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  Copyright © 2017. All selections are copyright to the contributors.

  Cover design by Brittany Vibbert/Sourcebooks, Inc.

  Internal design by Jillian Rahn/Sourcebooks, Inc.

  Cover and internal images © studiogstock/Thinkstock, Nataleana/Thinkstock, Natcha29/Thinkstock, portarefortuna/Thinkstock

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  All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems—except in the case of brief quotations embodied in critical articles or reviews—without permission in writing from its publisher, Sourcebooks, Inc.

  All brand names and product names used in this book are trademarks, registered trademarks, or trade names of their respective holders. Sourcebooks, Inc., is not associated with any product or vendor in this book.

  The characters and events portrayed in this book are fictitious or are used fictitiously. Any similarity to real persons, living or dead, is purely coincidental and not intended by the author.

  “Cold Beverage” words and music by Garrett Dutton © 1994 Chicken Platters (BMI). All rights reserved. Used by permission.

  “Planting Trees” lyrics by James Howe and Mark Davis. All rights reserved. Used by permission.

  “All the Lights Went Out.” Words and music by John Wozniak. © 1999 WB Music Corp. (ASCAP) & Wozniak Publishing (ASCAP). All rights on behalf of Wozniak Publishing (ASCAP), administered by WB Music Corp. (ASCAP). All rights reserved. Used by permission of Alfred Publishing, LLC.

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  Library of Congress Cataloging-in-Publication data is on file with the publisher.

  To all of humanity, because music is our universal language.

  TABLE OF CONTENTS

  INTRODUCTION

  FOREWORD

  By Ameriie

  SUBURBIANA (OR, THE RETURN OF SUPER FROG)

  A short story inspired by Arcade Fire’s “The Suburbs”

  By David Arnold

  MISS ATOMIC BOMB

  A short story inspired by the Killers’ “Miss Atomic Bomb”

  By Anthony Breznican

  “COLD BEVERAGE”: THE SONG I WROTE THAT CHANGED MY LIFE

  A personal essay

  By G. Love

  TIFFANY TWISTED

  A short story inspired by the Eagles’ “Hotel California”

  By Ellen Hopkins

  HOW MIRACLES BEGIN

  A personal essay inspired by James Howe’s and Mark Davis’s “Planting Trees”

  By James Howe

  THE OPPOSITE OF ORDINARY

  A personal essay inspired by Leonard Bernstein’s and Stephen Sondheim’s “Somewhere (There’s a Place for Us)”

  By Beth Kephart

  ABOUT YOU NOW

  A short story inspired by Oasis’s “Wonderwall”

  By Elisa Ludwig

  YOU KNOW SOMETHING’S HAPPENING HERE (BUT YOU DON’T KNOW WHAT IT IS)

  A personal essay inspired by Bob Dylan’s “Ballad of a Thin Man”

  By Jonathan Maberry

  TIME TO SOAR

  A short story inspired by Amy Winehouse’s “October Song”

  By Donn Thompson Morelli, a.k.a. DONN T

  CITY GIRL

  A short story inspired by Keane’s “Somewhere Only We Know”

  By E. C. Myers

  SECOND CHANCES

  A short story inspired by 2NE1’s “It Hurts”

  By Ellen Oh

  ANYONE OTHER THAN ME

  A short story inspired by Dave Matthews Band’s “Dancing Nancies”

  By Tiffany Schmidt

  THE RIDE

  A short story inspired by Jimmy Eat World’s “The Middle”

  By Suzanne Young

  DOOMED?

  A short story inspired by Marcy Playground’s “All the Lights Went Out”

  By K. M. Walton

  PLAYLIST

  ACKNOWLEDGMENTS

  INTRODUCTION

  Dear Reader,

  Clearly, you love music as much as I do. Thank you for choosing to read this anthology!

  I’d like to share how Behind the Song came to be…

  When I hear a song I like I find the lyrics online for two reasons: (1) so I can sing along like nobody’s watching; (2) because I love creating the song’s backstory in my head as I listen, oftentimes fabricating entire stories. So there I was, driving and listening to Radiohead’s “Fake Plastic Trees” loud enough to feel it in my skin, the last lines of the song hanging there, breaking my heart, and my mind cooked up a story—an emotionally lost teenage girl searches for acceptance and love from a guy who would never be capable of fulfilling her needs.

  I hit a red light, and then it came to me: what if I gathered fellow YA authors, and maybe even musicians, and let them choose one of their favorite songs to interpret into a short story or write a personal essay? It could be a killer anthology.

  My best ideas materialize when I’m alone in my car jamming to music.

  I hope you have as much fun reading the anthology as I had editing it. What an honor it was to work with this accomplished group of contributors, including our foreword writer, Ameriie. Since we’re all music lovers here, it would be cool if you checked out their websites, followed them on Twitter, read their other books, and listened to their music.

  Lastly, to enhance your reading experience to the highest degree, I implore you to listen to the playlist at the end of the book. Listen, read the accompanying piece, repeat as often as you like.

  Rock on. Listen loud. Always sing along.

