Alternative Song Quotes

All the birds who were never born, all the songs that were never sung and so can only exist in the imagination. And this one is Teddy's.

Historical, religious, and existential treatises suggest that for some persons at some times, it is rational not to avoid physical death at all costs. Indeed the spark of humanity can maximize its essence by choosing an alternative that preserves the greatest dignity and some tranquility of mind.

What I’m praying is that you will choose those beautiful possibilities over any self-annihilating alternatives. My whole life on earth has been the weaving of a single powerful spell. The best part of all my magic was loving you.” (as spoken by the character Valerie Hyerman)

NPR faded from the radio in a string of announcements of corporate supporters, replaced by a Christian station that alternated pabulum preaching and punchy music. He switched to shit-kicker airwaves and listened to songs about staying home, going home, being home and the errors of leaving home.

And while I could not always suppress the violent thoughts that raged inside me, I would nevertheless dedicate my life to seeking alternatives to physical violence, and would wrestle continually with the problem of transforming psychicviolence into creative energy

Sometimes I feel like I’m just appearing in the same place. Again and again. Just alternate realities in an infinite multiverse.” Up until this point in my young life I had never heard anything more romantic.

This was the fundamental problem with rockets—and no one had ever discovered any alternative for deep-space propulsion. It was just as difficult to lose speed as to acquire it, and carrying the necessary propellant for deceleration did not merely double the difficulty of a mission; it squared it.

War, I will suggest, has not been a friend to the undertaker. War is mass murder, and yet, in perhaps the greatest paradox in history, war has nevertheless been the undertaker’s worst enemy. Contrary to what the song says, war has been good for something: over the long run, it has made humanity safer and richer. War is hell, but—again, over the long run—the alternatives would have been worse.

It is the custom on the stage: in all good, murderous melodramas: to present the tragic and the comic scenes, in as regular alternation, as the layers of red and white in a side of streaky, well-cured bacon. The hero sinks upon his straw bed, weighed down by fetters and misfortunes; and, in the next scene, his faithful but unconscious squire regales the audience with a comic song. We behold, with throbbing bosoms, the heroine in the grasp of a proud and ruthless baron: her virtue and her life alike in danger; drawing forth a dagger to preserve the one at the cost of the other; and, just as our expectations are wrought up to the highest pitch, a whistle is heard: and we are straightway transported to the great hall of the castle: where a grey-headed seneschal sings a funny chorus with a funnier body of vassals, who are free of all sorts of places from church vaults to palaces, and roam about in company, carolling perpetually. Such changes appear absurd; but they are not so unnatural as they would seem at first sight. The transitions in real life from well-spread boards to death-beds, and from mourning weeds to holiday garments, are not a whit less startling; only, there, we are busy actors, instead of passive lookers-on; which makes a vast difference. The actors in the mimic life of the theatre, are blind to violent transitions and abrupt impulses of passion or feeling, which, presented before the eyes of mere spectators, are at once condemned as outrageous and preposterous.

Epistrophe is the trope of obsession. It's the trope of emphasizing one point again and again. And it's the trope of not being able to escape that one conclusion, which is one of the reasons that songs are so suited to the idea of obsessive love, political certainty and other such unhealthy ideas. You can't reason in an epistrophic pop song. You can't seriously consider the alternatives, because the structure dictates that you'll always end up at the same point, thinking about the same girl and giving peace a chance.

For, to be woken up at five in the morning by the devotional treacle of Anup Jalota, Hari Om Sharan and other confectioners, all of them simultaneously droning out from several different cassette players; to be relentlessly assaulted for the rest of the day and most of the night by the alternately over-earnest and insolent voices of Kumar Sanu, Alisha Chinoy, Baba Sehgal singing 'Sexy, Sexy, Sexy', and 'Ladki hai kya re baba', 'Sarkaye leyo khatiya' and other hideous songs; to have them insidiously leak into your memory and become moronic refrains running over and over again in your mind; to have your environment polluted and your day destroyed in this way was to know a deepening rage, an impulse to murder, and, finally, a creeping fear at one's own dangerous level of derangement. It was to understand the perfectly sane people you read about in the papers, who suddenly explode into violence one fine day; it was to conceive a lasting hatred for the perpetrators, rich or poor, of these auditory atrocities. (on why he left Varanasi after a few days)

As comedian Tim Minchin says in his song “Storm,” “Do you know what they call alternative medicine that’s been proved to work? Medicine.

Never be afraid to stand up to the powerful. The alternative is fear and degradation.

Their other hands flipped up, palm to palm, and Merik’s only consolation as he and the domna slid into the next movement of the dance was that her chest heaved as much as his did. Merik’s right hand gripped the girl’s, and with no small amount of ferocity, he twisted her around to face the same direction as he before wrenching her to his chest. His hand slipped over her stomach, fingers splayed. Her left hand snapped up—and he caught it. Then the real difficulty of the dance began. The skipping of feet in a tide of alternating hops and directions. The writhing of hips countered the movement of their feet like a ship upon stormy seas. The trickling tap of Merik’s fingers down the girl’s arms, her ribs, her waist—like the rain against a ship’s sail. On and on, they moved to the music until they were both sweating. Until they hit the third movement. Merik flipped the girl around to face him once more. Her chest slammed against his—and by the Wells, she was tall. He hadn’t realized just how tall until this precise moment when her eyes stared evenly into his and her panting breaths fought against his own. Then the music swelled once more, her legs twined into his, and he forgot all about who she was or what she was or why he had begun the dance in the first place. Because those eyes of hers were the color of the sky after a storm. Without realizing what he did, his Windwitchery flickered to life. Something in this moment awoke the wilder parts of his power. Each heave of his lungs sent a breeze swirling in. It lifted the girl’s hair. Kicked at her wild skirts. She showed no reaction at all. In fact, she didn’t break her gaze from Merik, and there was a fierceness there—a challenge that sent Merik further beneath the waves of the dance. Of the music. Of those eyes. Each leap backward of her body—a movement like the tidal tug of the sea against the river—led to a violent slam as Merik snatched her back against him. For each leap and slam, the girl added in an extra flourishing beat with her heels. Another challenge that Merik had never seen, yet rose to, rose above. Wind crashed around them like a growing hurricane, and he and this girl were at its eye. And the girl never looked away. Never backed down. Not even when the final measures of the song began—that abrupt shift from the sliding cyclone of strings to the simple plucking bass that follows every storm—did Merik soften how hard he pushed himself against this girl. Figuratively. Literally. Their bodies were flush, their hearts hammering against each other’s rib cages. He walked his fingers down her back, over her shoulders, and out to her hands. The last drops of a harsh rain. The music slowed. She pulled away first, slinking back the required four steps. Merik didn’t look away from her face, and he only distantly noticed that, as she pulled away, his Windwitchery seemed to settle. Her skirts stopped swishing, her hair fluttered back to her shoulders. Then he slid backward four steps and folded his arms over his chest. The music came to a close. And Merik returned to his brain with a sickening certainty that Noden and His Hagfishes laughed at him from the bottom of the sea.

