Brandy Song Quotes

Sure, occasionally a certain sappy song or romantic movie would come on, and you’d wonder what he or she was up to, but there was no way to know. Of course, you could always pick up the phone (and more recently, text or e-mail), but that would require that person’s knowing you were thinking of him or her. Where’s the fun in that? You never want them to know you’re thinking of them, so you refrain. Before long the memories start to fade. One day, you realize you can’t quite remember how she smelled or the exact color of his eyes. Eventually, without ever knowing it, you just forget that person altogether. You replace old memories with new ones, and life goes on. It was the clean break you needed to move forward.

David’s mouth dripped open slowly. He stood with his heels dug into my carpet, a dashed hope, a broken dream. No amount of money could top the priceless look that gathered on his face like an unmade bed. His eyebrows crumpled and furrowed like disheveled sheets. His lips curled into an acidic smirk. Confusion and shock collided in the cornea of his dilated pupils. He was a B.B. King song, personified. His entire body sang the blues.

Songs are like tattoos You know I’ve been to sea before Crown and anchor me Or let me sail away Hey Blue And there is a song for you Ink on a pin Underneath the skin An empty space to fill in

One afternoon in the fall of 2015, while I was writing this book, I was driving in my car and listening to SiriusXM Radio. On the folk music station the Coffee House, a song came on with a verse that directly spoke to me—so much so that I pulled off the road as soon as I could and wrote down the lyrics and the singer’s name. The song was called “The Eye,” and it’s written by the country-folk singer Brandi Carlile and her bandmate Tim Hanseroth and sung by Carlile. I wish it could play every time you open these pages, like a Hallmark birthday card, because it’s become the theme song of this book. The main refrain is: I wrapped your love around me like a chain But I never was afraid that it would die You can dance in a hurricane But only if you’re standing in the eye. I hope that it is clear by now that every day going forward we’re going to be asked to dance in a hurricane, set off by the accelerations in the Market, Mother Nature, and Moore’s law. Some politicians propose to build a wall against this hurricane. That is a fool’s errand. There is only one way to thrive now, and it’s by finding and creating your own eye. The eye of a hurricane moves, along with the storm. It draws energy from it, while creating a sanctuary of stability inside it. It is both dynamic and stable—and so must we be. We can’t escape these accelerations. We have to dive into them, take advantage of their energy and flows where possible, move with them, use them to learn faster, design smarter, and collaborate deeper—all so we can build our own eyes to anchor and propel ourselves and our families confidently forward.

When I’m happy or sad or mad, anything, music is what I seek. I relate life to lyrics, tone to mood. The beat can wake me or break me down. The words can lift me or leave me a soppy mess. A lot of people avoid songs that make them remember pain when they’re drowning in it, but I say let that sucker take you under.

Really rather fascinating, you know,” he confided, and I recognized, with an internal sigh, the song of the scholar, as identifying a sound as the terr-whit! of a thrush. Harking to the call of a kindred spirit, Frank at once settled down to the mating dance of academe, and they were soon neck-deep in archetypes and the parallels between ancient superstitions and modern religions. I shrugged and made my own way through the crowd to the bar and back, a large brandy-and-splash in each hand.

Everyone in the room—all Franco-French white kids, it occurred to me—knew their Louis Armstrong inside and out, knew the names of the songs, had their favorites. That is phenomenal, I thought. “How do you guys know so much about black music?” I asked. “Are you kidding?” Stéphane, replied, assuming, I think, that I was implying only an American could be so well versed. “This is something the whole world knows. Practically everything except classical is black music!” I refilled my glass with the brandy, which, I noticed, tasted an awful lot like Hennessy—better, though.

