Black Veil Brides Quotes

If you want to dress up like a giraffe, and go to school like that, and that makes you happy then do it!

Follow your heart and chase your dreams until you catch them. Negative people who say you can't do something are only speaking for themselves.

As we grow up we realize that even the person who was supposed to never let you down probably will. You will probably have your heart broken more than once and it gets harder every time. You'll break hearts too, so remember how it felt when your's was broken. You'll fight with your best friend. You'll blame a new love for things an old one did. You'll cry because time is passing too fast, and you'll eventually lose someone you love, so take many pictures, laugh to much and love like you've never been hurt because every sixty seconds you spend upset is one minute of happiness you'll never get back.

Bodies” by Drowning Pool “Breath of Life” by Florence & The Machine “Bullet With a Name” by Nonpoint “Corrupt” by Depeche Mode “Deathbeds” by Bring Me the Horizon “The Devil In I” by Slipknot “Devil’s Night” by Motionless in White “Dirty Diana” by Shaman’s Harvest “Feed the Fire” by Combichrist “Fire Breather” by Laurel “Getting Away with Murder” by Papa Roach “Goodbye Agony” by Black Veil Brides “Inside Yourself” by Godsmack “Jekyll and Hyde” by Five Finger Death Punch “Let the Sparks Fly” by Thousand Foot Krutch “Love the Way You Hate Me” by Like a Storm “Monster” by Skillet “Pray to God (feat. HAIM)” by Calvin Harris “Silence” by Delirium

WE ARE TO PLAY THE GAME OF DEATH E are to play the game of death to-night, my bride and I. The night is black, the clouds in the sky are capricious, and the waves are raving at sea. We have left our bed of dreams, flung open the door and come out, my bride and I. We sit upon a swing, and the storm winds give us a wild push from behind. My bride starts up with fear and delight, she trembles and clings to my breast. Long have I served her tenderly. I made for her a bed of flowers and I closed the doors to shut out the rude light from her eyes. I kissed her gently on her lips and whispered softly in her ears till she half swooned in languor. She was lost in the endless mist of vague sweetness. She answered not to my touch, my songs failed to arouse her. To-night has come to us the call of the storm from the wild. My bride has shivered and stood up, she has clasped my hand and come out. Her hair is flying in the wind, her veil is fluttering, her garland rustles over her breast. The push of death has swung her into life. We are face to face and heart to heart, my bride and I.

Black Veil Brides’ “Knives and Pens

The Fall, so often considered a terrible thing, is a fall into experience; like falling of the epileptic to earth, it may also have its other face, for then we fall into the embrace of our dreams and fears and know them for what they are, face to face. [...]the fearful face of the Black Goddess is really the veiled Sophia. The rebirth of the mystery initiation brings us into contact with our own power, which we have failed to take in our own time. Part of the reason for this is that we live in the shadow of the Judeo-Christian Fall for which Woman bears the blame. The experience of Psyche and Kore shows the vulnerable face of Sophia, who is not afraid to fall, to learn by seeming mistakes. They show that the descent into death is the only possible pathway to ascent or spiritual rebirth.

The Woman Poet // Die Dichterin You hold me now completely in your hands. My heart beats like a frightened little bird's Against your palm. Take heed! You do not think A person lives within the page you thumb. To you this book is paper, cloth, and ink, Some binding thread and glue, and thus is dumb, And cannot touch you (though the gaze be great That seeks you from the printed marks inside), And is an object with an object's fate. And yet it has been veiled like a bride, Adorned with gems, made ready to be loved, Who asks you bashfully to change your mind, To wake yourself, and feel, and to be moved. But still she trembles, whispering to the wind: "This shall not be." And smiles as if she knew. Yet she must hope. A woman always tries, Her very life is but a single "You . . ." With her black flowers and her painted eyes, With silver chains and silks of spangled blue. She knew more beauty when a child and free, But now forgets the better words she knew. A man is so much cleverer than we, Conversing with himself of truth and lie, Of death and spring and iron-work and time. But I say "you" and always "you and I." This book is but a girl's dress in rhyme, Which can be rich and red, or poor and pale, Which may be wrinkled, but with gentle hands, And only may be torn by loving nails. So then, to tell my story, here I stand. The dress's tint, though bleached in bitter lye, Has not all washed away. It still is real. I call then with a thin, ethereal cry. You hear me speak. But do you hear me feel?