Driving to pick up his son, Bennie alternated between the Sleepers and the Dead Kennedys, San Francisco bands he'd grown up with. He listened for muddiness, the sense of actual musicians playing actual instruments in an actual room. Nowadays the quality (if it existed at all) was usually an effect of analogue signaling rather than bona fide tape - everything was an effect in the bloodless constructions Bennie and his peers were churning out. He worked tirelessly, feverishly, to get things right, stay on top, make songs that people would love and buy and download as ring tones (and steal, of course) - above all, to satisfy the multinational crude-oil extractors he'd sold his label to five years ago. But Bennie knew that what he was bringing into the world was shit. Too clear, too clean. The problem was precision, perfection; the problem was digitization, which sucked the life out of everything that got smeared through its microscopic mesh. Film, photography, music: dead. An aesthetic holocaust!

It was a roaring spring morning with green in the sky, the air spiced with sand sagebrush and aromatic sumac. NPR faded from the radio in a string of announcements of corporate supporters, replaced by a Christian station that alternated pabulum preaching and punchy music. He switched to shit-kicker airwaves and listened to songs about staying home, going home, being home and the errors of leaving home.

Sexual healing and general recovery need to work together in the same way that music and lyrics work together to make a song: They alternate and blend together at different times. They are complementary, not isolated, experiences.

We cannot see round our corner: it is hopeless curiosity to want to know what other modes of intellect and perspective there might be: for example, whether any kind of being could perceive time backwards, or alternately forwards and backwards.

Music?” he asked. I nodded and handed him my iPod. We’d been running together three more times now and had worked out our routine. We talked for the first mile or so, while we were warming up. When breathing became more important than talking, we switched to music, which we would listen to for the rest of the run, and then we’d turn the iPods off as we’d cool down and walk to one of our houses—we alternated. But the run before, Frank had proposed that we switch iPods so that he could see if my “music, not observational comedy” theory was effective in terms of helping him run faster, and I could apparently learn all about some group called Freelance Whales which was, apparently, an actual band. I’d made him a mix of my favorite songs that hopefully weren’t too alienating for someone who claimed he never listened to country and had no idea who the Cure was.

The most effective lie is always the closest to the truth. The closer the better. A dream is not true but is never a lie. There are various approaches for understanding dreams: as evidence of some deeper psychological truth, as alternate realities, as subtle yet surreal mental reprocessings of our daily lives, as experiences equally valid to those had while awake. Due to the acuity of their strangeness, dreams practically call out for interpretation. However, since we don’t accurately know what consciousness is, since we don’t know precisely what or how we experience being awake, why would we be able to know what happens when we dream? There are also various approaches one might use for understanding a lie. But one aspect generally agreed upon is that to tell the complete truth, and only the complete truth, at all times, is a disaster. There are different ways of being honest.

Pan, Echo, and the Satyr From the Greek of Moschus Published (without title) by Mrs. Shelley, "Posthumous Poems", 1824. There is a draft amongst the Hunt manuscripts. Pan loved his neighbour Echo—but that child Of Earth and Air pined for the Satyr leaping; The Satyr loved with wasting madness wild The bright nymph Lyda,—and so three went weeping. As Pan loved Echo, Echo loved the Satyr, The Satyr, Lyda; and so love consumed them.— And thus to each—which was a woful matter— To bear what they inflicted Justice doomed them; For, inasmuch as each might hate the lover, Each, loving, so was hated.—Ye that love not Be warned—in thought turn this example over, That when ye love, the like return ye prove not. NOTE: _6 so Hunt manuscript; thus 1824. _11 So 1824; This lesson timely in your thoughts turn over, The moral of this song in thought turn over (as alternatives) Hunt manuscript.

The oldest recorded example of fiat money was jiaozi, a paper currency issued by the Song dynasty in China in the tenth century. Initially, jiaozi was a receipt for gold or silver, but then government controlled its issuance and suspended redeemability, increasing the amount of currency printed until it collapsed. The Yuan dynasty also issued fiat currency in 1260, named chao, and exceeded the supply far beyond the metal backing, with predictably disastrous consequences. As the value of the money collapsed, the people fell into abject poverty, with many peasants resorting to selling their children into debt slavery.

In general, I don’t like to blame the creators. They are making work that appeals to them and the people in the room with them. They are making something that is, at some level, genuine. But the distributors, the networks that bring art to the population, they are the ones who ensure that there’s a flattening and narrowing. The younger me may have sat up all night with bandmates raging against Puffy or DMX or whoever, but the fact is that they were never the problem. The problem was that someone in the corporate chain of command felt that there was a need to play those songs fourteen times a day and to eliminate alternatives.

At school, at home, in bars, I was an emotional contortionist, alternating between awkward self-aggrandizing and trying to win favor so as to fit in. When I wrote, I let myself be dead honest, flaws and all. But I was myself, I felt real. I went inside myself when a pen was in my hand and enjoyed that space in there.

(...) When things get too good... I get out. Well. I guess to a degree we all do. But most pull out; ride off into the sunset with a wave and a wink and a "Heigh-o-Silver." But not me. I am a pusher. I nudge and kvetch and cry and demand until I leave my partner no possible alternative but for him to run for his life. (...)

Every day of his life alternated between this calm consumptive and Emmanuel bursting into song, between the smell of coffee and the smell of tar, alienated from his interests, from his heart, his truth. Things that in other circumstances would have excited him left him unmoved now, for they were simply part of his life, until the moment he was back in his room using all his strength and care to smother the flame of life that burned within him.

