Beautiful Vocal Quotes

Do I love you because you're beautiful, or are you beautiful because I love you?

Hide yourself in God, so when a man wants to find you he will have to go there first.

Tell me now, fairy as you are - can't you give me a charm, or a philter, or something of that sort, to make me a handsome man?" "It would be past the power of magic, sir;" and, in thought, I added, "A loving eye is all the charm needed: to such you are handsome enough; or rather, your sternness has a power beyond beauty." Mr. Rochester had sometimes read my unspoken thoughts with an acumen to me incomprehensible: in the present instance he took no notice of my abrupt vocal response; but he smiled at me with a certain smile he had of his own, and which he used but on rare occasions. He seemed to think too good for common purpose: it was the real sunshine of feeling - he shed it over me now.

You are beautiful in every single way. Words can't bring you down.

Do I love you because you're beautiful, or are you beautiful because I love you? Am I making believe I see in you, a woman too perfect to be really true? Do I want you because you're wonderful, or are you wonderful because I want you? Are you the sweet invention of a lover's dream, or are you really as beautiful as you seem?

When the heart is beautiful, its light shines through the eyes, vocal tones and actions of its master. True beauty is not in the body, but in the heart of the beholder.

Where did you say you found that bird again?" "In my head." Ronan's laugh was a sharp jackal cry. "Dangerous place," commented Noah. Ronan stumbled, all his edges blunted by alcohol, and the raven in his hands let out a feeble sound more percussive than vocal. He replied, "Not for Chainsaw." Back out in the hard spring night, Gansey tipped his head back. Now that he knew that Ronan was all right, he could see that Henrietta after dark was a beautiful place, a patchwork town embroidered with black tree branches. A raven, of all the birds for Ronan to turn up with. Gansey didn't believe in coincidences.

While I was backstage before presenting the Best New Artist award, I talked to George Strait for a while. He's so incredibly cool. So down-to-earth and funny. I think it should be known that George Strait has an awesome, dry, subtle sense of humor. Then I went back out into the crowd and watched the rest of the show. Keith Urban's new song KILLS ME, it's so good. And when Brad Paisley ran down into the front row and kissed Kimberley's stomach (she's pregnant) before accepting his award, Kellie, my mom, and I all started crying. That's probably the sweetest thing I've ever seen. I thought Kellie NAILED her performance of the song we wrote together "The Best Days of Your Life". I was so proud of her. I thought Darius Rucker's performance RULED, and his vocals were incredible. I'm a huge fan. I love it when I find out that the people who make the music I love are wonderful people. I love Faith Hill and how she always makes everyone in the room feel special. I love Keith Urban, and how he told me he knows every word to "Love Story" (That made my night). I love Nicole Kidman, and her sweet, warm personality. I love how Kenny Chesney always has something hilarious or thoughtful to say. But the real moment that brought on this wave of gratitude was when Shania Twain HERSELF walked up and introduced herself to me. Shania Twain, as in.. The reason I wanted to do this in the first place. Shania Twain, as in.. the most impressive and independent and confident and successful female artist to ever hit country music. She walked up to me and said she wanted to meet me and tell me I was doing a great job. She was so beautiful, guys. She really IS that beautiful. All the while, I was completely star struck. After she walked away, I realized I didn't have my camera. Then I cried. You know, last night made me feel really great about being a country music fan in general. Country music is the place to find reality in music, and reality in the stars who make that music. There's kindness and goodness and....honesty in the people I look up to, and knowing that makes me smile. I'm proud to sing country music, and that has never wavered. The reason for the being.. nights like last night.

For me you'll always be 18 And beautiful And dancin' away with my heart.

A beautiful and binding morning The world outside begins to breathe See clouds arriving without warning I need you here to shelter me. If I could make these moments endless If I could stop the winds of change If we just keep our eyes wide open Then everything would stay the same And I know that only time will tell me how We'll carry on without each other So keep me awake for every moment Give us more time to be this way We can't stay like this forever But I can have you next to me today

My rock candy passion is bittersweet And armed to the teeth Cuz she would rather fall in chocolate Than fall in love.. Especially with me!

When no hope was left inside On that starry, starry night You took your life as lovers often do But I could have told you, Vincent This world was never meant For one as beautiful as you.

Your skin reminds me of everything beautiful I've ever loved... how the moon gets jealous at how you mock her crescent figure with the shape of your mouth... echo of unborn galaxies bounce forth through your vocal chords...

