Choir Singing Quotes

I only sing in the shower. I would join a choir, but I don’t think my bathtub can hold that many people.


A choir is made up of many voices, including yours and mine. If one by one all go silent then all that will be left are the soloists. Don’t let a loud few determine the nature of the sound. It makes for poor harmony and diminishes the song.

Then the singing enveloped me. It was furry and resonant, coming from everyone's very heart. There was no sense of performance or judgment, only that the music was breath and food.

Ah, Lovely October, as you usher in the season that awakens my soul, your awesome beauty compels my spirit to soar like an leaf caught in an autumn breeze and my heart to sing like a heavenly choir.

This shit is what would happen if the devil fell asleep in Santa's sleigh and had a wet dream while Rudolf licked his ass to the beat of a choir singing Amazing Grace.

Then the voices of the Ainur, like unto harps and lutes, and pipes and trumpets, and viols and organs, and like unto countless choirs singing with words, began to fashipn the theme of Iluvatar to a great music; and a sound arose of endless interchanging melodies woven in harmony that passed beyond hearing into the depths and into the heights, and the places of the dwelling of Iluvatar were filled to overflowing, and the music and the echo of the music went out into the Void, and it was not void.

To suffer and to be happy although suffering, to have one’s feet on the earth, to walk on the dirty and rough paths of this earth and yet to be enthroned with Christ at the Father’s right hand, to laugh and cry with the children of this world and ceaselessly sing the praises of God with the choirs of angels—this is the life of the Christian until the morning of eternity breaks forth.

Sing, then. Sing, indeed, with shoulders back, and head up so that song might go to the roof and beyond to the sky. Mass on mass of tone, with a hard edge, and rich with quality, every single note a carpet of colour woven from basso profundo, and basso, and baritone, and alto, and tenor, and soprano, and also mezzo, and contralto, singing and singing, until life and all things living are become a song. O, Voice of Man, organ of most lovely might.

The gentle sounds of the choir singing "Amen, amen" are not to calm the congregation but to pacify the god.

Once you’ve had a taste of artistic beauty, your life changes. Once you’ve heard the Monteverdi choir sing, your life changes. Once you’ve seen a Vermeer up close, your life changes; once you’ve read Proust, you are never the same again. What I don’t know is why.

The next home-going service at your church could be yours. And the most important thing on that day won’t be the amount of flowers that surround your casket or how well the choir sings your favorite hymn. The only thing that will matter is how well you use that dash between the day you were born and the day you die.

Life isn't filled with perfect harmony. The world is littered with bum notes, off-key moments and tuneless episodes. The trick is to find your own music, to ignore the discord and sing your own tune.

i've left in search of a new God. i do not trust the God you have given us. my grandmother's hallelujah is only outdone by the fear she nurses every time the blood-fat summer swallows another child who used to sing in the choir. take you God back. though his songs are beautiful, his miracles are inconsistent.

Choir is the one time of day when he lets down his guard; there is peace in the strict concentration that Faughnan demands of all of them, in the sweet dissonance of voices in chorus. He has sung in here since he was a freshman. Faughnan is a serious student of music; also, a perfectionist of the sternest sort, who cares about nobody, about nothing other than the music. His shirt sleeves rolled to the elbows, his tie undone, he drives them. Every minute of every hour that is spent there, they work, and there is only one way to prove yourself. You sing, and sing, and sing. All else is unimportant.

New eyes awaken. I send Love's name into the world with wings And songs grow up around me like a jungle. Choirs of all creatures sing the tunes Your Spirit played in Eden. Zebras and antelopes and birds of paradise Shine on the face of the abyss And I am drunk with the great wilderness Of the sixth day in Genesis. But sound is never half so fair As when that music turns to air And the universe dies of excellence. Sun, moon and stars Fall from their heavenly towers. Joys walk no longer down the blue world's shore. Though fires loiter, lights still fly on the air of the gulf, All fear another wind, another thunder: Then one more voice Snuffs all their flares in one gust. And I go forth with no more wine and no more stars And no more buds and no more Eden And no more animals and no more sea: While God sings by himself in acres of night And walls fall down, that guarded Paradise.

I have built a city from the books I've read. A good book sings a a timeless music that is heard in the choir lofts, and balconies, and theaters that thrived within that secret city inside me.

While one who sings with his tongue on fire Gargles in the rat race choir Bent out of shape from society's pliers Cares not to come up any higher But rather get you down in the hole That he's in.