I lift the lid of the chest. Inside, the air is musty and stale, held hostage for years in its three-foot-by-four-foot tomb. I lean in to survey the contents cautiously, then pull out a stack of old photos tied with twine. On top is a photo of a couple on their wedding day. She's a young bride, wearing one of those 1950's netted veils. He looks older, distinguished- sort of like Cary Grant or Gregory Peck in the old black-and-white movies I used to watch with my grandmother. I set the stack down and turn back to the chest, where I find a notebook, filled with handwritten recipes. The page for Cinnamon Rolls is labeled "Dex's Favorite." 'Dex.' I wonder if he's the man in the photo. There are two ticket stubs from 1959, one to a Frank Sinatra concert, another to the movie 'An Affair to Remember.' A single shriveled rosebud rests on a white handkerchief. A corsage? When I lift it into my hand, it disintegrates; the petals crinkle into tiny pieces that fall onto the living room carpet. At the bottom of the chest is what looks like a wedding dress. It's yellowed and moth-eaten, but I imagine it was once stark white and beautiful. As I lift it, I can hear the lace swishing as if to say, "Ahh." Whoever wore it was very petite. The waist circumference is tiny. A pair of long white gloves falls to the floor. They must have been tucked inside the dress. I refold the finery and set the ensemble back inside. Whose things are these? And why have they been left here? I thumb through the recipe book. All cookies, cakes, desserts. She must have loved to bake. I tuck the book back inside the chest, along with the photographs after I've retied the twine, which is when I notice a book tucked into the corner. It's an old paperback copy of Ernest Hemingway's 'The Sun Also Rises.' I've read a little of Hemingway over the years- 'A Moveable Feast' and some of his later work- but not this one. I flip through the book and notice that one page is dog-eared. I open to it and see a line that has been underscored. "You can't get away from yourself by moving from one place to another." I look out to the lake, letting the words sink in. 'Is that what I'm trying to do? Get away from myself?' I stare at the line in the book again and wonder if it resonated with the woman who underlined it so many years ago. Did she have her own secret pain? 'Was she trying to escape it just like me?

Don Fabrizio remembered a conversation with Father Pirrone some months before in the sunlit observatory. What the Jesuit had predicted had come to pass. But wasn’t it perhaps good tactics to insert himself into the new movement, make at least part use of it for a few members of his own class? The worry of his imminent interview with Don Calogero lessened. “But the rest of his family, Don Ciccio, what are they really like?” “Excellency, no one has laid eyes on Don Calogero’s wife for years, except me. She only leaves the house to go to early Mass, the five o’clock one, when it’s empty. There’s no organ-playing at that hour; but once I got up early just to see her. Donna Bastiana came in with her maid, and as I was hiding behind a confessional I could not see very much; but at the end of Mass the heat was too great for the poor woman and she took off her black veil. Word of honour, Excellency, she was lovely as the sun, one can’t blame Don Calogero, who’s a beetle of a man, for wanting to keep her away from others. But even in the best kept houses secrets come out; servants talk; and it seems Donna Bastiana is a kind of animal: she can’t read or write or tell the time by a clock, can scarcely talk; just a beautiful mare, voluptuous and uncouth; she’s incapable even of affection for her own daughter! Good for bed and that’s all.” Don Ciccio, who, as protégé of queens and follower of princes, considered his own simple manners to be perfect, smiled with pleasure. He had found a way of getting some of his own back on the suppressor of his personality. “Anyway,” he went on, “one couldn’t expect much else. You know whose daughter Donna Bastiana is, Excellency?” He turned, rose on tiptoe, pointed to a distant group of huts which looked as if they were slithering off the edge of the hill, nailed there just by a wretched-looking bell-tower: a crucified hamlet. “She’s the daughter of one of your peasants from Runci, Peppe Giunta he was called, so filthy and so crude that everyone called him Peppe “Mmerda” . . . excuse the word, Excellency.” Satisfied, he twisted one of Teresina’s ears round a finger. “Two years after Don Calogero had eloped with Bastiana they found him dead on the path to Rampinzeri, with twelve bullets in his back. Always lucky, is Don Calogero, for the old man was getting above himself and demanding, they say.” Much of this was known to Don Fabrizio and had already been balanced up in his mind; but the nickname of Angelica’s grandfather was new to him; it opened a profound historical perspective, and made him glimpse other abysses compared to which Don Calogero himself seemed a garden flowerbed. The Prince began to feel the ground giving way under his feet; how ever could Tancredi swallow this? And what about himself? He found himself trying to work out the relationship between the Prince of Salina, uncle of the bridegroom, and the grandfather of the bride; he found none, there wasn’t any. Angelica was just Angelica, a flower of a girl, a rose merely fertilised by her grandfather’s nickname. Non olet, he repeated, non olet; in fact optime foeminam ac contuberninum olet.

He felt he was knowing less and less, and it was more and more beautiful to do so. Why had he been alarmed? He was sitting on a stool, and around him in the stall sat, almost preternaturally near, a man in a black masque, an Asp he hadn’t noticed before, the Tiger whose breath ran hot and meaty on his neck, a beautiful schoolgirl, or was that the bride on her honeymoon? Did the whole stall then tilt forward, like a gently swung bucket? Anyway, they leaned together toward the central dais, an altar of veils and sacrifices. Boq loosened his collar and then his belt, felt the gingery appetite between heart and stomach and the resulting stiffening apparatus below that. The music of pipes and whistles was slowing, or was it that as he watched and waited and breathed so, so slowly, that the secret area inside himself uncloaked itself, where nothing mattered?

You know what normal is? A setting on the washing machine and no one wants to be that.

The plump, nervous bride, flicking at her veil, posed in a voluminous gown and glittering tiara, attended by a bevy of young men in black suits, slicked-down hair, wide shoulders, and confident smiles; the bridesmaids, all shapes and sizes but dressed in identical purple gowns, stumbled badly in stiletto heels on the cobblestones. Surrounding them were potbellied matrons in tight dresses, portly husbands in yellow suits with stupendous sideburns and droopy mustaches, overdressed children, and heavily made-up crones in bombazine and shawls.