MISERY'S GREATEST HITS

 Doctor Misery discovers that the flow of chords and rhythms in music create force fields.  They build on each other when placed in the proper sequence of classical forms such as the Tarantella, Broadway Show music and syncopated jazz.  Listen to these songs as laid out below while dancing, gambling, singing, playing baseball or preparing a Frutte di Mare linguini sauce.  Don't just hear one note or chord at a time.  Try to hear thousands emanating simultaneously in waves of potentialities. Will you experience Quantum Arousal Theory, triggering quantum areas of the brain  and bring forth the dream state into consciousness?   Perhaps not, but ninety percent of life is a placebo effect anyway. 

This timeless, trance-inducing dance is used transformatively in chapters  5 and 26 

A rousing welcome to the basement of the Boppin Robin Jazz Club - Chapter 9

The power of Bernstein conducting Gershwin, helping to "syncopate" the city in Chapter 13

Bernstein's greatest musical helps in Laura's awakening and the recreation of the city -  Chapter 12 and 13

Miles Davis'classic is part of enabling sequence that revives Laura and transforms the city in Chapters 12 and 13 

Another transformative Broadway hit assisting in the creation of musical force fields

Charlie Parker pioneered Bebop, and his gigs at the Royal Roost inspired the creation of the Boppin Robin out of a chicken joint in Times Square - Chapter 9

Chapter 11 explains the origins of Doctor Mizzieri and Gelsomina Butaro.  They meet in 1977, a year of debauchery and decadence in the city's history, yet also one of great cultural achievements, such as the Ramones at CBGB.  

AND THE BIRTH OF STUDIO 54

The soundtrack of teenagers wrestling with mean streets and pesky hormones

One of the many Broadway tunes Misery uses to create harmonious energy across the city and expanding to the heavens above.  

The opera work that Misery utilizes to achieve superposition in Chapter 23

The improvisations of jazz can marvelously distrupt the order and structure of standard Broadway and classical fare

And that's the Breaks