Here are all these people, full of heartache or hatred or desire, and we all have our troubles and the school year is filled with vulgarity and triviality and consequence, and there are all these teachers and kids of every shape and size, and there's this life we're struggling through full of shouting and tears and fights and break-ups and dashed hopes and unexpected luck -- it all disappears, just like that, when the choir begins to sing. Everyday life vanishes into song, you are suddenly overcome with a feeling of brotherhood, of deep solidarity, even love, and it diffuses the ugliness of everyday life into a spirit of perfect communion.

...this museum must celebrate the OTHER lesson history has taught us - that tyranny and oppression are no match for compassion...that the fanatical shouts of the bullies of the world are invariably silenced by the unified voices of decency that rise up to meet them. It is THESE voices - these choirs of empathy, tolerance and compassion - that I pray one day will sing from this mountaintop.

In The Wood I heard the water-fall rejoice Singing like a choir, I saw the sun flash out of it Azure and amber fire. The earth was like an open flower Enamelled and arrayed, The path I took to find its heart Fluttered with sun and shade. And while earth lured me, gently, gently, Happy and all alone, Suddenly a heavy snake Reared black upon a stone.

You ever try to leash me, I’ll fucking strangle you with it.” If angels could sing, that was the moment Dante heard the whole freaking choir.

Digital synchronization occurs when all parts of the choir sing their respective parts in harmony.

Digital synchronization and strategic alignment occur when all parts of the choir sing their respective parts in harmony to achieve a higher purpose.

Singing is my pleasure, but not in church, for the parson said the gargoyles must remain on the outside, not seek room in the choir stalls. So I sing inside the mountain of my flesh, and my voice is as slender as a reed and my voice has no lard in it. When I sing the dogs sit quiet and people who pass in the night stop their jabbering and discontent and think of other times, when they were happy. And I sing of other times, when I was happy, though I know that these are figments of my mind and nowhere I have been. But does it matter if the place cannot be mapped as long as I can still describe it?

Every time, it’s the same thing, I feel like crying, my throat goes all tight and I do the best I can to control myself but sometimes it gets close: I can hardly keep myself from sobbing. So when they sing a canon I look down at the ground because it’s just too much emotion at once: it’s too beautiful, and everyone singing together, this marvelous sharing. I’m no longer myself. I am just one part of a sublime whole, to which the others also belong, and I always wonder at such moments why this cannot be the rule of everyday life, instead of being an exceptional moment, during a choir.

We are nothing without our quick and simple blessings, without those willing to drag optimism by its neck to the gates of grief and ask to be let in, an entire choir of voices singing at their back.

That is what is marvelous about school, she realized: when you are in school, your talents are without number, and your promise is boundless. You ace a math test: you will one day work for NASA. The choir director asks you to sing a solo at the holiday concert: you are the next Mariah Carey. You score a goal, you win a poetry contest, you act in a play. And you are everything at once: actor, astronomer, gymnast, star. But at a certain point, you begin to feel your talents dropping away, like feathers from a molting bird. Cello lessons conflict with soccer practice. There aren't enough spots on the debating team. Calculus remains elusive. Until the day you realize that you cannot think of a single thing you are wonderful at.

There are many universes, perhaps an infinite number; that each contains, and is contained within every other; and that all of them sing together like voices in a choir. It is a beautiful thing - a song of infinite harmony.

And where shall I look for thee, When I no longer hear that voice so dear? Where shall I seek the warmth that love Made all things found glow bright and clear? Look not to the heavenly stars, Nor search the lofty spires, nor bid the choir sing. I will dwell among the details of our lives; My memory will linger in all the found things. —DAPHNE BURTON-GORE

You are the thing that the poets write about, you are what the choir of angels is singing about, you are the thing that clouds part above and the sun beams down upon. You're every butterfly, in every stomach. You're my every tender thought.

Forgiveness is the key to the recovery of the soul.

Forget birds singing, bells ringing, brooks quaintly babbling over rocks. Choirs of angels could go hang. Her voice, even scratchy and weak, was the most beautiful thing he’d ever heard.

Then, as if getting blown up is not enough to worry about, after I take a seat on the steps, I get a look at the choir. Thirty singers and from where I’m sitting, it looks like only two of them are black. It’s not like I’m saying suburban white people shouldn’t sing. Because I love Van Halen’s “Hot for Teacher.

