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ーEscribí algo para ti, ーla corrigió con una sonrisa y comenzó a tocar. Ella escuchó emocionada; comenzó lento, sencillo, su control sobre el arco producía un sonido armónico. La melodía la lleno tan fresca y dulce como el agua, tan esperanzadora y adorable como un amanecer. Miró a sus dedos fascinada por el movimiento tan exquisito que hacia que las notas salieran del violín. El sonido se volvió mas profundo conforme el arco se movía mas rápido, el antebrazo de Jem se desplazaba hacia adelante y atrás, su delgado cuerpo parecía difuminarse con el movimiento de su hombro. Sus dedos se deslizaban cuidadosamente arriba y abajo, el tono de la música profundizó, como nubes de tormenta reuniéndose en un horizonte brillante, un río que se convertía en torrente. Las notas se estrellaban a sus pies aumentando el sonido, el cuerpo entero de Jem parecía moverse en sintonía con los sonidos que emanaban del instrumento, a pesar de que ella sabia que sus pies se encontraban firmes en el suelo. Su corazón encontró la paz con la música, los ojos de Jem estaban cerrados, las comisuras de sus labios mostraban un gesto de dolor. Una parte de ella quería correr a sus pies, rodearlo con sus brazos; la otra otra parte no quería que se detuviera la música, el hermoso sonido de él. Era como si él hubiera tomado su arco utilizándolo como un pincel para pintar, creando un lienzo en el cual su alma se muestra claramente. Cuando las ultimas notas se alzaron más y más alto, llegando a tocar el paraíso, Tessa estuvo consciente de que su rostro estaba húmedo, pero no fue hasta que la ultima nota dejo de sonar y él bajo el violín cuando se dio que estaba llorando. ↗
Religion is the opium of the people. He believed that, that dyspeptic little joint-keeper. Yes, and music is the opium of the people. Old mount-to-the-head hadn't thought of that. And now economics is the opium of the people; along with patriotism the opium of the people in Italy and Germany. What about sexual intercourse; was that an opium of the people? Of some of the people. Of some of the best of the people. But drink was a sovereign opium of the people, oh, an excellent opium. Although some prefer the radio, another opium of the people, a cheap one he had just been using. Along with these went gambling, an opium of the people if there ever was one, one of the oldest. Ambition was another, an opium of the people along with a belief in any new form of government. What you wanted was the minimum of government, always less government. Liberty, what we believed in, now the name of a MacFadden publication. We believed in that although they had not found a new name for it yet. But what was the real one? What was the real, the actual, opium of the people? He knew it very well. It was gone just a little way around the corner in that well-lighted part of his mind that was there after two or more drinks in the evening; that he knew was there (it was not really there of course). What was it? He knew very well. What was it? Of course; bread was the opium of the people. Would he remember that and would it make sense in the daylight? Bread is the opium of the people. ↗
Luke grabs my hand. I turn to see a look of pure horror on his face. "This," he says, "is a dance?" "You were expecting what?" I say. "Why are they not dancing?" I look around the gym again. "Well, most people are dancing." I nod at the freshman boys, who have resorted to doing the robot. "They're dancing." Luke looks completely unconvinced. "And the music," he says, "is it always this.....loud?" I laugh. "You sound like you're forty. You have been to a dance before, right?" Luke looks offended. "Yes. Of course. But it was more..." he surveys the gyrating bodies around us "....civilised that this." He turns to me accusatory. "And you. Have you been to a dance? ↗
One day in 1948 or 1949, the Brentwood County Mart, a shopping complex in an upscale neighborhood of Los Angeles, California, was the scene of a slight disturbance that carried overtones of the most spectacular upheaval in twientieth-century music. Marta Feuchtwanger, wife of émigré novelist Lion Feuchtwanger, was examining grapefruit in the produce section when she heard a voice shouting German from the far end of the aisle. She looked up to see Arnold Schoenberg, the pioneer of atonal music and the codifier of twelve-tone composition, bearing down on her, with his bald pate and burning eyes. Decades later, in conversation with the writer Lawrence Weschler, Feuchtwanger could recall every detail of the encounter, including the weight of the grapefruit in her hand. “Lies, Frau Marta, lies!” Schoenberg was yelling. “You have to know, I never had syphilis! ↗
The principle of democracy is a recognition of the sovereign, inalienable rights of man as a gift from God, the Source of law. ↗
To be sure, rock n' roll is usually a flagrant commercialization of rhythm & blues, but the music in many cases depends on materials that are so alien to the general middle-class, middle-brow American culture as to remain interesting. Many of the same kinds of cheap American dilutions that had disfigured popular swing have tended to disfigure the new music, but the source, the exciting and "vulgar" urban blues of the forties, is still sufficiently removed from the mainstream to be vital. For this reason, rock n' roll has not become as emotionally meaningless as commercial swing. It is sill raw enough to stand the dilution and in some cases, to even be made attractive by the very fact of its commercialization. Even its "alienation" remains conspicuous; it is often used to characterize white adolescents as "youthful offenders." (Rock n' roll also is popular with another "underprivileged" minority, e.g., Puerto Rican youths. There are now even quite popular rock n' roll songs, at least around New York, that have some of the lyrics in Spanish.) Rock n' roll is the blues form of the classes of Americans who lack the "sophistication" to be middle brows, or are too naïve to get in on the mainstream American taste; those who think that somehow Melachrino, Kostelanetz, etc., are too lifeless ↗
I was only beginning to enter into the infinite subtlety of Gregorian chant. It was - and remains - the only public prayer I have ever been able to engage in without feeling like a phony and a jackass. But then, one day in 1965 or so, it was simply abolished. With a stroke of his pen, Pope John XXIII - who had such good ideas about other things - declared that liturgy would henceforth be in the vernacular language of the people. That was, effectively, the end of Latin chant. Then all those monks and nuns who had devoted hours and hours a day began to sicken and fall into depressions, but nobody noticed for a long time. Maybe, as I can well believe, the music toned up their systems in some mysterious way. Or perhaps chant really was a language that God understood. Faced with numerous liturgical scholas shrieking away in the new vernacular hymns, Divinity may have covered its ears and withdrawn, leaving the monks to pine. We parish musicians, illiterate in anything written after the 13th century, stumbled around trying to score liturgies for guitar and bongo drums, trying to make sense of texts like "Eat his body! Drink his blood!" It wasn't because the music got so bad that I quit going to Mass, but it certainly was the beginning of my doubts about papal infallibility. ↗
There's a stranger in a car Driving down your street Acts like he knows who you are Slaps his hand on the empty seat and says "Are you gonna get in Or are you gonna stay out?" Just a stranger in a car Might be the one they told you about Well you never were one for cautiousness You open the door He gives you a tender kiss And you can't even hear them no more -- All the voices of choices Now only one road remains And strangers in a car Two hearts Two souls Tonight Two lanes You don't know where you're goin' You don't know what you're doin' Hell it might be the highway to heaven And it might be the road to ruin But this is a song For strangers in a car Baby maybe that's all We really are Strangers in a car (Driving down your street) Just strangers in a car (Driving down your street) Strangers in a car ↗