There is evidence that the honoree [Leonard Cohen] might be privy to the secret of the universe, which, in case you're wondering, is simply this: everything is connected. Everything. Many, if not most, of the links are difficult to determine. The instrument, the apparatus, the focused ray that can uncover and illuminate those connections is language. And just as a sudden infatuation often will light up a person's biochemical atmosphere more pyrotechnically than any deep, abiding attachment, so an unlikely, unexpected burst of linguistic imagination will usually reveal greater truths than the most exacting scholarship. In fact. The poetic image may be the only device remotely capable of dissecting romantic passion, let alone disclosing the inherent mystical qualities of the material world. Cohen is a master of the quasi-surrealistic phrase, of the "illogical" line that speaks so directly to the unconscious that surface ambiguity is transformed into ultimate, if fleeting, comprehension: comprehension of the bewitching nuances of sex and bewildering assaults of culture. Undoubtedly, it is to his lyrical mastery that his prestigious colleagues now pay tribute. Yet, there may be something else. As various, as distinct, as rewarding as each of their expressions are, there can still be heard in their individual interpretations the distant echo of Cohen's own voice, for it is his singing voice as well as his writing pen that has spawned these songs. It is a voice raked by the claws of Cupid, a voice rubbed raw by the philosopher's stone. A voice marinated in kirschwasser, sulfur, deer musk and snow; bandaged with sackcloth from a ruined monastery; warmed by the embers left down near the river after the gypsies have gone. It is a penitent's voice, a rabbinical voice, a crust of unleavened vocal toasts -- spread with smoke and subversive wit. He has a voice like a carpet in an old hotel, like a bad itch on the hunchback of love. It is a voice meant for pronouncing the names of women -- and cataloging their sometimes hazardous charms. Nobody can say the word "naked" as nakedly as Cohen. He makes us see the markings where the pantyhose have been. Finally, the actual persona of their creator may be said to haunt these songs, although details of his private lifestyle can be only surmised. A decade ago, a teacher who called himself Shree Bhagwan Rajneesh came up with the name "Zorba the Buddha" to describe the ideal modern man: A contemplative man who maintains a strict devotional bond with cosmic energies, yet is completely at home in the physical realm. Such a man knows the value of the dharma and the value of the deutschmark, knows how much to tip a waiter in a Paris nightclub and how many times to bow in a Kyoto shrine, a man who can do business when business is necessary, allow his mind to enter a pine cone, or dance in wild abandon if moved by the tune. Refusing to shun beauty, this Zorba the Buddha finds in ripe pleasures not a contradiction but an affirmation of the spiritual self. Doesn't he sound a lot like Leonard Cohen? We have been led to picture Cohen spending his mornings meditating in Armani suits, his afternoons wrestling the muse, his evenings sitting in cafes were he eats, drinks and speaks soulfully but flirtatiously with the pretty larks of the street. Quite possibly this is a distorted portrait. The apocryphal, however, has a special kind of truth. It doesn't really matter. What matters here is that after thirty years, L. Cohen is holding court in the lobby of the whirlwind, and that giants have gathered to pay him homage. To him -- and to us -- they bring the offerings they have hammered from his iron, his lead, his nitrogen, his gold.

I didn't come for a fight, but I'll fight till the end

To be happy to be sad and sad to be happy is to sing an echo in that beautiful language called Sorrow.

Anna's voice wasn't a beautiful voice - rough edged and sorrowful, a bit used, somehow male and female at once. Yet it had more vibrancy to it than most Danish voices, which were often thin and white and too pretty to trigger a shiver. Anna's voice had the heat of the south; it warmed Einar, as if her throat were red with coals.

You may not have noticed, but I’m not what you’d call conventionally beautiful. In fact, you might say that I’m the opposite of that. Say, you know - to vocalize, sometimes ad nauseam? Do you think that there’s any minute in any day when I’m not aware of how big I am? Do you think there’s a single minute that goes by when I’m not thinking about how other people see me? Even though I have no control whatsoever over that? Don’t get me wrong - I love my body. But I’m not so much of an idiot to think that everybody else loves it. What really gets to me- what really bothers me - is that it’s all people see.

