all kinds of ideas about the things it could do with her if I just made her bow for me now and I tried not to let my gaze linger on her mouth while I considered how much I'd like to fuck it. “When you stop eye-fucking me I’ll show you what you’re so desperate to know,” I mocked, forcing her attention back up to my face and earning myself a scowl. “People don’t tend to whip their junk out in the middle of a conversation,” she snapped like she was pissed at me for it. “So if you didn’t want me catching an eyeful of little Darius then you shouldn’t have brought him into our discussion.” I released a breath of laughter before I could help myself, my mind and dick wandering down all kinds of out of bounds roads as I gave myself two seconds to consider whether or not I could convince her to bow for me after all. I leaned closer to her as she scowled back, but her breaths were speeding up and her pupils were wide with what I could have sworn was desire of her own. I wanted that. I wanted it more than I could say and it was so fucking tempting to just step forward, catch her by the back of the neck and kiss her roughly until she gave in and bowed to me the way I ached for her to. I could see it in her eyes. The temptation despite the hatred and I wanted to hate fuck her so much that I almost took that final step. But as my own pulse thundered like a war drum in my ears, I knew it wouldn't be so simple. One taste of her and I'd be addicted. And I couldn't afford that no matter how tempting a sin she might have been. “If you come to my room uninvited again then it had better be because you’re ready to bow to us or to beg me to bend you over that headboard and make you scream my name,” I said with all the confidence I felt in knowing that she was getting as wet for me as I was getting hard for her. She pressed herself back against my door, her thighs clenching together like she was trying to fight her reaction, but I felt it humming in the air between us no matter how deeply she scowled. (Darius POV)

What do you call an evil leader digging a hole? Darth Spader   What do you call Obi Wan eating crunchy toast? Obi Crumb   What do call a padawan who likes to play computer games? i'Pad' me   What do you call a starship pilot who likes to drink cocoa? Han Coco   What starship is always happy to have people aboard? The Millennium Welcome   What did Yoda say to Luke while eating dinner? Use the fork Luke.   What do you call a Sith who won't fight? A Sithy.   Which Star Wars character uses meat for a weapon instead of a Lightsaber? Obi Wan Baloney.   What do call a smelly droid? R2DPOO   What do call a droid that has wet its pants? C3PEE0   What do you call a Jedi who loves pies? Luke PieWalker?   What do call captain Rex when he emailing on a phone? Captain Text   What evil leader doesn’t need help reaching? Ladder the Hutt   What kind of evil lord will always say goodbye? Darth Later   Which rebel will always win the limbo? Han LowLow   What do you call R2D2 when he’s older? R2D3   What do you call R2D2 when he’s busting to go to the toilet? R2DLoo   What do call Padme’s father? Dadme   What’s do you call the Death Star when its wet? The Death Spa   What do call R2D2 when he climbs a tree? R2Tree2   What do you say a Jedi adding ketchup to his dinner? Use the sauce Luke.   What star wars baddy is most likely to go crazy? Count KooKoo   What do call Count Dooku when he’s really sad? Count Boohoo   Which Jedi is most likely to trick someone? Luke Liewalker   Which evil lord is most likely to be a dad? Dadda the Hutt   Which rebel likes to drink through straws? Chew Sucker   Which space station can you eat from? The Death bar   What do call a moody rebel? Luke Sighwalker   What do you call an even older droid R2D4   What do call Darth Vader with lots of scrapes? Dearth Grazer   What call an evil lord on eBay? Darth Trader   What do call it when an evil lord pays his mum? Darth Paid-her   What do call an evil insect Darth Cicada   What sith always teases? General Teasers   Who's the scariest sith? Count Spooko   Which sith always uses his spoon to eat his lunch Count Spoonu   What evil lord has lots of people living next door? Darth Neighbour   What Jedi always looks well dressed? Luke TieWalker   Which evil lord works in a restaurant? Darth waiter   What do you call a smelly storm trooper? A storm pooper   What do you call Darth Vader digging a hole? Darth Spader   What do you C3PO wetting his pants? C3PEE0   What do you call Asoka’s pet frog? Acroaka   What do you call a Jedi that loves pies? Luke Piewalker   What rebel loves hot drinks? Han Coco   What did Leia say to Luke at the dinner table? Use the fork Luke.   What do call Obi Wan eating fruit? Obi plum   What do you call Obi in a band? Obi Drum   What doe Luke take out at night? A Night Sabre   What is the favourite cooking pot on Endor? The e Wok