You telling me God love you, and you ain't never done nothing for him? I mean, not go to church, sing in the choir, feed the preacher and all like that? But if God love me, Celie, I don't have to do all that. Unless I want to. There's a lot of other things I can do that I speck God likes. Like what? I ast. Oh, she say. I can lay back and just admire stuff. Be happy. Have a good time. Well, this sounds like blasphemy sure nuff. She say, Celie, tell the truth, have you ever found God in church? I never did. I just found a bunch of folks hoping for him to show. Any God I ever felt in church I brought in with me. And I think all the other folks did too. They come to church to share God, not find God.

I was fired ignominiously from the Junior School Choir for being so off tune that the choir mistress declared she couldn't even bear to have me mime.

You are singing to the preacher," said J.Lo. "Preaching to the choir," I corrected him. "Yes. This thing.

The default mode of the human primate is intensely social, as reflected in our favorite activities, from attending sports matches and singing in choirs to partying and socializing.

The first time I sang in the church choir; two hundred people changed their religion.

The gentle sounds of the choir singing “Amen, amen” are not to calm the congregation but to pacify the god.

Cry no tears for us, my friend.” I pry at her fingers, panicking to be released in fear that she may drag me into death with her. She croaks again, “Lend no aches to the dreams of yesterday.” From the corpse of Warren, his greyish gums smack from whatever goo has settled in his mouth, “Allow the tide sweep free the bay.” Then together they sing in zombie choir, “And home the ships sailing send.

Then all the winds of Heaven ran to join hands and bend a shoulder, to bring down to me the sound of a noble hymn that was heavy with the perfume of Time That Has Gone. The glittering multitudes were singing most mightily, and my heart was in blood to hear a Voice that I knew. The Men of the Valley were marching again. My Fathers were singing up there. Loud, triumphant, the anthem rose, and I knew, in some deep place within, that in the royal music was a prayer to lift up my spirit, to be of good cheer, to keep the faith, that Death was only an end to the things that are made of clay, and to fight, without heed of wounds, all that brings death to the Spirit, with Glory to the Eternal Father, forever, Amen.

It was as though a choir had been told not to sing harmoniously, but to sing their own songs, and to ensure that they were heard above the rest. I'm sure you can imagine what a deafening cacophony it would be.

When he was creating this picture, Leonardo da Vinci encountered a serious problem: he had to depict Good - in the person of Jesus - and Evil - in the figure of Judas, the friend who resolves to betray him during the meal. He stopped work on the painting until he could find his ideal models. One day, when he was listening to a choir, he saw in one of the boys the perfect image of Christ. He invited him to his studio and made sketches and studies of his face. Three years went by. The Last Supper was almost complete, but Leonardo had still not found the perfect model for Judas. The cardinal responsible for the church started to put pressure on him to finish the mural. After many days spent vainly searching, the artist came across a prematurely aged youth, in rags and lying drunk in the gutter. With some difficulty, he persuaded his assistants to bring the fellow directly to the church, since there was no time left to make preliminary sketches. The beggar was taken there, not quite understanding what was going on. He was propped up by Leonardo's assistants, while Leonardo copied the lines of impiety, sin and egotism so clearly etched on his features. When he had finished, the beggar, who had sobered up slightly, opened his eyes and saw the picture before him. With a mixture of horror and sadness he said: 'I've seen that picture before!' 'When?' asked an astonished Leonardo. 'Three years ago, before I lost everything I had, at a time when I used to sing in a choir and my life was full of dreams. The artist asked me to pose as the model for the face of Jesus.

I can't explain the birds to you even if I tried. In the early morning, when the sun's rays peek over the mountain and subtly light up the landscape in a glow that, if audible, would sound like a hum, the birds sing. They sing in a layered symphony, hundreds deep. You really can't believe how beautiful it is. You hear bass notes from across the farm and soprano notes from the tree in front of you all at once, at varying volumes, like a massive choir that stretches across fifty acres of land. I love birds. But not as much as my wife loves them. My wife thinks about them, whereas I only notice them once they call for attention. But she looks for them, builds fountains for them, and saves them after they crash into windows. I've seen her save many birds. She holds them gently in the palm of her hand, and she takes them to one of the fountains she's built especially for them and holds their beaks up to the gentle trickle of water to let them drink, to wake them up from their dazed stupor. No matter how much time it takes, she doesn't leave them until they recover. And they mostly always do.