It's your world, but I make my way in it. At fifteen, no, I couldn't stand up to you. The age of illusions, when we know nothing, we hope for everything; we're wandering in a mist ... And the half of the world that's never had any use for us, suddenly is besieging us. You need us, you adore us, you're suffering for us. You want everything--except to know what we think. You look deep in our eyes--and put your hand up our dress. You call us, "Pretty thing." That confuses us. The most beautiful woman, the highest ranked, lives half dazzled by constant attention, half stifled by obvious contempt. We think all we're good for is pleasing you--till one day, long acquaintance with you dispels the last mist. In a clear light, we suddenly see you as you are--and generally we start preferring ourselves. At thirty, I could finally say no--or really say yes. That's when you begin backing away from us. Now I'm full-grown. I pursue my happiness the same as any man.

When the heart is beautiful, its light shines though the eyes, vocal tones and actions of its owner.

True beauty is not in the body, but in the heart of the beholder. When the heart is beautiful, it shines in a person's eyes, vocal tones and actions.

The only real problem came with a track called ‘The Last Song’. Bernie’s lyrics were about a man dying of AIDS being reconciled with his estranged father, who had excommunicated him when he found out he was gay. They were beautiful, but I just couldn’t cope with singing them. It was just after Freddie’s death. Somewhere in Virginia, I knew Vance Buck was dying, too. Every time I tried to get the vocal down, I started crying. Eventually I managed it and ‘The Last Song’ was subsequently used as the finale of And the Band Played On, a docudrama about the discovery of, and the fight against, HIV.

At length, one lovely morning, when the green corn lay soaking in the yellow sunlight, and the sky rose above the earth deep and pure and tender like the thought of God about it, Alec became suddenly aware that life was good, and the world beautiful . . . One of God's lyric prophets, the larks, was within earshot, pouring down a vocal summer of jubilant melody. The lark thought nobody was listening but his wife; but God heard in heaven, and the young prodigal heard on the earth.

Despite the occasional backlash, I’ll continue to speak on this topic until people stop assuming that this debate is about whether or not to allow women into combat. Women are already fighting in combat with or without anyone’s permission, and they’re doing so valiantly. What they aren’t doing is being trained alongside their comrades-in-arms, given credit for doing the same jobs as their counterparts, given promotions to jobs overseeing combat operations, or being treated like combat veterans by people back home (even some in the Veterans Administration). Not every man has the skill set or warrior spirit for combat. Not every woman does, either. But everyone that does have that skill set should be afforded the opportunity to compete for jobs that enable them to serve in the way their heart calls them. For some people, that calling is in music or art. Some are natural teachers. There are those who will save lives with science. I was called to be a warrior and to fly and fight for my country. I was afforded the opportunity to answer that call, and because of that, I have lived a full and beautiful life. People will always be afraid of change. Just like when we integrated racially or opened up combat cockpits to women, there will always be those who are vocal in their opposition and their fear. History will do what it always does, however. It will make their ignorant statements, in retrospect, seem shortsighted and discriminatory, and the women who will serve their country bravely in the jobs that are now opening up will prove them wrong. Just like we always have.

And that’s why we should stop. Let’s stop before everything went so wrong. Let’s hold time still. Let’s remember him as he was on Enter—not crazy at all, only brilliant and brave, the most radical member of a radical Clan, whose apparent lack of control was predicated on the most complete control. Let’s remember him whip-thin, his head tilted, gold teeth showing, his eyes aggressively wide, wiry dreads moving away from his scalp like spilt lines of paint or the tentacular extrusions of his brilliant Black mind. Let’s let him win. Let’s remember those vocals, uninhibited by any rules except those he chose. Let’s focus always on the exhilaration, the feeling we had when we first heard him, the disbelief, the laughter which bubbled up like it does in children. Not the laughter of mockery, but the laughter of pure joy, the laughter of disbelief and amazement, the laughter which is all you can manage when confronted by the undeniable, surprising beauty of the world. Let’s let him breathe.