He knew everything. He knew at least a thousand Hungarian folk songs, all the words and tunes, he could handle Gypsies, give them instructions and keep them in order, check their familiarity with the flicker of an eyelid, then win their affection with a lordly, condescending, and yet fraternal-playful sidelong glance, he could call 'acsi' perfectly, shout at the first violin when he didn't strike up Csendesen, csak csendesen quietly enough and the cimbalonist when the padded sticks didn't make the steel strings thunder and rumble sufficiently in Hullamzo Balaton, he could kiss the viola player's pock-marked face, give the double bass a kick, break glasses and mirrors, drink wine, beer and marc brandy for three days on end out of tumblers, smack his lips at the site of cabbage soup and cold pork stew, take ages inspecting his cards (with relish, one eye closed), dance a quick csardas for a whole half-hour, urging and driving himself on to stamp and shout and toss his partner high in the air and catch her, light as a feather, with one arm: so, as I said, he could do everything that raises Man from his animal condition and makes him truly Man.

For all the bachelors out there tonight, yeah for anybody who's never whistled this song. Maybe you whistled it but you lost the sheet music. Um...this is um...well actually I don't mind going to weddings or anything, as long as there not my own I show up. But I've always kinda been partial to calling myself up on the phone and asking myself out, you know? Oh yeah, you call yourself up too huh? Yeah, well one thing about it, your always around. Yeah I know, yeah you ask yourself out, you know, some class joint somewhere. The Buretto King or something, you know. Well I ain't cheap you know. Take yourself out for a couple of drinks maybe. Then there'd be some provocative conversation on the way home. Park in front of the house you know. Oh yeah, you smoothly put a little nice music on, maybe you put on like uh, you know, like shopping music, something thats not too interruptive you know and then uh slide over real nice and say 'Oh I think you have something in your eye'. Well maybe it's not that romantic with you but Christ I don't know, you know I get into it you know. Take myself up to the porch, take myself inside or maybe uh, or may get a little something, a brandy snifter or something. 'Would like you like to listen to some of my back records? I got something here' Uh Well usually about 2.30 in the morning you've ended up taking advantage of yourself. There ain't no way around that you know. Yeah, making a scene with a magazine, there ain't no way around. I'll confess you know, I'm no different you know. I'm not weird about it or anything, I don't tie myself up first. I just kinda spend a little time with myself

Anyway,” Stevie fetches some more brandy for herself and me and resurrects the situation, “I had a wonderful time tonight. I think San Francisco is so special—the place from which both Lindsey and myself came. There’s something very magic about this place—for me, anyway. I burst into tears at the beginning of ‘Landslide’. I had a lot of trouble getting through that song, because the Coffee Plant where Lindsey and I recorded everything to get us our first deal is about five blocks from the Cow Palace.

It’s a little bit funny, this feeling inside I’m not one of those who can easily hide I don’t have much money, but boy, if I did I’d buy a big house where we both could live If I was a sculptor, but then again, no Or a man who makes potions in a travelin’ show Oh, I know it’s not much, but it’s the best I can do My gift is my song and this one’s for you And you can tell everybody this is your song It may be quite simple but now that it’s done I hope you don’t mind I hope you don’t mind That I put down in words How wonderful life is while you’re in the world I sat on the roof and kicked off the moss Well, a few of the verses, well, they’ve got me quite cross But the sun’s been quite kind while I wrote this song It’s for people like you that keep it turned on So excuse me forgetting, but these things I do You see, I’ve forgotten if they’re green or they’re blue Anyway, the thing is, what I really mean Yours are the sweetest eyes I’ve ever seen And you can tell everybody this is your song It may be quite simple but now that it’s done

The beat can wake me or break me down. The words can lift me or leave me a soppy mess. A lot of people avoid songs that make them remember pain when they’re drowning in it, but I say let that sucker take you under. When people feel good, they tend to blast some bubbly music that makes them dance around, so if you’ll dance when you feel like dancing, why not have a good cry when you need one?

But none the less, by some unwritten rule, they all quietly listened to the end of the song and, patient and enduring, did not reveal their mood, but only looked into the glasses before them where, on the shining surface of the plum-brandy, they seemed to see the victories so desired, the fights, the heroes, the glory and the glitter, such as existed nowhere in the world.