The choir and congregation are singing I Vow to Thee My Country. Never has he heard the hymn sung with such heartfelt pathos. It is as if everyone is trying to sing themselves into being. It is the war that makes everyone sing out their hearts like this. The hymn expresses some imperative deep down in the blood. Like running fingers over the edge of things in pitch darkness.

Most importantly,” he said, “this museum must celebrate the other lesson history has taught us—that tyranny and oppression are no match for compassion…that the fanatical shouts of the bullies of the world are invariably silenced by the unified voices of decency that rise up to meet them. It is these voices—these choirs of empathy, tolerance, and compassion—that I pray one day will sing from this mountaintop.

To Autumn" Season of mists and mellow fruitfulness, Close bosom-friend of the maturing sun; Conspiring with him how to load and bless With fruit the vines that round the thatch-eves run; To bend with apples the moss'd cottage-trees, And fill all fruit with ripeness to the core; To swell the gourd, and plump the hazel shells With a sweet kernel; to set budding more, And still more, later flowers for the bees, Until they think warm days will never cease, For summer has o'er-brimm'd their clammy cells. Who hath not seen thee oft amid thy store? Sometimes whoever seeks abroad may find Thee sitting careless on a granary floor, Thy hair soft-lifted by the winnowing wind; Or on a half-reap'd furrow sound asleep, Drows'd with the fume of poppies, while thy hook Spares the next swath and all its twined flowers: And sometimes like a gleaner thou dost keep Steady thy laden head across a brook; Or by a cyder-press, with patient look, Thou watchest the last oozings hours by hours. Where are the songs of spring? Ay, Where are they? Think not of them, thou hast thy music too,— While barred clouds bloom the soft-dying day, And touch the stubble-plains with rosy hue; Then in a wailful choir the small gnats mourn Among the river sallows, borne aloft Or sinking as the light wind lives or dies; And full-grown lambs loud bleat from hilly bourn; Hedge-crickets sing; and now with treble soft The red-breast whistles from a garden-croft; And gathering swallows twitter in the skies.

The regiment was passing beneath Lucile’s windows. The soldiers were singing; they had excellent voices, but the French were bemused by this serious choir whose sad and menacing music sounded more religious than warlike. “That how they pray?” the women asked. The troops were returning from manoeuvres

Of course they were children, he knew that, and that wasn't it. They gave off a terrible glow. They had the blank glow of angels. They lived smack in the middle of reality and never gave it a minute's thought. They'd never felt like actors. They'd never been sick with irony. The long tunnel of their thoughts had never swallowed them. They'd never had restless sleepless nights, the urgent wordless unexplainable wrestling matches with the shadowy bands of soul-thieves. God damn it, Sault thought. Everybody gets to be happy except me. Saul heard Anne's cries. The sun was sweating all over his forehead. He felt faint, and Jewish, as usual. He turned on the radio. It happened to be tuned to a religious station and some choir was singing "When Jesus Wept.

that tyranny and oppression are no match for compassion…that the fanatical shouts of the bullies of the world are invariably silenced by the unified voices of decency that rise up to meet them. It is these voices—these choirs of empathy, tolerance, and compassion—that I pray one day will sing from this mountaintop.

Daniel saw in a way he’d never seen anything before: his mind was a homunculus squatting in the middle of his skull, peering out through good but imperfect telescopes and listening horns, gathering observations that had been distorted along the way, as a lens put chromatic aberrations into all the light that passed through it. A man who peered out at the world through a telescope would assume that the aberration was real, that the stars actually looked like that—what false assumptions, then, had natural philosophers been making about the evidence of their senses, until last night? Sitting in the gaudy radiance of those windows hearing the organ play and the choir sing, his mind pleasantly intoxicated from exhaustion, Daniel experienced a faint echo of what it must be like, all the time, to be Isaac Newton: a permanent ongoing epiphany, an endless immersion in lurid radiance, a drowning in light, a ringing of cosmic harmonies in the ears.

I see, and sing, by my own eyes inspir'd. So let me be thy choir, and make a moan Upon the midnight hours; Thy voice, thy lute, thy pipe, thy incense sweet From swinged censer teeming; Thy shrine, thy grove, thy oracle, thy heat Of pale-mouth'd prophet dreaming. Yes, I will be thy priest, and build a fane In some untrodden region of my mind, Where branched thoughts, new grown with pleasant pain, Instead of pines shall murmur in the wind: - Ode to Psyche - Excerpt

Here I am looking at my lovely ten-year-old daughter, Maggie, in her white dress, singing Protestant hymns with the choir at the Plymouth Church of the Brethren when I should be at Mass praying for the repose of the soul of my mother, Angela McCourt, mother of seven, believer, sinner, though when I contemplate her seventy-three years on this earth I can’t believe the Lord God Almighty on His throne would even dream of consigning her to the flames. A God like that wouldn’t deserve the time of day.