Is it virtuous when a cell transforms itself into a function of a stronger cell? It has no alternative. And is it evil when the stronger cell assimilates the weaker? It also has no alternative; it follows necessity, for it strives for superabundant substitutes and wants to regenerate itself. Hence we should make a distinction in benevolence between the impulse to appropriate and the impulse to submit, and ask whether it is the stronger or the weaker that feels benevolent.

It is only a poem, and we might say rightly that singing a song does not change reality. However, we must not say that with too much conviction. The evocation of an alternative reality consists at least in part in the battle for language and the legitimization of a new rhetoric. The language of the empire is surely the language of managed reality, of production and schedule and market. But that language will never permit or cause freedom because there is no newness in it. Doxology

Further on, a hedgehog lay dead athwart the path—nay, more than dead; decadent, distinctly; a sorry sight for one that had known the fellow in more bustling circumstances. Nature might at least have paused to shed one tear over this rough jacketed little son of hers, for his wasted aims, his cancelled ambitions, his whole career of usefulness cut suddenly short. But not a bit of it! Jubilant as ever, her song went bubbling on, and "Death-in-Life," and again, "Life-in-Death," were its alternate burdens.

The writing style which is most natural for you is bound to echo the speech you heard when a child. English was the novelist Joseph Conrad's third language, and much of that seems piquant in his use of English was no doubt colored by his first language, which was Polish. And lucky indeed is the writer who has grown up in Ireland, for the English spoken there is so amusing and musical. I myself grew up in Indianapolis, where common speech sounds like a band saw cutting galvanized tin, and employs a vocabulary as unornamental as a monkey wrench. In some of the more remote hollows of Appalachia, children still grow up hearing songs and locutions of Elizabethan times. Yes, and many Americans grow up hearing a language other than English, or an English dialect a majority of Americans cannot understand. All these varieties of speech are beautiful, just as the varieties of butterflies are beautiful. No matter what your first language, you should treasure it all your life. If it happens not to be standard English, and if it shows itself when you write standard English, the result is usually delightful, like a very pretty girl with one eye that is green and one that is blue. I myself find that I trust my own writing most, and others seem to trust it most, too, when I sound most like a person from Indianapolis, which is what I am. What alternatives do I have? The one most vehemently recommended by teachers has no doubt been pressed on you, as well: to write like cultivated Englishmen of a century or more ago.

I have never been a poster boy for serenity, but I knew I needed to restore some semblance of inner peace. In search of a fix much quicker than my weekly forays into the talking cure, I came upon an ancient and proven practice, one that exists in every culture and religious tradition as a means to attaining calm and an alternate plane of consciousness: an extended fast. Buddha did it, Jesus did it, even Pythagoras and George Bernard Shaw did it. It's like a Cole Porter song from the world's least-fun musical.

The experimental version of this story could actually be told as two stories happening “simultaneously,” each narrated in alternating sections which take place in parallel chronologies. One section begins with the death of Nathan and moves backward in time, while its counterpart story begins with the death of the original owner of the magical pants and moves forward. Needless to say, the facts in the case of Nathan must be juggled around so as to be comprehensible from the beginning, that is to say from the end.

I looked into the wind, feeling the day alternately warm and cool and warm again on my face and arms as the breeze turned and returned across the bay. A small fleet of fishing canoes drifted past us on their way back to the fishermen’s sandy refuge near the slum. I suddenly remembered the day in the rain, sailing in a canoe across the flooded forecourt of the Taj Mahal Hotel and beneath the booming, resonant dome of the Gateway Monument. I remembered Vinod’s love song, and the rain that night as Karla came into my arms.

She played over every favourite song that she had been used to play with Willoughby, every air in which their voices had been oftenest joined, and sat at the instrument gazing on every line of music that he had written out for her, till her heart was so heavy that no further sadness could be gained; and this nourishment was every day applied. She spent whole hours at the pianoforte alternately singing and crying; her voice often totally suspended by her tears. In books too, as well as in music, she courted misery which a contrast between the past and present was certain of giving. She read nothing but what they have been used to read together.

Let’s say that you could carry around a perfect copy of a three-dimensional realization of a Caravaggio painting (or if your tastes are more modern make it a Picasso). You would carry a small box in your pocket, and whenever you wanted, you could press a button and the box would open up into life-sized glory and show you the picture. You would bring it to all the parties you attended. The peak of the culture of the seventeenth century (or say the 1920s if you prefer Picasso) would be at your disposal. Alternatively, let’s say you could carry around in your pocket an iPhone. That gives you thousands of songs, a cell phone, access to personal photographs, YouTube, email, and web access, among many other services, not to mention all the applications that have not yet been written. You will have a strong connection to the contemporary culture of small bits.

I heard a rapid alternation of notes, a vibrating staccato of an ancient instrument, nearly as old as nature herself, a cricket singing in my garden last night, the first time this year. When turning my garden's soil, I often uncover crickets, curmudgeons that scramble to find solitude and cover from the light, but I rarely hear their ancient song 'till near summer's end. Although the wind is now lofting the branches and rustling the leaves, the evening sun still warms my face. And my garden still blooms full with pink-papered hollyhocks and blue, green spikes of lavender, and roses, bright pinks and yellows, all glowing from sunshine-swelled canes, and zinnias, rainbow-shingled orbs, and more. And yet, I am already dreading the coming of fall, all dressed in small rags of red, yellow, and orange. I know that my summer garden is nearing its end, as hailed by the cricket's song.

She opened her Bible to the poetry of the Song of Solomon, forbidden to her virgin mind. The verses alternated between the bride's and the groom's lines, packed with words of desire of both spirit and body. And then there were the Daughters of Jerusalem, the maidens surrounding the bride, who tempted her to indulge in love before marriage, until she pleaded with them to wait. I adjure you, O daughters of Jerusalem... that you stir not up nor awaken love until it pleases. What did that mean? Set me as a seal on your heart, a seal on your arm. For love is strong as death, passion fierce as Sheol. What exactly were love and passion to be this ardent? Ruthi had no passion for Yossel and his painful yi'chud, so unlike these fervent verses. A cool breeze stroked the needle-fingered leaves of the cypress outside the yard, and Esther's skin prickled with whatever it was that wasn't supposed to be stirred in her yet. May he kiss me with the kisses of his mouth- for your love is better than wine. Your anointing oils are fragrant, your name is sweet-smelling oil. So the maidens love you.