  Sincerely,

  K. M. Walton

  FOREWORD

  BY AMERIIE

  Music is the soundtrack of our lives.

  A melody can transport us to a particular moment in our past. It can keep us stuck in the present, too, if we prefer (No, I don’t want to go out. I just want to play Wrecking Ball on repeat and wallow in this until I’m all cried out, OK?). Sometimes we need a song to take us to an oft-imagined destination in our future. Sometimes the future destination is right around the corner—like, literally, the party is five minutes away and we need this pre-jam session. Sometimes it’s as simple as requiring a song for much-needed gym inspo.

  We often listen to a song on repeat to remain fixed on a feeling. Music is a sort of time capsule that way; it marries a moment in time to an emotion, and it’s there whenever we need it. I have a theory about this. Whenever we find ourselves excited by a new artist, it’s because their music speaks to us in a very specific way. Whether their sound exports us to a singular point in our past, or it speaks to a current circumstance, this new discovery imprints itself into our lives and onto our very souls.

  This cannot be undone, cannot be unseen.

  This will likely be our favorite piece of music from said artist because there’s nothing quite like Firsts, much to the chagrin of many a
n artist. I’m pretty sure “You still haven’t topped Reasonable Doubt!” drives Jay Z up a wall.

  A curious thing about music is that it requires hardly anything of you. You needn’t think, you needn’t process, you needn’t give much of your time. All you need to do is listen—and even half listening will do. Because music has a way of slipping into your subconscious. It’s a straight hit to the bloodstream.

  I’ve always thought that if humanity were to be visited by malevolent extraterrestrials, that if they’d been observing us for a while, they just might blast us to smithereens. We have, after all, been doing that to one another for eons. But if they had a chance to listen to our music, to our art, to the language of our souls… Well, let’s just say we might stand a chance.

  Music not only dissolves boundaries between ourselves and sound, but it also has the potential to dissolve boundaries within humanity, itself, even if, upon first impression, we might feel we have nothing in common but the song we’re listening to. That’s the thing about boundaries: once they disappear, they take a whole lot of preconceptions and misconceptions with them. It’s the reason music from “outsiders” tends to top lists of Things You Are Not Allowed to Have. This goes for repressive governments and elders alike. Music is practically a zip file of culture, ideas, and free thought, and it’s no wonder that in Nazi Germany, for instance, the last thing the Nazis wanted was the country’s citizens reveling to “Negro music,” as jazz and its “jungle” sound was viewed as a threat to morality and Aryan purity. They understood how music could be as dangerous to their Nazi future as physical weaponry.

  And they were right. It’s how music works: slinking into your subconscious and showing you something over here, over here, what do you think about this? without being didactic and boring. Eyes and minds tend to open when no one is looking, when the only thing caught is a vibe.

  Everything is energy. Everyone and everything is vibration. The truth is, music is not only humanity’s universal language, it’s the universal language of the universe, itself. It’s everything there is and ever was. It resonates with us because it is us.

  Like the songs that inspired them, these stories and essays will transport you into the future and into the past, into worlds familiar and into worlds strange. You will discover ordinary people who change the world in miraculous ways, as well as ordinary people who are, themselves, miraculous forces of nature, undeterred and unfettered by stormy pasts. You will encounter epic and incredibly intimate situations, both of which are weighted equally by pain, love, and bittersweet acceptance. These stories and essays are full of firsts, full of lasts (which are usually firsts in disguise), and, like any great piece of music, you will read these and find reflected between the lines…you.

  Author photo

  by Ameriie

  Ameriie is a Grammy-nominated singer-songwriter, producer, and lifestyle bon vivant. The daughter of a Korean artist and an American military officer, she was born in Massachusetts, raised all over the world, and graduated from Georgetown University with a bachelor’s in English. She began writing at the age of seven, stories of fairies and pirates and witches and phantoms. She lives mostly in her imagination, but also on Earth with her husband, her parents and sister, and about seven billion other people. When she isn’t writing or creating music, she talks books, beauty, and more on her YouTube channel Books Beauty Ameriie. Visit Ameriie.com and follow her on Twitter @Ameriie.

  SUBURBIANA

  (OR, THE RETURN OF SUPER FROG)

  A SHORT STORY INSPIRED BY ARCADE FIRE’S “THE SUBURBS”

  By David Arnold

  Every time I hear this Arcade Fire song, I’m brought back to my own childhood. As a product of the suburbs, I found the imagery of a “suburban war” familiar and appealing, sure, but also begging for a narrative. It was my pleasure to oblige.

  —David Arnold

  “Dude,” I say.

  “Dude,” says Troy.

  “Dude.”

  “Dude.”

  The rules of duding are simple and unwavering: you dude the other dude until that dude is completely dudeless. Troy and I are famous for it. Or at least, high-school famous. Mr. Thoman even kicked us out of English once for duding too hard. We were all dude this and dude that, and he was all, get out of my class, and we were all, whaaa? Sometimes we dude for days, like one of those chess matches where the players eat dinners and take naps in between moves, and then, just when you least expect it—bam.

  Checkmate, dude.