The laugh of Doctor Prunesquallor was part of his conversation and quite alarming when heard for the first time. It appeared to be out of control as though it were a part of his voice, a top-storey of his vocal range that only came into its own when the doctor laughed. There was something about it of wind whistling through high rafters and there was a good deal of the horse’s whinny, with a touch of the curlew. When giving vent to it, the doctor’s mouth would be practically immobile like the door of a cabinet left ajar. Between the laughs he would speak very rapidly, which made the sudden stillness of his beautifully shaven jaws at the time of laughter all the more extraordinary. The laugh was not necessarily connected with humour at all. It was simply a part of his conversation.

you may not have noticed, but i'm not what you'd call conventionally beautiful. in fact, you might say that i'm the opposite of that. say, you know - to vocalize, sometimes ad nauseam? do you think that there's any minute in a day when i'm not aware of how big i am? do you think there's a single minute that goes by when i'm not thinking about how other people see me? even though i have no control whatsoever over that? don't get me wrong - i love my body. but i'm not so much of an idiot to think that everybody else loves it. what really gets to me - what really bothers me - is that it's all people see. ever since i was a not-so-little kid. hey, tiny, want to play football? hey, tiny, how many burgers did you eat today? hey, tiny, do you ever lose your dick down there? hey, tiny, you're going to join the basketball team whether you like it or not. just don't try to look at us in the locker room! does that sound easy to you will?

Of course there is no denying that all these primordial dreams appear, in the opinion of nonmathematicians, to have been suddenly realized in a form quite different from the original fantasy. Baron Munchhausen’s post horn was more beautiful than our canned music, the Seven-League boots more beautiful than a car, Oberon’s kingdom lovelier than a railway tunnel, the magic root of the mandrake better than a telegraphed image, eating of one’s mother’s heart and then understanding birds more beautiful than an ethologic study of a bird’s vocalizing. We have gained reality and lost dream. No more lounging under a tree and peering at the sky between one’s big and second toes; there’s work to be done. To be efficient, one cannot be hungry and dreamy but must eat steak and keep moving. It is exactly as though the old, inefficient breed of humanity had fallen asleep on an anthill and found, when the new breed awoke, that the ants had crept into its bloodstream, making it move frantically ever since, unable to shake off that rotten feeling of antlike industry.

Reflecting on the creation of the songs and vocal performances, Peter [Schneider] speaks with respect and regret: "It's sad that Howard [Ashman] never saw the finished movie of Beauty and the Beast, because it's basically him. It was his conception, it was his idea, it was his songs, it was his emotions, it was his storytelling. Alan [Menken] was a very important partner in this: you can't discount Alan. But it was Howard's vision that made this all happen. And what survives is these characters and these emotions and these songs. They will be around a lot longer than we will. And given the choice, that's what he would have chosen to have survive.

The rosary is being prayed perfectly when all the members pray it at the same natural and prayerful pace. This gives the rosary a beautiful rhythm, flow, and harmonious timing that match normal breathing patterns. On the other hand, if one member prays too loudly, allowing his voice and pace to dominate the others, everyone automatically begins to focus on his voice and is no longer able to meditate; the vocal aspect becomes a distraction for all the other members. Similarly, if a person places an emphasis on one particular word of the Hail Mary prayer, it breaks the flow and rhythm of the group’s timing. All of the above aspects should be taken seriously, because a group’s failure to pray the rosary well and harmoniously is often the reason why many people do not join in praying the rosary before or after Mass. Very few people are interested in praying a rosary that is chaotic and a verbal wrestling match.

No Mirrors in My Nana’s House” Sweet Honey in the Rock LYRICS BY YSAYE MARIA BARNWELL Sweet Honey in the Rock is a Grammy Award–winning vocal group of black women vocalists founded in 1973 by Bernice Johnson Reagon. The group’s members have changed during its long tenure, but it retains a core of five vocalists and a sign-language interpreter. Their performances are deeply embodied celebrations of black women’s lived experiences. The group’s name is derived from Psalm 81:16: “But you would be fed with the finest of wheat; with honey from the rock I would satisfy you.” Sign-language interpreter Dr. Ysaye Barnwell joined Sweet Honey in the Rock in 1979 and appears in more than thirty recordings with the group. She is the author of one of the group’s most popular recordings, “No Mirrors in My Nana’s House.” It is a stirring piece that reveals how the loving protection of black women can shield black girls from a painful world that seeks to negate their beauty and worth. In 1998 the lyrics became a children’s book published by Harcourt Brace. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. And the beauty that I saw in everything was in her eyes (like the rising of the sun). I never knew that my skin was too black. I never knew that my nose was too flat. I never knew that my clothes didn’t fit. I never knew there were things that I’d missed, cause the beauty in everything was in her eyes (like the rising of the sun); . . . was in her eyes. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. And the beauty that I saw in everything was in her eyes (like the rising of the sun). I was intrigued by the cracks in the walls. I tasted, with joy, the dust that would fall. The noise in the hallway was music to me. The trash and the rubbish just cushioned my feet. And the beauty in everything was in her eyes (like the rising of the sun). . . . was in her eyes. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. And the beauty that I saw in everything was in her eyes (like the rising of the sun). The world outside was a magical place. I only knew love. I never knew hate, and the beauty in everything was in her eyes (like the rising of the sun). . . . was in her eyes. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. And the beauty that I saw in everything was in her eyes (like the rising of the sun).