While most of us go through life feeling that we are the thinker of our thoughts and the experiencer of our experience, from the perspective of science we know that this is a distorted view. There is no discrete self or ego lurking like a minotaur in the labyrinth of the brain. There is no region of cortex or pathway of neural processing that occupies a privileged position with respect to our personhood. There is no unchanging “center of narrative gravity” (to use Daniel Dennett’s phrase). In subjective terms, however, there seems to be one — to most of us, most of the time. Our contemplative traditions (Hindu, Buddhist, Christian, Muslim, Jewish, etc.) also suggest, to varying degrees and with greater or lesser precision, that we live in the grip of a cognitive illusion. But the alternative to our captivity is almost always viewed through the lens of religious dogma. A Christian will recite the Lord’s Prayer continuously over a weekend, experience a profound sense of clarity and peace, and judge this mental state to be fully corroborative of the doctrine of Christianity; A Hindu will spend an evening singing devotional songs to Krishna, feel suddenly free of his conventional sense of self, and conclude that his chosen deity has showered him with grace; a Sufi will spend hours whirling in circles, pierce the veil of thought for a time, and believe that he has established a direct connection to Allah. The universality of these phenomena refutes the sectarian claims of any one religion. And, given that contemplatives generally present their experiences of self-transcendence as inseparable from their associated theology, mythology, and metaphysics, it is no surprise that scientists and nonbelievers tend to view their reports as the product of disordered minds, or as exaggerated accounts of far more common mental states — like scientific awe, aesthetic enjoyment, artistic inspiration, etc. Our religions are clearly false, even if certain classically religious experiences are worth having. If we want to actually understand the mind, and overcome some of the most dangerous and enduring sources of conflict in our world, we must begin thinking about the full spectrum of human experience in the context of science. But we must first realize that we are lost in thought.

Yet the homogeneity of contemporary humanity is most apparent when it comes to our view of the natural world and of the human body. If you fell sick a thousand years ago, it mattered a great deal where you lived. In Europe, the resident priest would probably tell you that you had made God angry and that in order to regain your health you should donate something to the church, make a pilgrimage to a sacred site, and pray fervently for God’s forgiveness. Alternatively, the village witch might explain that a demon had possessed you and that she could cast it out using song, dance, and the blood of a black cockerel. In the Middle East, doctors brought up on classical traditions might explain that your four bodily humors were out of balance and that you should harmonize them with a proper diet and foul-smelling potions. In India, Ayurvedic experts would offer their own theories concerning the balance between the three bodily elements known as doshas and recommend a treatment of herbs, massages, and yoga postures. Chinese physicians, Siberian shamans, African witch doctors, Amerindian medicine men—every empire, kingdom, and tribe had its own traditions and experts, each espousing different views about the human body and the nature of sickness, and each offering their own cornucopia of rituals, concoctions, and cures. Some of them worked surprisingly well, whereas others were little short of a death sentence. The only thing that united European, Chinese, African, and American medical practices was that everywhere at least a third of all children died before reaching adulthood, and average life expectancy was far below fifty.14 Today, if you happen to be sick, it makes much less difference where you live. In Toronto, Tokyo, Tehran, or Tel Aviv, you will be taken to similar-looking hospitals, where you will meet doctors in white coats who learned the same scientific theories in the same medical colleges. They will follow identical protocols and use identical tests to reach very similar diagnoses. They will then dispense the same medicines produced by the same international drug companies. There are still some minor cultural differences, but Canadian, Japanese, Iranian, and Israeli physicians hold much the same views about the human body and human diseases. After the Islamic State captured Raqqa and Mosul, it did not tear down the local hospitals. Rather, it launched an appeal to Muslim doctors and nurses throughout the world to volunteer their services there.15 Presumably even Islamist doctors and nurses believe that the body is made of cells, that diseases are caused by pathogens, and that antibiotics kill bacteria.

Preparation - Poem by Malay Roy Choudhury Who claims I'm ruined? Because I'm without fangs and claws? Are they necessary? How do you forget the knife plunged in abdomen up to the hilt? Green cardamom leaves for the buck, art of hatred and anger and of war, gagged and tied Santhal women, pink of lungs shattered by a restless dagger? Pride of sword pulled back from heart? I don't have songs or music. Only shrieks, when mouth is opened wordless odour of the jungle; corner of kin & sin-sanyas; Didn't pray for a tongue to take back the groans power to gnash and bear it. Fearless gunpowder bleats: stupidity is the sole faith-maimed generosity- I leap on the gambling table, knife in my teeth Encircle me rush in from tea and coffee plateaux in your gumboots of pleasant wages The way Jarasandha's genital is bisected and diamond glow Skill of beating up is the only wisdom in misery I play the burgler's stick like a flute brittle affection of thev wax-skin apple She-ants undress their wings before copulating I thump my thighs with alternate shrieks: VACATE THE UNIVERSE get out you omnicompetent conchshell in scratching monkeyhand lotus and mace and discuss-blade Let there be salt-rebellion of your own saline sweat along the gunpowder let the flint run towards explosion Marketeers of words daubed in darkness in the midnight filled with young dog's grief in the sicknoon of a grasshopper sunk in insecticide I reappear to exhibit the charm of the stiletto. (Translation of Bengali poem 'Prostuti')