When we sing, I am one of many, and the individual me evaporates. I am one of 23 university choir members. Not a professor. Not an American. Not a 46-year-old in the midst of twentysomethings. Not a woman trying to outpace the aspects of self she has yet to make oeace with. I am simply what we all are--another voice, a set of lungs, some vocal chords and someone who finds joy and comfort in singing. But when the music stops, so does the we. The union dissolves. The silence transforms first person plural into first person singular.

By this time the Gentle Reader is thinking that people who go to church and sing in the choir should not make love in hayfields.

O, Voice of Man, organ of most lovely might.

The youth choir is up onstage now, in flowing white gowns, and they're singing something in the key of goose-bumps.

She used to wear pretty clothes and be lively, when she was Minnie Foster, one of the town girls singing in the choir. But that—oh, that was thirty years ago.

Thanks to my ducks practicing for The Monteverdi Choir tryouts, I didn’t sleep a wink last night. No, I slept a whole blink, which is more restful and less flirtatious than a wink.

I put the choir in kissing. Too bad there’s no sing in fornicating. But that doesn’t stop me from hiring a hummer.

I make love like I sing—in a choir, alone in the bathtub.

There is no better way to heal yourself than singing in a choir,’ Laurie said. ‘That is why God made music.

The summer I turned eleven, I found out that ghosts are real. Guess it's hard to rest nice and easy in your coffin if you got stuff on your mind. Your soul stays chained to earth instead of zipping up to heaven to sing in one of the angel choirs. Sometimes ghosts show up in the msot peculiar places. Sometimes ghosts fool you. Then you are those ghosts that hang around because we have unfinished business. Business that sinks like old crawfish left in a bucket for a week. That's some nasty smell let me tell you. But the most important thing I learned is that ghosts can help you spill your guts before guilt eats you up and leaves a hole that can't ever be fixed no matter how many patches you try to steam iron across it.

The choir sang and the old man sang and Drake couldn't sing, and suddenly he began to cry because of the music, because of the sound of the boys' voices, because of what they might turn into.

If the chanting in temple would help inner peace, if the preaching in a mosque would address humanity and the choirs in a church would sing songs of universal love, I am not against religions!

You don’t have to sing in a choir to see that a group of committed people who care about something that makes life a little brighter, and work hard at it, can accomplish more together than alone, but it helps.

I looked at the garden, and watched white butterflies dance across dahlias and freesias and geraniums. There was a choir of color, singing for my attention, and it felt as though I were hearing it for the first time.

I see, and sing by my own eyes inspired. O let me be thy Choir and make a moan Upon the midnight hours; Thy voice, thy lute, thy pipe, thy incense sweet From swinged Censer teeming; Thy Shrine, thy Grove, thy Oracle, thy heat Of pale-mouthe'd Prophet dreaming! Yes, I will be thy Priest and build a fane In some untrodden region of my Mind, Where branched thoughts, new grown with pleasant pain Instead of pies shall murmer in the wind

Disillusioned words like bullets bark As human gods aim for their marks Made everything from toy guns that sparks To flesh-colored Christs that glow in the dark It's easy to see without looking too far That not much Is really sacred. While preachers preach of evil fates Teachers teach that knowledge waits Can lead to hundred-dollar plates Goodness hides behind its gates But even the President of the United States Sometimes must have To stand naked. An' though the rules of the road have been lodged It's only people's games that you got to dodge And it's alright, Ma, I can make it. Advertising signs that con you Into thinking you're the one That can do what's never been done That can win what's never been won Meantime life outside goes on All around you. Although the masters make the rules For the wise men and the fools I got nothing, Ma, to live up to. For them that must obey authority That they do not respect in any degree Who despite their jobs, their destinies Speak jealously of them that are free Cultivate their flowers to be Nothing more than something They invest in. While some on principles baptized To strict party platforms ties Social clubs in drag disguise Outsiders they can freely criticize Tell nothing except who to idolize And then say God Bless him. While one who sings with his tongue on fire Gargles in the rat race choir Bent out of shape from society's pliers Cares not to come up any higher But rather get you down in the hole That he's in. Old lady judges, watch people in pairs Limited in sex, they dare To push fake morals, insult and stare While money doesn't talk, it swears Obscenity, who really cares Propaganda, all is phony. While them that defend what they cannot see With a killer's pride, security It blows the minds most bitterly For them that think death's honesty Won't fall upon them naturally Life sometimes Must get lonely. And if my thought-dreams could been seen They'd probably put my head in a guillotine But it's alright, Ma, it's life, and life only.