He loves you,’ I said, and smoothed the tumbled hair off her flushed face. ‘He won’t stop.’ I got up, brushing yellow leaves from my skirt. ‘We’ll have a bit of time, then, but none to waste. Jamie can send word downriver, to keep an eye out for Roger. Speaking of Roger …’ I hesitated, picking a bit of dried fern from my sleeve. ‘I don’t suppose he knows about this, does he?’ Brianna took a deep breath, and her fist closed tight on the leaf in her hand, crushing it. ‘Well, see, there’s a problem about that,’ she said. She looked up at me, and suddenly she was my little girl again. ‘It isn’t Roger’s.’ ‘What?’ I said stupidly. ‘It. Isn’t. Roger’s. Baby,’ she said, between clenched teeth. I sank down beside her once more. Her worry over Roger suddenly took on new dimensions. ‘Who?’ I said. ‘Here, or there?’ Even as I spoke, I was calculating – it had to be someone here, in the past. If it had been a man in her own time, she’d be farther along than two months. Not only in the past, then, but here, in the Colonies. I wasn’t planning to have sex, she’d said. No, of course not. She hadn’t told Roger, for fear he would follow her – he was her anchor, her key to the future. But in that case – ‘Here,’ she said, confirming my calculations. She dug in the pocket of her skirt, and came out with something. She reached toward me, and I held out my hand automatically. ‘Jesus H. Roosevelt Christ.’ The worn gold wedding band sparked in the sun, and my hand closed reflexively over it. It was warm from being carried next to her skin, but I felt a deep coldness seep into my fingers. ‘Bonnet?’ I said. ‘Stephen Bonnet?’ Her throat moved convulsively, and she swallowed, head jerking in a brief nod. ‘I wasn’t going to tell you – I couldn’t; not after Ian told me about what happened on the river. At first I didn’t know what Da would do; I was afraid he’d blame me. And then when I knew him a little better – I knew he’d try to find Bonnet – that’s what Daddy would have done. I couldn’t let him do that. You met that man, you know what he’s like.’ She was sitting in the sun, but a shudder passed over her, and she rubbed her arms as though she was cold. ‘I do,’ I said. My lips were stiff. Her words were ringing in my ears. I wasn’t planning to have sex. I couldn’t tell … I was afraid he’d blame me. ‘What did he do to you?’ I asked, and was surprised that my voice sounded calm. ‘Did he hurt you, baby?’ She grimaced, and pulled her knees up to her chest, hugging them against herself. ‘Don’t call me that, okay? Not right now.’ I reached to touch her, but she huddled closer into herself, and I dropped my hand. ‘Do you want to tell me?’ I didn’t want to know; I wanted to pretend it hadn’t happened, too. She looked up at me, lips tightened to a straight white line. ‘No,’ she said. ‘No, I don’t want to. But I think I’d better.’ She had stepped aboard the Gloriana in broad daylight, cautious, but feeling safe by reason of the number of people around; loaders, seamen, merchants, servants – the docks bustled with life. She had told a seaman on the deck what she wanted; he had vanished into the recesses of the ship, and a moment later, Stephen Bonnet had appeared. He had on the same clothes as the night before; in the daylight, she could see that they were of fine quality, but stained and badly crumpled. Greasy candle wax had dripped on the silk cuff of his coat, and his jabot had crumbs in it. Bonnet himself showed fewer marks of wear than did his clothes; he was fresh-shaven, and his green eyes were pale and alert. They passed over her quickly, lighting with interest. ‘I did think ye comely last night by candlelight,’ he said, taking her hand and raising it to his lips. ‘But a-many seem so when the drink is flowin’. It’s a good deal more rare to find a woman fairer in the sun than she is by the moon.

I have no musical talent. My clarinet sounded like an apoplectic yak. For the brief days I blew the trumpet, a hostile-sounding pig snorted along in jerky fits and starts with the rest of the irritated band. I never knew when a sound was actually going to come out of the horn and it always startled me when it did. My violin unleashed a trio of enraged, tone-deaf banshees, and I couldn’t blow the flute well enough to make any more sound than with my lower lip on a soda bottle. Something about the pucker eluded me. The drums turned my arms into a pretzel-prison from which there was no escape. I would have given the tambourine a try—I really think I might have excelled at the hip-bump—but sadly the instrument wasn’t offered at my school. I think that’s why I love my iPod so much. I have music in my soul and can’t get it out.