At Prim’s side was a woman with a politician’s face (supercilious, sanctimonious, vacuous, terrified, smarmy, disingenuous, small-minded, vengeful, coldhearted, opportunistic, petty, deceitful, evidence-ignoring, bullying, arrogant, smug, obnoxious, contemptuous, ignorant, reactionary, condescending, patronizing, blinkered, vacillating, corrupt, morally bankrupt, blackmailing, blackmailable, dodgy, wavering, backstabbing, bought, sold, stinking rich, unqualified, sleazy, teeth-capped, kneecapping, corporate-owned, hate-mongering, fear-mongering, button-pushing, deflecting, evading, brazening, hit-song-stealing, nostalgia-worshipping, distorting, no-tax-returning, tax-evading, offshore-holding, shady-business-partnering, election-stealing, arms-dealing, collateral-damage signing-offing, hypocritically family-value bleating but sexually deviant-ing, honest-forthright-honorable—a paragon-of-integrity [lying], spiteful, unreliable, Teflon-coated, Saran-wrapped, white-breaded, xenophobic, cynical, uncomprehending of irony-ing, witless, thin-skinned, insecure, unfulfilled, blindly ambitious, power-hungry, sadistic, self-righteous, incapable of contemplation-ing, prevaricating, privileged, pampered, Ivy League–educated [in something useless like political science, economics, or law], pompous, ego-centered, centered, narcissistic, shallow, bullshitting, manipulative, backtracking, quote-denying, what-climate-changing?, alternate-truth-ing, prejudice-feeding, hate-inciting, racketeering, blame-shifting, warmongering, autocratic, megalomaniacal, possibly sociopathic, blathering, self-serving, unreliable, cliquey, cagey, crafty, cunning, daft, dull, ethically destitute, irredeemable, oil-burning, fracking [but NIMBY], self-pay-raising, self-congratulating, self-aggrandizing, but all that was just first impressions so who can say?).

How can I tell of the rest of creation, with all its beauty and utility, which the divine goodness has given to man to please his eye and serve his purposes, condemned though he is, and hurled into these labors and miseries?  Shall I speak of the manifold and various loveliness of sky, and earth, and sea; of the plentiful supply and wonderful qualities of the light; of sun, moon, and stars; of the shade of trees; of the colors and perfume of flowers; of the multitude of birds, all differing in plumage and in song; of the variety of animals, of which the smallest in size are often the most wonderful,--the works of ants and bees astonishing us more than the huge bodies of whales?  Shall I speak of the sea, which itself is so grand a spectacle, when it arrays itself as it were in vestures of various colors, now running through every shade of green, and again becoming purple or blue?  Is it not delightful to look at it in storm, and experience the soothing complacency which it inspires, by suggesting that we ourselves are not tossed and shipwrecked?  [1664]What shall I say of the numberless kinds of food to alleviate hunger, and the variety of seasonings to stimulate appetite which are scattered everywhere by nature, and for which we are not indebted to the art of cookery?  How many natural appliances are there for preserving and restoring health!  How grateful is the alternation of day and night!  how pleasant the breezes that cool the air!  how abundant the supply of clothing furnished us by trees and animals!  Who can enumerate all the blessings we enjoy?  If I were to attempt to detail and unfold only these few which I have indicated in the mass, such an enumeration would fill a volume.  And all these are but the solace of the wretched and condemned, not the rewards of the blessed.  What then shall these rewards be, if such be the blessings of a condemned state?

Hey, Ben,” she says, ignoring the rest of us. “You want to dance?” Ben’s cheeks turn the same scarlet as Rosie’s dress. He and Ryder exchange a pointed look while Lucy and I just stand there gawking. “Go on, man,” Ryder says, nudging him. “You look great, Rosie,” he adds. “Nice dress.” She smiles up at him, her blue eyes seeming to glitter beneath the disco-ball lighting. “Thanks. You don’t look so bad yourself.” She glances from Ryder to me and back to Ryder again. “The two of you…You looked good together up there.” “I know, right?” Lucy nods, and I shoot her a “what are you doing?” glare. She ignores it. “Maybe these two should stop the hating and listen to their parents.” An awkward silence follows. Finally, Ben seems to remember why Rosie came over in the first place. “Um, you want to go dance?” “Yeah. I love this song.” Ben nods. “Okay. Catch you guys later.” Rosie’s smile seems genuine as she follows Ben to the dance floor. I hope that means she’s finally figured out what a sweetheart he is. As soon as they’re gone, Lucy lets out a low whistle. “Whoa, did that just happen?” “I think it did,” I say, watching as Rosie wraps her arms around Ben’s neck. She must have said something funny, because he throws his head back and laughs. Lucy shakes her head in amazement. “I swear, it’s like we’re in some kind of alternate universe tonight.” “Well, in that case, how about you and me, Luce?” Mason says with a cocky grin. “Think you can handle me on the dance floor?” “Oh, what the hell?” Lucy says with a shrug. “Why not!” She reaches for Mason’s hand and drags him toward the dance floor but stops a few feet away and turns back to face Ryder and me. “Hey, you two--behave!” In seconds, she and Mason are swallowed by the crowd. “And then there were two,” Ryder says, reaching for my hand. He leans down, his lips near my ear. “Do you have any idea how badly I want to kiss you right now?” he whispers. “Later,” I say with a shiver. It’s not an empty word. It’s a promise. He gives my hand a squeeze. “So…until then, I guess we dance.” “We dance,” I say as a slow song begins to play. Talk about good timing.

Miss Prudence Mercer Stony Cross Hampshire, England 7 November 1854 Dear Prudence, Regardless of the reports that describe the British soldier as unflinching, I assure you that when riflemen are under fire, we most certainly duck, bob, and run for cover. Per your advice, I have added a sidestep and a dodge to my repertoire, with excellent results. To my mind, the old fable has been disproved: there are times in life when one definitely wants to be the hare, not the tortoise. We fought at the southern port of Balaklava on the twenty-fourth of October. Light Brigade was ordered to charge directly into a battery of Russian guns for no comprehensible reason. Five cavalry regiments were mowed down without support. Two hundred men and nearly four hundred horses lost in twenty minutes. More fighting on the fifth of November, at Inkerman. We went to rescue soldiers stranded on the field before the Russians could reach them. Albert went out with me under a storm of shot and shell, and helped to identify the wounded so we could carry them out of range of the guns. My closest friend in the regiment was killed. Please thank your friend Prudence for her advice for Albert. His biting is less frequent, and he never goes for me, although he’s taken a few nips at visitors to the tent. May and October, the best-smelling months? I’ll make a case for December: evergreen, frost, wood smoke, cinnamon. As for your favorite song…were you aware that “Over the Hills and Far Away” is the official music of the Rifle Brigade? It seems nearly everyone here has fallen prey to some kind of illness except for me. I’ve had no symptoms of cholera nor any of the other diseases that have swept through both divisions. I feel I should at least feign some kind of digestive problem for the sake of decency. Regarding the donkey feud: while I have sympathy for Caird and his mare of easy virtue, I feel compelled to point out that the birth of a mule is not at all a bad outcome. Mules are more surefooted than horses, generally healthier, and best of all, they have very expressive ears. And they’re not unduly stubborn, as long they’re managed well. If you wonder at my apparent fondness for mules, I should probably explain that as a boy, I had a pet mule named Hector, after the mule mentioned in the Iliad. I wouldn’t presume to ask you to wait for me, Pru, but I will ask that you write to me again. I’ve read your last letter more times than I can count. Somehow you’re more real to me now, two thousand miles away, than you ever were before. Ever yours, Christopher P.S. Sketch of Albert included As Beatrix read, she was alternately concerned, moved, and charmed out of her stockings. “Let me reply to him and sign your name,” she begged. “One more letter. Please, Pru. I’ll show it to you before I send it.” Prudence burst out laughing. “Honestly, this is the silliest things I’ve ever…Oh, very well, write to him again if it amuses you.