In this instance, strength with control will bring about the desired result. One can describe forte piano as the sudden application of pressure and then release. It is the surprising occurrence of tension followed by immediate relaxation. It is like the blow of a rubber-headed hammer and the resultant bounce-off from the object hit. We are dealing with techniques and skill in this musical framework, and as directors we should be able to demonstrate vocally for our singers or instrumentally for our players. One can verbalize in an extended and elaborate procedure as to how a forte piano should be executed, but the skillful musical demonstration will accomplish the purpose immediately. I think of the fireworks at Disneyland on a summer evening. Always at the end of the show will be the beautiful starbursts—a sudden explosion of the missile high in the air, the immediate quiet spread of a colorful star-flower expanding in all its beauty. This is forte piano. There will be a coming again in the skies by the Lord Jesus Christ for his church. It will be sudden. Sudden, as revealed in Scripture. The prophets predicted it, Christ promised it, apostles proclaimed it, heaven preached it, and Christians continue to expect it. As he announced his death, so he prophetically told of his return. Three times, in the last chapter of Revelation, he affirms this. Surely I am coming quickly. Revelation 22:20 It will be a sudden time with the beginning of an immediate release from the tensions and pressures of life. Yes, that will be the final victory, because of Jesus Christ.

Thankfully, he had brought his copy of Christina Aguilera’s My Kind of Christmas. Gleefully listening to her vocals, somersaulting higher and faster, reduced any tension between them. They backed away from the small artificial tree, now lit and tinselled. We did it! It’s so beautiful. It really is. His arm extended itself around her shoulder. She responded by putting her arms around his waist, and in this sideways embrace, they began to sway to the music. His body gradually turned in to face hers, their bodies clasping each other, growing into each other to form another tree. Limbs for branches, adrenaline for lights. They said nothing.

Private listening really took off in 1979, with the popularity of the Walkman portable cassette player. Listening to music on a Walkman is a variation of the “sitting very still in a concert hall” experience (there are no acoustic distractions), combined with the virtual space (achieved by adding reverb and echo to the vocals and instruments) that studio recording allows. With headphones on, you can hear and appreciate extreme detail and subtlety, and the lack of uncontrollable reverb inherent in hearing music in a live room means that rhythmic material survives beautifully and completely intact; it doesn’t get blurred or turned into sonic mush as it often does in a concert hall. You, and only you, the audience of one, can hear a million tiny details, even with the compression that MP3 technology adds to recordings. You can hear the singer’s breath intake, their fingers on a guitar string. That said, extreme and sudden dynamic changes can be painful on a personal music player. As