The movie has Marty say "blues riff in B" and then WHAM, the entire band is playing Johnny B. Goode like they've done so for years.  It's amazing, and as a kid, I spent a lot of time trying to figure this out.  How was it possible that everyone knew what notes to play and when to come in??  The backup guitar and drums both hit a beat at the beginning of the song without any communication whatsoever.

The 1960s were over. Most of the people in the band had stopped taking acid regularly. We were now onto cocaine and other stuff. Welcome to American life in the 1970s.

Peter Minuit Plaza near the Staten Island Ferry terminal. Still, most have no idea that he was the Dutchman who purchased the famous island from the Canarsee band of Indians of the Algonkuin-Delaware Federation in 1626 for $24, beads and chatskas. It would be a story of how a white man got the island for a bargain from the unsuspecting Indian tribe. Details may prove otherwise. A hasty note in a logbook was the only evidence of the sale and the British who came after the Dutch never received official documentation of the transaction; but according to Canarsee legend, there was never a sale. The Indians leased the land to Minuit for $2.40 per year and received an advance payment of twenty-four dollars for the first ten years. Compounded annually at 7.5%, the city of New York owed the Canarsee Indians about seven trillion dollars in back rent.

The band was in great spirits for the recording of In the Dark. If you ever want to resubscribe to the good life, try recovering from a coma. It will put the spring back in your step.

My attention was temporarily thrown off course, because of the possibly decent band name. Hot Underwear: Jesus the Thong Burglar on guitar and vox, Hellerman Schmellerman on bass and vox, “Phil Rudd” on drums, first album Wet and Loaded. The album cover possibilities alone would … But I digress.

Kokomo Aruba, Jamaica, ooh I want to take ya Bermuda, Bahama, come on pretty mama Key Largo, Montego, baby why don't we go, Jamaica Off the Florida Keys, there's a place called Kokomo That's where you want to go to get away from it all Bodies in the sand, tropical drink melting in your hand We'll be falling in love to the rhythm of a steel drum band Down in Kokomo [Chorus] Aruba, Jamaica, ooh I want to take you to Bermuda, Bahama, come on pretty mama Key Largo, Montego, baby why don't we go Ooh I want to take you down to Kokomo, we'll get there fast and then we'll take it slow That's where we want to go, way down in Kokomo. Martinique, that Montserrat mystique We'll put out to sea and we'll perfect our chemistry And by and by we'll defy a little bit of gravity Afternoon delight, cocktails and moonlit nights That dreamy look in your eye, give me a tropical contact high Way down in Kokomo [Chorus] Port au Prince, I want to catch a glimpse Everybody knows a little place like Kokomo Now if you want to go and get away from it all Go down to Kokomo [Chorus] Aruba, Jamaica, ooh I want to take you to Bermuda, Bahama, come on pretty mama Key Largo, Montego, baby why don't we go Ooh I want to take you down to

Wings had become a formidable live band, in which Seiwell’s fluid drumming and Henry’s sleek lead playing were crucial. Paul was dying to tour Australia and America, huge markets for both the Beatles and himself, but he held off until Wings were ready. At the end of the British tour, they were. And then they were gone, just as he was about to record a hit album to take on tour.

There are quiet places also in the mind,' he said, meditatively. 'But we build bandstands and factories on them. Deliberately - to put a stop to the quietness. We don't like the quietness. All the thoughts, all the preoccupations in my head - round and round, continually.' He made a circular motion with his hand. 'And the jazz bands, the music hall songs, the boys shouting the news. What's it for, what's it all for? To put an end to the quiet, to break it up and disperse it, to pretend at any cost is isn't there. Ah, but is is, it is there, in spite of everything, at the back of everything. Lying awake at night, sometimes - not restlessly, but serenely, waiting for sleep - the quiet reestablishes itself, piece by piece; all the broken bits, all the fragments of it we've been so busily dispersing all day long. It re-establishes itself, an inward quiet, like this outward quiet of grass and trees. It fills one, it grows - a crystal quiet, a growing expanding crystal. It grows, it becomes more perfect; it is beautiful and terrifying, yes, terrifying, as well as beautiful. For one's alone in the crystal and there 's no support from outside, there's nothing external and important, nothing external and trivial to pull oneself up by or stand on, superiorly, contemptuously, so that one can look down. There's nothing to laugh at or feel enthusiastic about. But the quiet grows and grows. Beautifully and unbearably. And at last you are conscious of something approaching; it is almost a faint sound of footsteps. Something inexpressibly lovely and wonderful advances through the crystal, nearer, nearer. And, oh, inexpressibly terrifying. For if it were to touch you, if it were to seize and engulf you, you'd die; all the regular, habitual, daily part of you would die. There would be an end of bandstands and whizzing factories, and one would have to begin living arduously in the quiet, arduously in some strange unheard-of manner. Nearer, nearer come the steps; but one can't face the advancing thing. One daren't. It's too terrifying, it's too painful to die. Quickly, before it is too late, start the factory wheels, bang the drum, blow the saxophone. Think of the women you'dl like to sleep with, the schemes for making money, the gossip about your friends, the last outrage of the politicians. Anything for a diversion. Break the silence, smash the crystal to pieces. There, it lies in bits; it is easily broken, hard to build up and easy to break. And the steps? Ah, those have taken themselves off, double quick. Double quick, they were gone at the first flawing of the crystal. And by this time the lovely and terrifying thing is three infinities away, at least. And you lie tranquilly on your bed, thinking of what you'd do if you had ten thousand pounds and of all the fornications you'll never commit.' He thought of Rosie's pink underwear.