In the silence that followed the end of the call to prayer, the songs of the first Delhi birds could suddenly be heard: the argumentative chuckle of the babblers, the sharp chatter of the mynahs, the alternating clucking and squealing of the rosy parakeets, the angry exclamations of the brain fever bird, and from deep inside the canopy of the fruit trees in Zafar’s gardens at Raushanara Bagh and Tis Hazari, the woody hot-weather echo of the koel.

On credibility: Jack White has just done a song for Coca-Cola. End of. He ceases to be in the club. And he looks like Zorro on doughnuts. He's supposed to be the poster boy for the alternative way of thinking... I'm not having that, that's fucking wrong. Particularly Coca-Cola, it's like doing a fucking gig for McDonald's.

in this moment of orangutans, wolves, and scavengers, of high heat redesigning the north & south poles and the wanderings of new tribes in limousines, with the confirmations of liars, thieves, and get-over artists, in the wilderness of pennsylvania avenue, standing rock, misspelled executive orders on yellow paper with crooked signatures. where are the kind language makers among us? at a time of extreme climate damage, deciphering fake news, alternative truths, and me-ism you saw the twenty-first century and left us not on your own accord or permission. you have fought and fought most of the twentieth century creating an army of poets who learned and loved language and stories of complicated rivers, seas, and oceans. where is the kind green nourishment of kale and wheatgrass? you thought, wrote, and lived poetry, knew that terror is also language based on denial, first-ism, and rich cowards. you were honey and yes to us, never ran from Black as in bones, Africa, blood and questioning yesterdays and tomorrows. we never saw you dance but you had rhythm, you were a warrior before the war, creating earth language, uncommon signs and melodies, and did not sing the songs of career slaves. keenly aware of tubman, douglass, wells-barnett, du bois, and the oversized consciousness and commitment of never-quit people religiously taking note of the bloodlust enemies of kindness we hear your last words: america if you see me as your enemy you have no friends.

The Moscow audience had of course heard it many times before, but Van’s interpretation was extraordinary. The work’s thundering octaves and delicate filigree were perfectly rendered. Musical lines soared and swooped and darted swiftly to and fro, unfolding a narrative that sounded both noble and ardent, majestic fanfares alternating with lovelorn airs. From the concerto’s opening piano chords, which pealed like colossal church bells, to its dark bass rumblings and songful melodies, every tone was imbued with an inner glow, with long phrases concluding in an emphatic, edgy pounce. The effect was simply breathtaking.

Inside the studio walls the alpha male personalities of James Hetfield and Lars Ulrich battled for territory, their sometimes discordant creative visions coalescing to the point where no aspect of the music being made was left unexamined or unsubjected to alternative methods of interpretation. The pair were learning that in order that an instrument in a song be emphasised, by definition another instrument must be de-emphasised, thus beginning a battle between guitarist and drummer, the energy from which would fuel the group for years to come.

I dare you to…” He pauses, and I want him to say it. I want him to want a kiss, because I realize I’d do it so fast it’d make his head spin. “I dare you to do your happy dance,” he says instead. “Happy dance?” “Come on, everyone has a happy dance.” “But… I have to be extremely happy to do a happy dance. It’s not something I can just, you know, jump into.” “How about I give you some inspiration.” He pulls his phone out of his pocket and presses a few buttons. A song with an upbeat keyboard begins, and Logan stands up. The happy lyrics say something about a birdhouse and a bee. He waves his hand at me to follow. Bouncing on the balls of his feet, he looks at me expectantly. I stand up to face him and try to sway a little. He shakes his head as he turns the volume up. “I just can’t, I’m not happy enough.” “Pretend like the Natchitoches Central Chiefs just won the Super Bowl.” He bounces a little more enthusiastically. “That’s good, I guess.” My sway becomes a little more pronounced. A smile takes hold, not because of the thought of the Chiefs winning the Super Bowl, but because Logan is such an awkward dancer. He’s gone from bouncing to alternating snaps of his fingers as he bobs his head. Plus, he’s a little off rhythm. “There’s a Tangled marathon on in two minutes!” He has to yell over the music now. “That’s better.” I start nodding my head to the beat. “It’s Christmas! You just got your Hogwarts acceptance letter, a copy ofAction Comics #1, and a brand new car that runs on water!” “Hell yeah!” I scream and let go.

Lisa Fithian: The direct action element always brings the energy, attracts young people, but it is also the primary way in which we're building culture. Because all of these movements have to have culture the songs, the music, the visuals. Culture's life. And we're dealing with a culture of death in the U.S. We need to have an alternative. So, we were embodying a culture of life. [As quoted by DW Gibson.]

Remember, rock stars become rock stars because they are inveterate insecure attention-seeking babies and you may have written a couple of half-decent couplets and memorable tunes, amidst the doggerel and mud, and you really should be grateful that the public bought a couple of your songs in droves, but here’s the thing: you do not have to feel guilty, you do not have a higher calling, you just have too much time on your hands. Make more than one album every eight years, try a bit of acting. Alternately you could just remember you are a rock star and shut the fuck up, and please spare us your political insight.

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As a pedagogical approach, disability studies provides ways of legitimating the lives of those occupying peripheral embodiments as offering insightful alternative modes of nonnormative being-in-the-world. These two disability-centered approaches dovetail into what we call curricular cripistemologies. SONG

But what is the alternative? Look the other way when a dragon flies by?' He tsk-tsked. 'That sort of life isn't worth living.' 'You would risk insanity, then?' 'Without a doubt. It's the only way to live.