I remember when I first became a believer in Jesus. I somehow thought it was my duty to change people for the sake of spreading the gospel. I would rejoice when people would find hope in Christ but would feel like a failure when someone would decline the invitation to know Jesus as Lord and Savior. It was a little discouraging. But that’s because my understanding of how God works in my life was off. I say this because I believe many of today’s Christians put too much pressure on themselves to bring people to Jesus. It’s our job to love people, not change them. Only the Holy Spirit has the power and authority to do such a thing. Our calling is to simply share the gospel in love and truth, showing the character of Jesus through our everyday lives. When you let yourself off the hook for being solely responsible for somebody’s soul, you will find a totally new sense of freedom: the freedom to love. You don’t have to be perfect. You don’t have to know all the right things to say. You don’t have to have all the answers. And if your message is totally rejected . . . it’s not on you. It’s between that individual and God. Maybe you’ll get another opportunity to try, but it’s not your job to change him or her. Our job is to simply be available for those who are looking to know more about God, take opportunities to be vocal about our personal relationships with him, and continue to point people back to God with every question they may have. I didn’t understand this in the early years of my faith, and I put way too much pressure on myself when it came to people being transformed. Why? Because we live in a performance-based culture, and yes, even pastors have a tendency to fall captive to its pull. Like me, you probably feel pressured from multiple angles. We’re told by advertising that we need to be attractive, by parents that we need good jobs, by teachers that we need good grades, by friends that we need to give more time. Jesus isn’t like that. He doesn’t make irrational demands and point a finger at us for not living up to the expectation. The only thing Jesus wants from us is our love. And when we learn to offer him that love, we long to obey him and live in the better way he has for us as well. It’s a beautiful thing. As we learned from Jesus in Matthew 25, we can love God simply by loving others. Whether that love produces a change in their lives is up to God. We don’t have to stress about it. Only the Holy Spirit has the power and authority to change someone’s heart. Our calling is to simply share the gospel in love and truth, showing the character of Jesus through our everyday lives. This alone is the calling of a Christian. This alone is a weighty yet fulfilling purpose for all who choose to pick up their crosses daily. If we were to scour the Bible, we’d see there isn’t a single passage that states we are called to change people ourselves. Why? Because it’s not our job, and it was never intended to be. We must take a step back and realize that God’s job is to be God and our job is to lead people toward the door that is hope. Once we’ve done this, we must let go and allow the one who created the world to take care of the rest. If we had the power to change people, the transformative love of God wouldn’t be needed. Don’t waste your time trying to change people. Instead, focus on loving well.

If we train our mind to become peaceful and loving, then whatever we say and do will be peaceful and loving, and will inspire peace and joy in those around us. Say we are in a garden, appreciating its peace and beauty; our mind will naturally become relaxed and joyful. The more peaceful our mind becomes, the more it will be filled with joy. Then our vocal and physical expressions will also spontaneously become caring and soothing for others. All our actions will become sources of true service for everyone we engage with.

I stare at the mirror, running my fingers around my round face and my wide nose and wondering if Mom really does think she could have done better than Dad—better than Asian—and if she does, does she think she could have done better than me? It hurts. It hurts hearing her vocalize my fear—that people might not look at me the way they look at her. And it hurts to think she looks down on Dad, and maybe down on me, and Taro, and Shoji. Closing my eyes, I think of all the faces in my sketchbook. The ones I’ve drawn since Hiroshi told me beauty isn’t just one thing. They’re all different and special and unique. I don’t look at them the way Mom looks at the faces in a yearbook. Because it wouldn’t be fair. It feels cruel, like I’m saying one type of face is better than another. Like I’m saying one kind of heritage is better than another. It’s an ugly thing to do. I’d rather have an ugly face than an ugly heart. I let my hands drop to my sides and shake my head at the mirror. And I decide, right there and then, that I don’t care if I’m not someone’s idea of pretty. I don’t care if my name might disappoint someone, or if my face might disappoint someone’s parents. Because that says so much more about them than it does about me. Who cares what anyone else thinks? Who cares what Mom thinks, when she’s immature enough to keep a last name she hates just to maintain an imaginary war with Serena? I love my last name. And maybe I’m even learning to love my face. That can be enough. It has to be. It will be.

Siamangs—large black members of the gibbon family—swing high up in the tallest trees of the Asian Jungle. Every morning, the male and female burst into spectacular duets. Their song begins with a few loud whoops, which gradually build into ever louder, more elaborate sequences. Amplified by balloonlike throat sacs, the sound carries far and wide. I have heard them in Indonesia, where the whole forest echoed with their sound. The siamangs listen to one another during breaks. Whereas most territorial animals need only to know where their boundaries run and how strong and healthy their neighbors are, siamangs face the added complexity that territories are jointly defended by pairs. This means that pair-bonds matter. Troubled pairs will be weak defenders, while bonded pairs will be strong ones. Since the song of a pair reflects their marriage, the more beautiful it is, the more their neighbors realize not to mess with them. A close-harmony duet communicates not only “stay out!” but also “we’re one!” If a pair duets poorly, on the other hand, uttering discordant vocalizations that interrupt one another, neighbors hear an opportunity to move in and exploit the pair’s troubled relationship.