I looked toward the small vent in the corner of the ceiling through which the music entered my cell. The source must have been far away, for it was just a faint stirring of notes, but when I closed my eyes, I could hear it more clearly. I could... see it. As if it were a grand painting, a living mural. There was beauty in the music- beauty and goodness. The music folded over itself like batter being poured from a bowl, one note atop another, melting together to form a whole, rising, filling me. It wasn't wild music, but there was a violence of passion in it, a swelling kind of joy and sorrow. I pulled my knees to my chest, needing to feel the sturdiness of my skin, even with the slime of the oily paint upon it. The music built a path, an ascent founded upon archways of colour. I followed it, walking out of that cell, through layers of earth, up and up- into fields of cornflowers, past a canopy of trees, and into the open expanse of sky. The pulse of the music was like hands that gently pushed me onward, pulling me higher, guiding me through the clouds. I'd never seen clouds like these- in their puffy sides, I could discern faces fair and sorrowful. They faded before I could view them too clearly, and I looked into the distance to where the music summoned me. It was either a sunset or a sunrise. The sun filled the clouds with magenta and purple, and its orange-gold rays blended with my path to form a band of shimmering metal. I wanted to fade into it, wanted the light of that sun to burn me away, to fill me with such joy that I would become a ray of sunshine myself. This wasn't music to dance to- it was music to worship, music to fill in the gaps of my soul, to bring me to a place where there was no pain. I didn't realise I was weeping until the wet warmth of a tear splashed upon my arm. But even then I clung to the music, gripping it like a ledge that kept me from falling. I hadn't realised how badly I didn't want to tumble into that deep dark- how much I wanted to stay here among the clouds and colour and light. I let the sounds ravage me, let them lay me flat and run over my body with their drums. Up and up, building to a palace in the sky, a hall of alabaster and moonstone, where all that was lovely and kind and fantastic dwelled in peace. I wept- wept to be so close to that palace, wept for the need to be there. Everything I wanted was there- the one I loved was there- The music was Tamlin's fingers strumming my body; it was the gold of his eyes and the twist of his smile. It was that breathy chuckle, and the way he said those three words. It was this I was fighting for, this I had sworn to save. The music rose- louder, grander, faster, from wherever it was played- a wave that peaked, shattering the gloom of my cell. A shuddering sob broke from me at the sound faded into silence. I sat there trembling and weeping, too raw and exposed, left naked by the music and the colour in my mind.

The band members were doing what they could to make ends meet: Hidalgo and Pérez took work as instructors at Plaza de la Raza, the East L.A. center for arts and education, while Lozano worked as a teaching assistant at Hollenbeck Junior High in Boyle Heights. At one point around this time, jobs became so scarce that, at the behest of Mike Gonzalez, a former member of Rosas’s band Fast Company, they worked as strolling musicians, in full mariachi garb, drumming up business for a new restaurant by performing Mexican tunes on the mall at the Music Center in downtown L.A. A picture of the group from this era shows them looking stiff and distinctly uncomfortable in their matching embroidered black suits.

Building a product is like making a song. The band is composed of marketing, sales, engineering, support, manufacturing, PR, legal. And the product manager is the producer—making sure everyone knows the melody, that nobody is out of tune and everyone is doing their part. They’re the only person who can see and hear how all the pieces are coming together, so they can tell when there’s too much bassoon or when a drum solo’s going on too long, when features get out of whack or people get so caught up in their own project that they forget the big picture.

