But I look into her eyes and she looks into my eyes and we recognize it—the excitement of being here, the excitement of being now. And maybe I’m realizing what a part of it she is and maybe she’s realizing what a part of it I am, because suddenly we’re not crashing as much as we’re combining. The chords swirling around us are becoming a tornado, and we are at the center of each other. My wrist touches hers right at the point of our pulses, and I swear I can feel it. That thrum. We are moving to the music and at the same time we are a stillness. I am not losing myself in the barrage. I am finding her. And she is—yes, she is finding me. The crowd is pressing in on us and the bassline is revealing everything and we are two people who are part of a lot more people, and at the same time we’re our own part. There isn’t loneliness, only this intense twoliness.

Over thinking, over analyzing separates the body from the mind. Withering my intuition leaving all these opportunities behind. Feed my will to feel this moment urging me to cross the line. Reaching out to embrace the random. Reaching out to embrace whatever may come. I embrace my desire to feel the rhythm, to feel connected enough to step aside and weep like a widow to feel inspired, to fathom the power, to witness the beauty, to bathe in the fountain, to swing on the spiral of our divinity and still be a human. With my feet upon the ground I lose myself between the sounds and open wide to suck it in. I feel it move across my skin. I'm reaching up and reaching out. I'm reaching for the random or what ever will bewilder me. And following our will and wind we may just go where no one's been. We'll ride the spiral to the end and may just go where no one's been. Spiral out. Keep going...

I don't know how you hear music. I imagine that if you like music at all then it has, in your head, some kind of third dimension to it, a dimension suggesting space as well as surface, depth of field as well as texture.Speaking for myself, I used to hear "buildings"... three-dimensional forms of architectural substance and tension. I did not "see" these buildings in the classic synaesthetic way so much as sense them. These forms had "floors", "walls", "roofs", "windows", "cellars". They expressed volume. Music to me has always been a handsome three-dimensional container, a vessel, as real in its way as a Scout hut or a cathedral or a ship, with an inside and an outside and subdivided internal spaces.I'm absolutely certain that this "architecture" had everything to do with why music has always exerted such a hold over me. I think music was the structure in which I learned to contain and then examine emotion.

There are these rare moments when musicians together touch something sweeter than they´ve ever found before in rehearsals or performance, beyond the merely collaborative or technically proficient, when their expression becomes as easy and graceful as friendship or love. This is when they give us a glimpse of what might be, of our best selves, and of an impossible world in which you give everything you have to others, but lose nothing of yourself. Out in the real world there exist detailed plans, visionary projects for peacable realms, all conflicts resolved, happiness for everyone, for ever - mirages for which people are prepared to die and kill. Christ´s kingdom on earth, the workers´paradise, the ideal Islamic state. But only in music, and only on rare occasions, does the curtain actually lift on this dream of community, and it´s tantalisingly conjured, before fading away with the last notes.

There is a folk-tale about a shoemaker and his wife who were so poor that they had to send their many children out into the world to make a living. The lads went through many a perilous adventure but came home in the end, unscathed, to help their mother. They had always remembered their mother's advice and wise words; they often quoted them when they were in trouble, and in fact they recognized one another by them in foreign lands.The countless peoples of the world may be looked upon as so many children sent out into the world. They have gone through many adventures and hardships. They have drifted apart and fallen out with one another, on many occasions. They have failed to realize soon enough that they are brothers.But now it seems that they are beginning to realize this -- at least to the extent that they are able to get acquainted with each other's fundamental natures -- through their stories and songs.

Who are you, Martin Eden? he demanded of himself in the looking- glass, that night when he got back to his room. He gazed at himself long and curiously. Who are you? What are you? Where do you belong? You belong by rights to girls like Lizzie Connolly. You belong with the legions of toil, with all that is low, and vulgar, and unbeautiful. You belong with the oxen and the drudges, in dirty surroundings among smells and stenches. There are the stale vegetables now. Those potatoes are rotting. Smell them, damn you, smell them. And yet you dare to open the books, to listen to beautiful music, to learn to love beautiful paintings, to speak good English, to think thoughts that none of your own kind thinks, to tear yourself away from the oxen and the Lizzie Connollys and to love a pale spirit of a woman who is a million miles beyond you and who lives in the stars! Who are you? and what are you? damn you! And are you going to make good?

What followed was a great treat for me. This was Irish traditional music as I had hoped to see and hear it, spontaneous and from the heart, and not produced for the sake of the tourist industry. As I sat there with my pint in my hand, enjoying the jigs and the reels, I watched the joy in the player’s faces and in those around them who tapped their feet and applauded enthusiastically. Music the joybringer. No question of being paid, or any requirement to perform for a certain amount of time. Just play for as long as it makes you feel good. This was self expression, not performance. Someone would begin playing a tune and the fellow musicians would listen to it once through, hear how it went and join in when they felt comfortable, until, on its last run through, it was being played with gusto by the entire ensemble. This process provided each piece with the dynamic of a natural crescendo which could almost have been orchestrated.

Pain,without lovePain, I can't get enoughPain, I like it rough cuz I'd rather feel Pain than nothing at all.You're sick of feeling numbYou're not the only oneI'll take you by the hand and I'll show you a world that you can understandThis life is filled with hurtWhen happiness doesn't workTrust me, and take my hand When the lights go out you will understand(repeat)Anger and agony are better than miseryTrust me, I've got a plan When the lights go off you will understand(chorus)I know (4)That you're woundedYou know(4)That I'm here to save youYou know (4)I'm always here for youI know (4)That you'll thank me laterPain,without lovePain, I can't get enoughPain, I like it rough cuz I'd rather feel Pain than nothing at all.Pain,without lovePain, I can't get enoughPain, I like it rough cuz I'd rather feel Pain than nothing at all.Rather feel Pain than nothing at allRather feel Pain!!