1981 - A SPECIAL TIME, PLACE and SEASON: Jennifer was 16 years of age. I called WYLIE GRAYDON in Albany, Georgia. Mr. Graydon was very well known and Very Accomplished. He taught piano and voice lessons to many people of all ages. He was especially famous for coaching young ladies who were in pageants from the local level, to the state level---all the way to the Miss America Pageant. (Jennifer was not there for any pageant.....she was just there to sing.) I knocked on his Studio door. He opened the door with a smile on his face and said: "Mrs. Gandy, Jennifer--Welcome and Come in." He said: "Mrs. Gandy, have a seat right here." Then he said: "Jennifer, walk over to the piano with me." There was the Most Beautiful Grand Piano..... He sat down and said: "Jennifer, what is your favorite song? She said: "SOMEWHERE OVER THE RAINBOW." He said: "Do you know all of the words?" She said: "Yes Sir." He said: I am going to play the introduction and then I will nod at you and you begin singing." When the song was over, he paused and said: "Jennifer, you have the sweetest, purest voice I have ever heard and I have instructed a great many young women....Jennifer, GOD reached down either at the moment of your conception, or while your mother was carrying you in her womb---or at the moment of your birth and HE gave this Beautiful Gift to you....From now own, when you sing---you Always sing to the GLORY OF GOD." It was a life-changing time for both Jennifer and me.

Beneath our loquacious chatter, there is a silent language…Our common human language is not…something to do with vocal cords and speech. It is, rather, our sense of proportion, our balance, harmony and other aspects of simple and fundamental form.

Beneath our loquacious chatter, there is a silent language…Our common human language is not…something to do with vocal cords and speech. It is, rather, our sense of proportion, our balance, harmony and other aspects of simple and fundamental form.

We stare at each other for a long time before he finally speaks in that beautifully dark voice of his, like his vocal cords are shaped from the shadows of Halloween night.

She Lies Within Me! Her thoughts rapture like seed pods bursting at the command of some unknown will, And the seeds of her memories every corner of my life fill, With hopes, memories, desires that all germinate as a single feeling, Minds creation, her beautiful memories, are for heart a complicated dealing, And as feelings arise from the seeds of her memories, The landscape of my life is cast into never ending sanctuaries, Of her beautiful and ceaseless memories, Where my mind wanders aimlessly and my heart remains marooned within its boundaries, The walls are virtual but the mental fascination is ubiquitous and anchored in reality , Where I submit myself before her beauty in my absolute piety, And as I serenade for her in the sanctuary of her memories, A million seeds of her memories and desires sprout around me in an unending array of miniature carries, Where I witness her blooming like flowers of hope, And like a hungry butterfly I alight on them , and persuade them to elope, With me and beyond this sanctuary with no real walls, Into the reality where anything virtual crumbles and falls, So, let me dance with you under the real Sun, And create new memories for our beautiful life and not just for fun, Then let the sanctuary be renewed by our love and romance, And then let us forever in reality dance, Under the real sun, under the real moonlight and the real stars in the night sky, Then when the time is right let us again fly, To the sanctuary of hopes, dreams and desires, And once again sprout from the bursting seed pods with renewed fires, Of love and feelings endless, And as an admirer of your beauty let me then feel limitless, Growing over your memories, your desires and every feeling that draws me closer to you, And in the vast silence of this sanctuary, let my heart beats echo with a singular vocal accord, “My darling Irma I love you!” Then let real walls rise around the sanctuary where we now exist as a palpable reality, And wherever I maybe, I am with you and surrounded by your endless beauty, And as pods of seeds bearing our memories burst and scatter everywhere, Then let me love you there, somewhere, but now like the old walls of the sanctuary we shall be nowhere!

Nina doesn’t sound like she has any vocal training, but there’s something strangely, hauntingly beautiful about the way she sings to Cecelia.

The most beautiful sound, the choir in full voice was singing softly, hesitantly to begin with, and then opening our voices straight from our very hearts. The Lord’s my Shepherd, I’ll not want; He makes me down to lie In pastures green; He leadeth me The quiet waters by. The volume swelled with passion and deliberation as we poured our emotions into every darkened corner of the church. Every dusty cloister and crevice reverberated, reaching a crescendo in the final chorus, a vocal unison of thirteen villagers that cold, still night, pouring out our longings, our anxieties, our deepest fears.