We prayed for seven days. But, by the last day, we still needed more days to pray. On the first day we prayed well by the well. We prayed for strength and to be saved from hell. Strength to carry and bear the weight of the bear. The furless bear that was living rent-free within. On the second day we prayed for union and companionship. In that unionship, some told us to alter ourselves to benefit from their gold. Some told us to worship at their alter, and to their forbidden gods. Some gave us bands, while some gave us rose stems. But they all promised us a life full of bliss, and concerts to see bands like Kiss. On the third day we prayed for courage and strength. We thought that we needed to lean on to some friends. We begged to rest our lean bodies on their shoulders. We said that we needed a match in which we could meet our match. We asked for a cover to cover up and shield us; providing a shield from the storms of life. On the fourth day we prayed for assertiveness and self-esteem. But, like a bow without its own direction, we jumped as high as they told us. And gave a bow after each and every performance. We skipped and hopped for everyone despite their lies. In fact, we also skipped all the steps necessary to living full lives. On the fifth day we prayed for security and protection. But some betrayed and beat us because we intimidated their situation. And some became deadbeats to the children that we bore for each. We were left beat, with no fun. Missing the beat to the sound of our own drum. On the sixth day we prayed for solitude; some space from an alliance. But we went on to perform for this and that audience. Some were fair skinned; some were dark skinned. Some were fair to us, while some were cruel too much. But we remained amongst them because we chose to be one with copendence. On the seventh day we prayed for bravery. But our conduct had changed gravely because, for six days, we'd invited others to conduct our song. We'd geared up for them and shot arms at ourselves for so long. Meanwhile they'd raised their arms up, cheering for our self-destruction. And, once we were doomed in their mission, they bounced like a wave; vanishing without a wave.

Ian Stanley: “We got a Prophet-5 in ’84, for the band, you know, me and Roland Orzabal. And the big story is that, you know, when you first buy a keyboard or you try it out in the shop or whatever it is, it can either inspire you or not. Pretty immediately, you’d either go, this is great, or not. And I think we bought the Prophet-5, we ordered it, and Roland took it back to his house and the next day he phoned me up and said, ‘Come and listen to this.’ So I went down to his house and he played me ‘Shout’, the bass line, which is the drone all the way through the song, and the middle bit, which was all Prophet-5. So he just had a drum machine and the Prophet-5. You know, that was a major turning point in our career. Because ‘Shout’ went on to become number one in 20-odd countries. These things, you get inspired by the sound of it, and it was purely this bass-note drone that created the whole song.

Apocalyptic Negroes in a stream Of moving torches, marching from the slums, Beating a band of garbage pails for drums, Marching, with school-age children in their arms, Advancing on the suburbs and the farms, To integrate the schools and burn the houses...

The offensive bloke hit the floor with a thud, and nearby couples hastily retreated from the arena of a threatened punch-up. Whatever ideas the bloke had about fighting his corner disappeared when he took in James’s tall, firm-bodied figure and the look on his face. He scrambled to his feet, mouthed the kind of language he hadn’t known during his brief time as an innocent child and lost himself in the crowd. Cathy’s eyes shone like those of a maiden delivered from evil by a white knight. Even in this day and age, many centuries distant from the heroics of King Arthur’s gallant band, a girl delivered from a lout could experience a moment of dreamlike fantasy. ‘James, oh, thanks,’ she said as he took her arm and led her to the refreshment bar where coffee and soft drinks could be bought. ‘Well, I couldn’t take you back to your Aunt Marie looking as if you’d lost a fight for the honour of your bodice,’ said James. ‘My what?’ said Cathy. ‘It happens a lot in modern novels,’ said James. ‘Old Aunt Victoria devours them, but says they shouldn’t be allowed.’ Cathy laughed, gave him an impulsive hug of gratitude for his act of delivery, and said, ‘Yes, they’re called bodice-rippers. Aunt Marie also enjoys them.’ ‘Good reading on a wet day, I should think,’ said James as the band swung into a new number and the dancing feet of a few hundred teenagers gave the floor another drumming. ‘Have a banana.’ ‘Banana?’ ‘I meant coffee or Coke.’ ‘Coffee,

Grant read my book, and he said it was good! A tiny parade marches through my chest, filled with baton-throwing, tutu-clad dancers, people on floats throwing confetti, a full marching band with tubas and bass drums, and not a clown car in sight. Those are creepy and nothing about this moment feels the least bit creepy. Grant read my book. A sigh of contentment softly blows through my nose, and my grin feels like the first taste of summer after a long year of sitting in a stuffy classroom. Grant read my book. I sigh. Is this what swooning feels like?