  We’re sitting in Troy’s parents’ kitchen, where I’ve been trying to convince him to join me in my campaign against the most horrible human to ever roam the earth: Calvin Reid Harcourt. I lean over the kitchen counter, right up in Troy’s ear and whisper, “Dude,” to which Troy drops his head on the counter and groans, “Dude.”

  I say it once more, this time with furious brevity, like a bullet through a silencer or the sound a bowling ball might make if you dropped it in sand. “Dude.”

  Troy looks up, crosses his arms. “Fine. But only if you dial down the revenge rhetoric. You’re cranked to eleven, and I need you at no more than six.”

  “Deal. Now grab your mom’s keys. It’s getting late, and you know how lethargic I get.”

  “Sluggish, really,” says Troy, grabbing the Honda keys out of a drawer. “Epic, lolling baby-head.”

  “Exactly. And how can a guy be expected to avenge his honor with lolling baby-head?”

  “See, dude?” says Troy. “That right there, Danny. That’s what I’m talking about. Avenge your honor. You gotta dial that shit back. No more than six, okay?”

  “Right. Six. Got it.”

  We head out the front door together, snatching our jackets off the coat hanger as we pass. Fort Worth weather can’t make up its mind. A big sun shines from a bigger sky during the afternoon, but once that sun disappears, so does any suggestion of warmth. Seasons are conditional in Fort Worth; fall is only fall at nighttime.

  Troy aims the fob at his mom’s Honda Pilot. The doors unlock with a thunk and we climb in. Troy drives. Troy always drives.

  “I suppose it’s futile, me asking what you hope to accomplish with this mission,” he says.

  “We can’t let him get away with it anymore.”

  Troy rolls his eyes, slowly backs the SUV out of the driveway. “Always with the drama.”

  I don’t know. Maybe other kids feel it too, the unspeakable injustices heaped upon us, one on top of the other like so many bags of fertilizer, all at the hands of some thuggish bully. If so, it’s like we all agreed to stand by getting shit-bagged, grateful the bully chose us. Well, I’m done. And maybe I have a flair for the drama, like Troy said. But that doesn’t mean I’m wrong. Even a broken clock is right twice a day, or some such shit.

  “Step on it, Callahan,” I say. Callahan is what I call Troy when I mean business.

  Troy Callahan steps on it.

  • • •

  Troy’s parents were in Dallas for the weekend, attending their third AIMerica convention in as many years. AIMerica sold shit like pots and pans and souls. Mr. and Mrs. Callahan were dedicated AIMericans.

  Exhibit A: the bumper sticker on the back of their Pilot.

  Get paidriotic: Become an AIMerican

  That was the beginning of the end, the minute we fully understood the level of brainwashing we were dealing with.

  Exhibit B: the sign in their yard.

  AIMerica: Aim for the Stars

  (Go ahead, achieve the ultimate American dream)

  I’d often wondered how one “aims for the stars” while attempting to convince one’s longtime friends to purchase a preseasoned cast-iron fry pan in exchange for nothing more than their friendship.

  A trifle. A bargain at half the price.

  AIMerica did not ask much. Only that a single individual say yes to its product. In turn, it asked that individ
ual to trade in three (or more) of their friends for three (or more) yesses. Then those friends only need trade in more of their friends for more yesses, and so on and so forth until no one had any friends anymore, and everyone was just saying yes to everything, everywhere, all the time.

  It was the AIMerican way.

  Some time ago, Troy and I decided to say yes to friendship instead of fry pans—this, in the face of a long line of lifetime warranties, and some sort of NASA-designed delectable seasoned varnish that the AIMerica brochure boasted could outlast a nuclear apocalypse.

  “Our friendship could outlast a nuclear apocalypse,” said Troy.

  “Fuck that,” I said. “Our friendship has a delectable seasoned varnish.”

  Troy said, “Dude,” which was plenty.

  I knew firsthand the modus operandi of AIMerica, having watched it destroy my parents’ relationship with Mr. and Mrs. Callahan. Pre-AIMerica, our families got together every Saturday night for tacos and homemade guac. Taco Saturdays went like this: shortly after my family arrived, the parents started in on frozen margaritas and neighborhood gossip, while Troy and I played Legend of Zelda. Somewhere around frozen margarita numero tres, the parents got loud and their cheeks got red, which meant Troy and I could sneak our own frozen margaritas (partially melted at this point), inevitably leading to the demise of Link and his noble rescue mission. Post-guac and tacos, we gathered around the fire pit out back, stayed up late into the night roasting marshmallows and telling ghost stories, while the parents were too legit drunk to notice the kids were legit buzzed.

  Taco Saturdays kicked mucho ass.

  Until they didn’t.

  One Saturday—somewhere between frozen margaritas, melted marshmallows, and Troy and I playing “smoke swords” (a game where one sees how much smoke one’s piss can produce on a fire in a given amount of time)—Troy’s parents ushered my parents into the living room where they had this big pie chart and colorful set of brochures all set up on an official-looking tripod. The next thing I knew, my dad—who apparently understood the value of friendship over fry pans—grabbed me by the hand, and we were gone. Adios, Taco Saturdays.