We dare not be original; our American Pine must be cut to the trim pattern of the English Yew, though the Pine bleed at every clip. This poet tunes his lyre at the harp of Goethe, Milton, Pope, or Tennyson. His songs might better be sung on the Rhine than the Kennebec. They are not American in form or feeling; they have not the breath of our air; the smell of our ground is not in them. Hence our poet seems cold and poor. He loves the old mythology; talks about Pluto—the Greek devil,—— the Fates and Furies—witches of old time in Greece,—-but would blush to use our mythology, or breathe the name in verse of our Devil, or our own Witches, lest he should be thought to believe what he wrote. The mother and sisters, who with many a pinch and pain sent the hopeful boyto college, must turn over the Classical Dictionary before they can find out what the youth would be at in his rhymes. Our Poet is not deep enough to see that Aphrodite came from the ordinary waters, that Homer only hitched into rhythm and furnished the accomplishment of verse to street talk, nursery tales, and old men’s gossip, in the Ionian towns; he thinks what is common is unclean. So he sings of Corinth and Athens, which he never saw, but has not a word to say of Boston, and Fall River, and Baltimore, and New York, which are just as meet for song. He raves of Thermopylae and Marathon, with never a word for Lexington and Bunkerhill, for Cowpens, and Lundy’s Lane, and Bemis’s Heights. He loves to tell of the Ilyssus, of “ smooth sliding Mincius, crowned with vocal reeds,” yet sings not of the Petapsco, the Susquehannah, the Aroostook, and the Willimantick. He prates of the narcissus, and the daisy, never of American dandelions andbue-eyed grass; he dwells on the lark and the nightingale, but has not a thought for the brown thrasher and the bobolink, who every morning in June rain down such showers of melody on his affected head. What a lesson Burns teaches us addressing his “rough bur thistle,” his daisy, “wee crimson tippit thing,” and finding marvellous poetry in the mouse whose nest his plough turned over! Nay, how beautifully has even our sweet Poet sung of our own Green river, our waterfowl,of the blue and fringed gentian, the glory of autumnal days.

The Rooster taught me to wake up early and be a leader. The Butterfly encouraged me to allow a period of struggles to develop strong and look beautiful. The Squirrel showed me to be alert and fast all the time. The Dog influenced me to give up my life for my best friend. The Cat told me to exercise every day. Otherwise, I will be lazy and crazy. The Fox illustrated me to be subtle and keep my place organized and neat. The Snake demonstrated to me to hold my peace even if I am capable of attack, harm, or kill. The Monkey stimulated me to be vocal and communicate. The Tiger cultivated me to be active and fast. The Lion cultured me not to be lazy especially if I have strength and power that could be used. The Eagle was my sample for patience, beauty, courage, bravery, honor, pride, grace, and determination. The Rat skilled me to find my way out no matter what or how long it takes. The Chameleon revealed to me the ability to change my color for beauty and protection. The Fish display to live in peace even if I have to live a short life. The Delphin enhanced me to be the source of kindness, peace, harmony, and protection. The Shark enthused me to live as active and restful as I can be. The Octopus exhibited me to be silent and intelligent. The Elephant experienced me with the value of cooperation and family. To care for others and respect elders. The Pig indicated to me to act smart, clean, and shameless. The Panda appears to me as life is full of white and black times but my thick fur will enable me to survive. The Kangaroo enthused me to live with pride even if I am unable to walk backward. The Penguin influenced me to never underestimate a person. The Deer reveals the ability to sense the presence of hunters before they sense you. The Turtle brightened me to realize that I will get there no matter how long it takes me while having a shell of protection above me. The Rabbit reassured me to allow myself to be playful and silly. The Bat proved to me that I can fly even in darkness. The Alligator/crocodile alerted me that threat exists. The Ant moved me to be organized, active, and social with others. The Bee educated me to be the source of honey and cure for others. The Horse my best intelligent friend with who I bond. Trained me to recover fast from tough conditions. The Whale prompted me to take care of my young ones and show them life abilities. The Crab/Lobster enlightened me not to follow them when they make resolutions depending on previous undesirable events.

Granted, I didn’t understand most of what Reed said to Will during those three hours. For example, at one point, Reed said: “What if we were to saturate the vocals and make them extra dirty?” And I was like, Huh? Another time, Reed said, “We could turn up the flux on the Echo to around 300, playback level at zero. Let’s try that and see if it makes our balls vibrate.” It was another huh? But even without understanding the conversation, I could plainly surmise, thanks to Will’s reactions to Reed’s comments, Reed was making a powerful contribution to Will’s art.

No one ever gets what they want. And that is beautiful.