Ron struggled out of a weird fever dream that roiled away to nothing but a strange, sick feeling. Someone was knocking at their door. Tommy was shaking the sleep out of his head, too. Outside, it was still dark, and the rain drummed down like Marky Ramone had sent it." John Goodrich, Tribute Band.

By 1982, the synth had become so pervasive that it became the subject of a dispute initiated by the central London branch of the Musicians’ Union. When Barry Manilow toured the UK in January, he used synths to simulate the orchestral sounds of a big band, after which the union passed a motion to ban the use of synths, drum machines and any electronic devices ‘capable of recreating the sounds of conventional musical instruments’. They were particularly concerned about the possible effect on West End theatrical productions, imagining orchestra pits full of ‘technicians’ instead of musicians.

Even all these years later, don’t expect Chris to start hijacking Vampire Weekend concerts by launching into twenty-minute drum solos. That’s fine for some, but as Chris says: “I always felt if a show went by and I was not particularly noticed, that was a successful show for me. I feel like it’s almost cooler and more badass as a drummer to be ego-less about it. It’s not about showing off. It’s about serving totally the band context and the song.” So what can a business leader learn from the drummer of Vampire Weekend? A lot, it turns out. Because every leader has to create a cultural drumbeat for their company—one that can, in Chris’s words, get the whole band in sync. A great leader’s drumbeat doesn’t force people to follow them; it inspires them to want to move in the same direction.

Jeffrey Foskett, a member of The Beach Boys’ band, is also hanging out and joins Papa onstage for a few songs. He sings “Lucille” and “Roll Over Beethoven.” I can’t believe the range this guy has. He hits high notes with an easy, effortless falsetto that soars above the music, as only a young Brian Wilson could. His control, range, power, and versatility make him a true master and leave a lasting impression on anyone who hears him, especially me. I play drums that night with an intensity and passion that I have never tapped into.

Building a product is like making a song. The band is composed of marketing, sales, engineering, support, manufacturing, PR, legal. And the product manager is the producer—making sure everyone knows the melody, that nobody is out of tune and everyone is doing their part. They’re the only person who can see and hear how all the pieces are coming together, so they can tell when there’s too much bassoon or when a drum solo’s going on too long,

However, there were risks in doing this. If there was a lot of drum “leakage”—if the sound of the drummer could be heard on the vocal mic—then every time you made the singer louder to hear a lyric better, the drums would inevitably get louder too. But isolation, which was the solution to this problem, often meant that we later found it hard to play together live. A band would go from being a tight unit to a chaotic mess.

He moved behind her then and encircled her in his arms, taking her hand and placing the handle of the baton properly in her palm and adjusting her small delicate fingers into the correct position. She was acutely aware of his chest pressed against her back and realized she had never been in such close proximity to him before. As he guided her hand though the motions of the proper movement of the baton, she could feel his warm breath on her neck and realized she had been holding her own for what felt like minutes. Her heart was hammering so hard that she felt as though the entire drum section of a marching band had taken up residence in her chest, and she was amazed Charles couldn't feel her pulse racing as he continued to hold her hand in place on the baton. His touch sent chills down her spine. Charles could feel the same electric current surge through his body that Tori had. His lips gently brushed her hair as he spoke to her from behind, and he caught the smell of vanilla emanating from her soft curls. He would have liked nothing better in that moment than to bury his face in her luxurious mane of hair and lose himself in her scent. Instead, he moved away and demonstrated the balance of the baton. That's How You Know by Julie Simmons (Chapter 4)

We ripped off anyone who made a record, whether it was dripping paint on our clothes, sticking zips on our T-shirts… even down to our first drummer, Craig Newnham (whose brother Shaun was briefly the very first singer for the band), having a rat in his bass drum. It wasn’t that punk tho’, ’cos he told his mum it was a giant African mouse or she would have thrown him and it out of the house!

I hear the voice Of every creature and plant, Every world and sun and galaxy- Singing the Beloved's name! I have awakened to find violin and cello, Flute, harp and trumpet, Cymbal, bell and drum- All within me! From head to toe, every part of my body is chanting and clapping! Hafiz, The Beloved has made you Such a Luminous Man! For with constant remembrance of God, One's whole body will become A Wonderful and Wild Holy Band!

Bryan Ferry: I have terrible memories of it all going wrong. I’d put together an all-star band, and the set was fraught with problems. We had David Gilmour on guitar and, poor David, his guitar wasn’t working for the first couple of songs. With his first hit, the drummer put his stick through the drum skin. And then my microphone wasn’t working, which for a singer is a bit of a handicap. A roadie ran on with another mic, so then I was holding two mics taped together, and I wasn’t really sure which one to sing into. It was a great day, though.

