TIME for a root canal. Inside the dentist's waiting room, nervous patients thumb through ancient magazines. A drill squeals from the back room. Mouths go dry, throats gulp. But then, seeping from the ceiling, comes a gentle melody in soft lapping waves. By the time the work starts, the patient is calm and relaxed. Here it calms and there it soothes, not to mention the Muzak company's sales pitch: that properly chosen background music can boost sales and increase productivity. But now, instead of the Muzak stereotype of endless blenderized instrumental versions of songs like ''Afternoon Delight,'' the company is offering the rapper Puff Daddy and the grunge rock band Nirvana, lyrics and all, in the quarter of a million businesses that buy Muzak's wares. In July, the Seattle-based company unveiled an extensive image makeover.
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This song was deeply familiar from my high school and college years. Back then, Smith was a romantic figure: a moody, sensitive rebel who fronted an alt-rock band. Yet here he was in A wave of cognitive dissonance crashed over me. Why was the store piping in The Cure, a poignant reminder of my vanished youth? Was nothing sacred?
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Some record labels now upload new releases directly to the company, which, like a radio station, pays licensing fees for the songs it uses. The Well includes seven hundred and seventy-five tracks recorded by the Beatles, a hundred and thirty by Kanye West, three hundred and twenty-four by Led Zeppelin, eighty-four by Gwen Stefani, a hundred and ninety-one by 50 Cent, and nine hundred and eighty-three by Miles Davis. The key is consistency.