I picture the customers pressing their faces to the display window outside to look at quibes, pastéis, and codfish bolinhos. I listen for our old stereo alternating between static crackling and forró songs swelling with melancholy accordions. I search for the tangy scent of ground beef simmering in a clay pot ready to turn into coxhina filling.

It is he who gave me unerring knowledge of what exists, to know the structure of the world and the activity of the elements: the beginning and end and middle of times, the alternations of the solstices and the changes of the seasons, the cycles of the year and the constellations of the stars, the natures of animals and the tempers of wild beasts, the powers of spirits and the reasonings of men, the varieties of plants and the virtues of roots; I learned both what is secret and what is manifest’ (Wisdom 7.17-21). He shows thus, without any possible doubt, that everything that is seen is related to something hidden. That is to say that each visible reality is a symbol, and refers to an invisible reality to which it is related. Origen Commentary on the Song of Songs, 3 (GCS 8,208

It takes a dedicated hand, to put it through the wall.

I could call it "detachment," or "purity of effort," or "a refusal to judge by results." But as I watched from the hedge I felt no need to squeeze it into a formula. I was learning not by words like these, but by the nonsensical songs and babblings and sound effects that accompanied Papa's destinationless pitches out into the night, that there are genuine alternatives to the black-and-white categories into which most of us dump our lives. I was learning not by thinking, but through a father/son osmosis, that winning and losing, success and failure, are like the chalk strike zones I'd watched Papa draw.

In the Song (of Songs), love defies death itself.

In the 1974 classic Zen and the Art of Motorcycle Maintenance, Robert Pirsig decries the conversational opener “What’s new?”—arguing that the question, “if pursued exclusively, results only in an endless parade of trivia and fashion, the silt of tomorrow.” He endorses an alternative as vastly superior: “What’s best?” But the reality is not so simple. Remembering that every “best” song and restaurant among your favorites began humbly as something merely “new” to you is a reminder that there may be yet-unknown bests still out there—and thus that the new is indeed worthy of at least some of our attention.

Deedee dropped out of her ska-punk band and joined an eight-person madrigal chorus. She had a clot somewhere deep inside her that was connected to the people she had lost in the flood, or might lose in the aftermath, and the endless conversations where everybody compared notes on their respective tragedies only made her feel shittier. Just saying the words "My brother is still missing" made Deedee want to throw up and then head-butt whoever had asked. She needed an alternative to the dull repetition of facts, a way to share her uncut heartbreak without any particulars, and to her amazement she found it in these strange old songs about doomed lovers.

Row, Row, Row Your Boat Row, row, row your boat Gently down the stream. Merrily, merrily, merrily, merrily Life is but a dream. Preparation and Instructions: Sit on the floor with your legs crossed. Have the child sit in your lap with his back to your front. Put your arms around the child, holding him snugly. The child is now sitting inside a wonderful, cozy “boat.” The Game: Rock side to side or back and forth as you sing the song. After you sing the song once, say to the child, “Oh, my gosh, a storm is coming. I have to hold you tight so you won’t fall out of the boat.” At this point, begin to roll around from side to side as if the boat were in stormy waters, holding the child closer and closer. Sing the song again in a loud, stormy voice. After you sing the song one time in stormy seas, say, “The storm is over, the sea is calm.” Return to your gentle rocking side to side and back and forth, singing the song once again in a calm, soothing voice. Variations: My grandfather used to play this game with me.* During the storm part, he would say, “Oh no, we have hit a rock. We are going down. I will save you.” Then he would lift me up and put me on his shoulders to save me from drowning in the sea. From here he would carry me to the dinner table or to bed. Snuggle Up Preparation and Instructions: A “safe place” is an alternative to time out.

By adding and taking off your middle and ring fingers you can alternate between an A chord and a D chord quickly and with minimal movement.

Like Miles Davis, Graham often used to turn his back on his audiences. This was primarily between songs, while he was retuning his guitars. For Graham, in the early 1960s, was privy to a secret alternative tuning system known as DADGAD, which he was reluctant to share with any rival guitarists in the crowd. He began using it around 1962–3, on a trip to the bohemian Beat capital Tangier, where he spent six months and earned his keep by working in a snack booth selling hash cakes to locals. The raw Gnaoua trance music preserved in Morocco’s town squares and remote Rif mountain villages stretched back thousands of years, and Graham was hypnotised by the oud, a large Arabic lute which resembles a bisected pear (the word ‘lute’ itself derives from the Arabic ‘al-ud’) and has been identified in Mesopotamian wall paintings 5,000 years old. The paradigm of Eastern music, defining its difference from the West, is the maqam, which uses a microtonal system that blasts open the Western eight-note octave into fifty-three separate intervals. DADGAD is not one of the tunings commonly used on the eleven-string oud, but Graham found that tuning a Western guitar that way made it easier to slip into jam sessions with Moroccan players. The configuration allows scales and chords to be created without too much complicated fingering; its doubled Ds and As and open strings often lead to more of a harp-like, droning sonority than the conventional EADGBE.

I'd read in Greg Goodman's Alternatives in Education that The Talking Heads’ “Road to Nowhere” was a good field trip theme song so I listened to it on my way to school.

WHEREAS her birth signaled the responsibility as mother to teach what it is to be Lakota, therein the question: what did I know about being Lakota? Signaled panic, blood rush my embarrassment. What did I know of our language but pieces? Would I teach her to be pieces. Until a friend comforted, don’t worry, you and your daughter will learn together. Today she stood sunlight on her shoulders lean and straight to share a song in Dine, her father’s language. To sing she motions simultaneously with her hands I watch her be in multiple musics. At a ceremony to honor the Diné Nation’s first poet laureate, a speaker explains that each People has been given their own language to reach with. I understand reaching as active, a motion. It’s here we roll along the pavement into hills of conversation we share a ride we share a country but live in alternate nations and here I must tell them what they don’t know or, should I? Well you know Native people as in tribes as in people living over there are people with their own nations each with its own government and flag they rise to their own national songs and sing in their own languages, even. And by there I mean here all around us I remind them.