I like watching from inside, as if locked away and stealing the distinct pleasure of a high school marching band drum section’s pure perfection. How stoically they play in the exhaust of a fire engine’s wake.

She presses play and Andrea listens to the song. A guitar starts playing, then another and then drums; it’s an unusual sound; it seems like rock music but is strange, somewhat gothic and punk. It’s a melodic song, though, and his foot taps the beat without him realizing. A man’s voice, full of sadness, sings the first words:   "When routine bites hard And ambitions are low And resentment rides high But emotions won’t grow And we're changing our ways Taking different roads..."   Andrea knows it! He hears the song arrive from his distant past with a suitcase full of memories. He sees himself as a child, sitting in the living room, his little legs dangling from a chair. His father has just received a new CD from abroad and couldn’t wait to receive it so Gina the caretaker has sent it on to him in Clusone. He’s really excited and tells mom all about it. She’s happy too. Barbara has pigtails and is eating a piece of focaccia with olives, sticking her fingers inside to take them out one by one. She’s tiny, five years old or maybe younger. Andrea sees the CD on the table and wonders what is so special about it. There's a very pale guy on the front, with dark hair and a strange fringe. His mouth is right up to the microphone and everything else is black. It’s written in a language that he can’t read, though he knows that it’s English. His parents are so happy that he decides to take it and have a listen. He snatches the disc and CD player and runs off. He runs very fast...   "Then love, love will tear us apart again" sings Ian Curtis, the voice of Joy Division, his parents’ favorite band. It’s a compilation that came out in 2000, containing a special song, "Love will tear us apart again." Andrea runs to a little girl that he loves very much. He has fun all day long with her in the mountains. He runs to his inseparable friend, his dear... "Susy!" he exclaims, eyes open wide. She smiles and nods. He

One smiles often when reading incidents in their labors. A string of packhorses is so driven as to break up a congregation, and a fire-engine is brought out and played over the throng to achieve the same purpose. Hand-bells, old kettles, marrowbones and cleavers, trumpets, drums, and entire bands of music were engaged to drown the Preachers' voices. In one case the parish bull was let loose, and in others dogs were set to fight. The preachers needed to have faces set like flints, and so indeed they had. John Furz says,: "As soon as I began to preach, a man came straight forward, and presented a gun at my face; swearing that he would blow my brains out, if I spake another word. However, I continued speaking, and he continued swearing, sometimes putting the muzzle of the gun to my mouth, sometimes against my ear. While we were singing the last hymn, he got behind me, fired the gun, and burned off part of my hair." After this, my brethren, We ought never to speak of petty interruptions or annoyances. The proximity of a blunderbuss in the hands of a son of Belial is not very conducive to collected thought and clear utterance, but the experience of Furz was probably no worse than that of John Nelson, who coolly says, "But when I was in the middle of my discourse, one at the outside of the congregation threw a stone, which cut me on the head: however, that made the people give -greater attention, especially when they saw the blood run down my face; so that all was quiet till I had done, and was Singing a hymn.

Tuesday Today, Creepy was telling me all about how excited he was about going to camp. He told me that they were going to have a big talent show this year, and he was going to be part of a band. “I didn’t know you could play an instrument,” I said to Creepy. “Yeah, I play a mean set of drums,” Creepy said. Now, I was going to ask him how he plays drums without arms, but I think some things are best left alone. I

It’s because you play all twenty minutes of ‘I’m So Glad’ by Cream, complete with drum solo, live, note for note, and it’s very impressive, but you can’t dance to it.”[

For a moment, I saw him as he had looked the morning I married him. The sett of his tartan was nearly the same now as then; black check on a crimson ground, plaid caught at his shoulder with a silver brooch, dipping to the calf of a neat, stockinged leg. His linen was finer now, as was his coat; the dirk he wore at his waist had bands of gold across the haft. Duine uasal was what he looked, a man of worth. But the bold face above the lace was the same, older now, but wiser with it—yet the tilt of his shining head and the set of the wide, firm mouth, the slanted clear cat-eyes that looked into my own, were just the same. Here was a man who had always known his worth.