People listen to music for different reasons. Some people, -its background music— but other people need it to survive. Other people need music to get things out and maybe that’s just where I’m coming from, you know, when things weren’t easy for me, growing up. You know, music, I felt, saved my life. Pete Townshend, wherever you are, Pete, you saved my life. You know, whether he knows it or not. I wouldn’t be here. And I had absolutely nothing else besides music. And so that’s still, you know, that’s in me, and so if we’re gonna play, if we’re gonna get up and play, or write a song, you know, write about something that means something. You know, why write about, you know, 'Oh, pretty day', or, 'Pretty girl' or 'Pretty people', there’s nothing… people have different reasons for listening and playing. I need to —for me-, it’s much more.. religious!

Its hard to stay up. Its been a long long dayAnd you've got the sandman at your door. But hang on, leave the TV on and lets do it anyway.Its ok. You can always sleep through work tomorrow. Ok?Hey, Hey, Tomorrow's just your future yesterday.Tell the clock on the wall, "Forget the wake up call."Cause the night's not nearly through.Wipe the sleep from your eyes. Give yourself a surprise.Let your worries wait another day.And if you stay too late at the bar,At least you made it out this far. So make up your mind and say, "Let's do it anyway!"Its OkYou can always sleep through work tomorrow, ok? Hey, Hey, Tomorrow's just your future yesterday. Life's too short to worry about the things that you can live withoutAnd I regret to say, the morning light is hours away.The world can be such a fright, But it belongs to us tonight.What's the point of going to bed?You look so lovely when your eyes are red.Tomorrow's just your future yesterday.

Music is a complete evocation – like a smell. It can bring an entire memory and feeling back to you in a rush. Much more complete than even a photograph. You allow yourself a certain visual distance with photos – not music. It envelopes you – there’s no way to escape it. It’s a great test of sensitivity – the degree of reaction to music. I use it all the time. I call it my ‘Music Test.’ People today don’t want to hear the truth. They’re really afraid of tranquility and silence – they’re afraid they might begin to understand their own motivations too well. They keep a steady stream of noise going to protect themselves, to build a wall against the truth. Like African natives, beating on their drums, rattling their gourds, shaking the bells to scare off evil spirits. As long as there’s enough noise, there’s nothing to fear – or hear. But they will listen. Times are changing.

After dinner Natasha went to the clavichord, at Prince Andrey's request, and began singing. Prince Andrey stood at the window, talking to the ladies, and listened to her. In the middle of a phrase, Prince Andrey ceased speaking, and felt suddenly a lump in his throat from tears, the possibility of which he had never dreamed of in himself. He looked at Natasha singing, and something new and blissful stirred in his soul. He was happy, and at the same time he was sad. He certainly had nothing to weep about, but he was ready to weep. For what? For his past love? For the little princess? For his lost illusions? For his hopes for the future? Yes, and no. The chief thing which made him ready to weep was a sudden, vivid sense of the fearful contrast between something infinitely great and illimitable existing in him, and something limited and material, which he himself was, and even she was. This contrast made his heart ache, and rejoiced him while she was singing.

But no, music lasted longer than anything it inspired. After LPs, cassettes, and CDs, when matrimony was about to decay into its component elements—alimony and acrimony—the songs startled him and regained all their previous, pre-Rachel meanings, as if they had not only conjured her but then dismissed her, as if she had been entirely their illusion. He listened to the old songs again, years later on that same dark promenade, when every CD he had ever owned sat nestled in that greatest of all human inventions, the iPod, dialed up and yielding to his fingertip’s tap. The songs now offered him, in exchange for all he had lost, the sensation that there was something still to long for, still, something still approaching, and all that had gone before was merely prologue to an unimaginably profound love yet to seize him. If there was any difference now, it was only that his hunger for music had become more urgent, less a daily pleasure than a daily craving.

The God of your understanding, has chosen you and you've agreedTo be here in this space and time to do something, that only you can doNow I won't stand here to try and tell you what it isBut deep, inside yourselfAs you take time to uncover, and ask yourself some vital questionsLike - what is it that brings me peace, what is it that brings me joy?What do I love doing?What am I willing to become highly skilled at doing?What part can I play for the betterment of the societyAnd the world in which I want to live?When you begin to ask yourself those real questionsAnd it doesn't have to be done in a formal wayIt can be done just like we're speaking, right nowAsk yourself the questionLook at how you see yourself in just a year from nowAnd then go forwardAnd if you have children or even if you don't have childrenNow begin to, look at your future beyondThe space and time that you areNow visualize exactly, the way that you desire to liveDon't be afraid to, dream

This empty kitchen's whereI'd while away the hoursJust next to my old chairYou'd usually have some flowersThe shelves of booksEven the picture hooksEverything is goneBut my heart is hanging onIf this old neighborhoodSurvived us both alrightDon't know that it withstoodAll the things that took our lightYou on the stairI can see you thereEverything is goneBut my heart is hanging onOnce there was a little girlUsed to wonder what she would beWent out into the big wide worldNow she's just a memoryThere used to be a little school hereWhere I learned to write my nameBut time has been a little cruel hereTime has no shameIt's just a place whereWe used to liveIt's just a place whereWe used to liveNow in another townYou lead another lifeAnd now upstairs and downYou're someone else's wifeHere in the dustThere's not a trace of usEverything is goneBut my heart is hanging onIt's just a place whereWe used to liveIt's just a place whereWe used to live.