Once superintelligent AI has settled another solar system or galaxy, bringing humans there is easy — if humans have succeeded in programming the AI with this goal. All the necessary information about humans can be transmitted at the speed of light, after which the AI can assemble quarks and electrons into the desired humans. This could be done either in a low-tech way by simply transmitting the 2 gigabytes of information needed to specify a person’s DNA and then incubating a baby to be raised by the AI, or the AI could assemble quarks and electrons into full-grown people who would have all the memories scanned from their originals back on Earth. This means that if there’s an intelligence explosion, the key question isn’t if intergalactic settlement is possible, but simply how fast it can proceed. Since all the ideas we've explored above come from humans, they should be viewed as merely lower limits on how fast life can expand; ambitious superintelligent life can probably do a lot better, and it will have a strong incentive to push the limits, since in the race against time and dark energy, every 1% increase in average settlement speed translates into 3% more galaxies colonized. For example, if it takes 20 years to travel 10 light-years to the next star system with a laser-sail system, and then another 10 years to settle it and build new lasers and seed probes there, the settled region will be a sphere growing in all directions at a third of the speed of light on average. In a beautiful and thorough analysis of cosmically expanding civilizations in 2014, the American physicist Jay Olson considered a high-tech alternative to the island-hopping approach, involving two separate types of probes: seed probes and expanders. The seed probes would slow down, land and seed their destination with life. The expanders, on the other hand, would never stop: they'd scoop up matter in flight, perhaps using some improved variant of the ramjet technology, and use this matter both as fuel and as raw material out of which they'd build expanders and copies of themselves. This self-reproducing fleet of expanders would keep gently accelerating to always maintain a constant speed (say half the speed of light) relative to nearby galaxies, and reproduce often enough that the fleet formed an expanding spherical shell with a constant number of expanders per shell area. Last but not least, there’s the sneaky Hail Mary approach to expanding even faster than any of the above methods will permit: using Hans Moravec’s “cosmic spam” scam from chapter 4. By broadcasting a message that tricks naive freshly evolved civilizations into building a superintelligent machine that hijacks them, a civilization can expand essentially at the speed of light, the speed at which their seductive siren song spreads through the cosmos. Since this may be the only way for advanced civilizations to reach most of the galaxies within their future light cone and they have little incentive not to try it, we should be highly suspicious of any transmissions from extraterrestrials! In Carl Sagan’s book Contact, we earthlings used blueprints from aliens to build a machine we didn’t understand — I don’t recommend doing this ... In summary, most scientists and sci-fi authors considering cosmic settlement have in my opinion been overly pessimistic in ignoring the possibility of superintelligence: by limiting attention to human travelers, they've overestimated the difficulty of intergalactic travel, and by limiting attention to technology invented by humans, they've overestimated the time needed to approach the physical limits of what's possible.

each person has a particular secret desire which they think will bring fulfillment—restored youth, sex with the beauty of their fantasies, athletic prowess, lots of money.118 But when they sell everything to get their dream, they are enslaved by it rather than satisfied. That fits with the biblical teaching of idolatry. Anything more important to you than the real God is an alternate god. Idols have no power (verses 5–7) to give you the love, forgiveness, and guidance you need. But paradoxically they do have power to make you like them (verse 8) and to keep you both spiritually blind and unable to see as well as spiritually lame and unable to change. Prayer: Lord, I confess that I make an idol out of people’s approval. Let me be so satisfied with your love that I no longer respond to people out of fear of displeasing them but only in love, seeking what is best for them. Remove my idols of approval—which can never give me the approval I need. Amen.

Do people who love more suffer more? Is love merely a tinted simile for accepting ourselves and unequivocally embracing other people’s ululating heart songs? Is hate the failure to love? Is evil merely the absence of good? Alternatively, is the root of hate and evil more than the lack of love and absence off goodness? Is darkness the absence of light, or does darkness encapsulate its own dynamism? Does the interaction of piousness and sinfulness along with the intermingling of knowledge and ignorance shadow our souls similar to how darkness interferes with light to create shades of opaqueness? What is self-love? Is it important to love oneself? Alternatively, is no self the ultimate test?

Armies, like families, are institutions that create a world. Both successfully engender the new member's respect, loyalty, love, affirmation, gratitude, and obedience. I speak of armies and families as creating social power, because the hold that each of these institutions has over its members comes to greatly exceed its moment-to-moment capacity to reward or punish and usually persists long after significant practical affiliation has ended. The following features are common to both of these world-making institutions, whether the new member experiences them as benign or malevolent: Barriers to escape Control of body and bodily functions What and when to eath When, where, and how much to sleep Body form (clothing, weight, haircut) When and where to urinate and defecate Lack of privacy regarding bodily functions Prolonged daily contact with power-holder in group Power-holder as source of small rewards, comfort, approval Inconsistent, unpredictable, capricious enforcement of rules Monopolization of communication, resources, control Secrecy regarding some activities and events Lack of alternative to seeing world through power-holder's eyes Required repetition of buzz words, songs, slogans, cliches, even if inwardly disbelieved and rejected

In music class, the students created alternative lyrics to a variety of songs, including “Cats in the Cradle,

Then you agree that you should keep me.” With the smug satisfaction of an argument won, he propped his shoulder against the stall door. Her eyes picked him over as if he were a carved goose on a table. “Aye, I’ll have to either keep you...or kill you.” “I vote for keeping me.” A glint of humor shone in her eyes. “And I shall so long as you behave yourself.” “And if I don’t behave? If I try to escape?” “I’ll hunt you down and kill you.” The conviction in her voice chilled him, and yet he felt something else, an ache of pity that a wonderful creature like Caitlin MacBride should be compelled to have the heart of a murderer. “Then you leave me no alternative,” he said lightly. “I shall stay. Think of it, Cait, we’ll grow old together. We’ll walk on the strand and watch the sunset, and you’ll sing songs to me in that lovely voice of yours.

Specifically, I want to bring these songs and texts to bear on the ecological crisis. It seems to me that the environmental crisis is, at heart, a failure and a perversion of the human imagination. Our imaginations have been taken captive by an ecocidal ideology of economic growth that invariably will render us homeless in a world unfit for habitation. If imagination is the issue, then a redirection of our lives toward creation care will not emerge out of statistics of ecological despoliation, as important as those statistics might be. What we need is liberated imagination, imagination set free to envision an alternative life, an ecological imagination that engenders a life of restorative homemaking in our creational home. Cockburn’s art, especially when interpreted in dialogue with biblical visions, is a rich resource for funding such an imagination.[206]