I started going to jazz clubs in New York when I was twelve or thirteen, first with my older cousins Mike and Jack, and then later on my own. I remember seeing the mighty Count Basie band at a matinee at Birdland, with the great Sonny Payne on drums. When the whole band pumped out one of those thirteenth chords, you could feel the breeze on your face.

would like to see the medley competition starting without two three pace rolls. If it starts with a solo piper followed by the rest of the band then that works for me. If the band wants to start with the drummers playing a jig groove then that’s fine. If the drum corps wants to use snare drums with rope tension or have two or three bass drummers that’s okay as well. If you have your pipers cutting out half way through the medley and let the drummers take it away then do it. If

Washington valued well-played music in army life and assigned a band to each brigade. At one point he chided a fife and drum corps for playing badly and insisted that they practice more regularly; a year later, after the drummers took this admonition to an extreme, Washington restricted their practice to one hour in the morning, a second in the afternoon. He was also irked by the improvisations of some drummers and, amid the misery of Valley Forge, took the trouble to issue this broadside to wayward drummers: “The use of drums are as signals to the army and, if every drummer is allowed to beat at his pleasure, the intention is entirely destroy[e]d, as it will be impossible to distinguish whether they are beating for their own pleasure or for a signal to the troops.”44

The judge drummed with his fingers on his desk but the band of toes still wouldn’t let him in yet. Though he didn’t want to be in that special orchestra where a practical joker was known to put water and a powdered fruity dessert mix in large stringed instruments of which the stunt was known as cello Jello.

Nicky’s mouth found Cy’s, explaining in-between kisses. “I demanded conjugal visits, and I don’t think we should waste it. I want you to bang me like a drum in the marching band, like a screen door in a hurricane. Fuck me until every person in a fifty mile radius knows I’m getting railed by your huge cock and the guards are too embarrassed

My number-one thing with other drummers is I want them to enjoy themselves. Dude, you’re a drummer—you’re the coolest one in the fucking band. Act like you love being there and give me a reason to watch you.

The wind announces itself through my open bedroom window. Sheet music is blown face down onto my floor, but the birds outside sing it from memory. Accompanying them are four steady-sounding knocks on my door, very evenly spaced, about mezzo-piano, my mom must be practicing drums too. "Let's leave now, so we get a good view for the parade," my mom adds lyrics through the closed door.

Percussion is my religion, and the band room is my cathedral. Inside this holy place, I don’t believe in anything more than myself.

The drums are demanding and yet he never misses a beat.

If you wanted four eighth-note triplets in one measure you’d run into the same problem. 4/12 will suffice as a time signature in that instance.

The on-field warmup should invoke confidence in the members, don’t have them play something that isn’t ready, or above their level here. Remind them to listen to the environment while playing to understand as much as they can about the overall listening situation. You might try ending the field warmup session with a very loud single note from everyone in order to listen specifically to the reverb and echo of the stadium.

It will be necessary to communicate within a loud environment most of the time. ASL signs can help you understand or communicate information without being able to hear it and continuing to rehearse without stopping for minor comments.

The on-field warmup should invoke confidence in the members, don’t have them play something that isn’t ready, or above their level here. Remind them to listen to the environment while playing to understand as much as they can about the overall listening situation. You might try ending the field warmup session with a very loud single note from everyone in order to listen specifically to the reverb and echo of the stadium.

The shows taught Brown what it felt like to play with a great band and an ass-kicking drummer. For if Connor wasn’t in the league of Earl Palmer, the drummer Richard recorded with, he was mighty fine all the same. (And Connor did play the indelible drum part on Richard’s “Keep A Knockin’.”) He had turned

Seriously, should I lose it?” I shrug. “It’s practical. I get it.” He yanks it off and shoves it into the pocket of his shorts. A shake of his head lands everything where it belongs. “Here,” I say, angling my candle toward him. “I already took care of the headband. Fire really isn’t necessary, is it?” I motion toward the unlit candle at his side. He smiles and raises it to mine. As he watches his wick ignite, I stare at the hundreds of tiny whisker-shadows dancing on his face and the contrast of the smooth, illuminated apples of his cheeks. He looks from his candle to me, his eyes glossy in the orange candlelight. “I was just kidding, you know. About your hair,” I say, reaching to adjust a stray curl. “But this is better.” Darren clutches my wrist and lowers my arm slowly, my eyes forced to meet his. The drums from the parade combine with the thump, thump, thump of my heart in my ears. Our smiles fade and my mouth is suddenly a desert. His fingers slide down my wrist until my hand rests loosely in his. A boom from a drum as it passes causes us both to jump. I exhale and take the opportunity to pull away and redirect my attention. Nearly the whole town joins the parade behind the band, some carrying candles, some walking arm in arm. Some holding hands. Did Darren really just try to hold my hand?