He done his level best. Was he a mining on the flat.. He done it with a zest.. Was he a leading of the choir.. He done his level best. If he'd a reg'lar task to do, He never took no rest.. Or if 'twas off and on the same.. He done his level best. If he was preachin' on his beat, He'd tramp from east to west, And north to south ..in cold and heat.. He done his level best. He'd Yank a sinner outen (Hades), And land him with the blest; Then snatch a prayer'n waltz in again, And do his level best. He'd cuss and sing and howl and pray, And dance and drink and jest, He done his level best. Whate'er this man was sot to do He done it with a zest; No matter what his contract was, He'd do his level best...

I’d come to BYU to study music, so that one day I could direct a church choir. But that semester—the fall of my junior year—I didn’t enroll in a single music course. I couldn’t have explained why I dropped advanced music theory in favor of geography and comparative politics, or gave up sight-singing to take History of the Jews. But when I’d seen those courses in the catalog, and read their titles aloud, I had felt something infinite, and I wanted a taste of that infinity.

Every night, I lied in bed The brightest colors fill my head A million dreams are keeping me awake I think of what the world could be A vision of the one I see A million dreams is all it's gonna take A million dreams for the world we're gonna make

You are the thing that the poets wrote about, you are what the choir of angels is singing about, you are the thing that clouds part above and the sun beams down upon. You’re every butterfly, in every stomach. You’re my every tender thought. “You’re a warm towel when you get out of the shower on a cold night. You’re the tea you hold to your chest when you need a minute to yourself. You’re the feeling you get when you’re inside and safe and dry and it’s dark grey outside and it’s teeming down.

The only way into Jesus’ choir is to sing off-key. The only way into God’s family is to own the fact that you don’t deserve to be in it. The only way to abide in the presence of the Holy Spirit is to accept that you are accepted. This is the gospel.

But when she watched Clara Belle prance around the room, singing, she wondered why such joy should be kept only in the kitchen or in a church choir. Why were women with gifts not allowed to show them? And she could hear that her daughter had a gifted singing voice.

I was a country kid who went to a public school, and she was more of a middle-class girl who attended a private school. I was into hunting and fishing, and she liked drama and singing in the choir at school and church. Our lives up until that point were totally different.

neuroscientists monitored guitarists playing a short melody together, they found that patterns in the guitarists’ brain activity became synchronized. Similarly, studies of choir singers have shown that singing aligns performers’ heart rates. Music seems to create a sense of unity on a physiological level. Scientists call this phenomenon synchrony and have found that it can elicit some surprising behaviors. In studies where people sang or moved in a coordinated way with others, researchers found that subjects were significantly more likely to help out a partner with their workload or sacrifice their own gain for the benefit of the group. And when participants rocked in chairs at the same tempo, they performed better on a cooperative task than those who rocked at different rhythms. Synchrony shifts our focus away from our own needs toward the needs of the group. In large social gatherings, this can give rise to a euphoric feeling of oneness—dubbed “collective effervescence” by French sociologist Émile Durkheim—which elicits a blissful, selfless absorption within a community.

The evangelical Old Testament biblical scholar Christopher Wright states the matter even more strongly: “We are listening, not to a single voice, not even to a single choir in harmony, but to several choirs singing different songs with some protest groups jamming in the wings.”[113]

The twenty-year-olds sob, lament the only death that could have sealed off their youth, that of the magnificent lover they invented all together, whom they invoked through their prayers and incantations on nights when species vanished, whom they brought to life through witchcraft set down in ink composed of tears, blood, sperm, great symbols traced on hardwood or warmed ceramic, this lovely villain who would have spirited them away far from their beggar fathers, who would have made them princes in golden palaces, so go the thoughts of those who are so inspired; while the others tell themselves simply that he would have made it possible for them to live. A choir, to assuage absence and impotence. Listen to the vibrant song of new sorrows. They are of a race that sings under torture; they have no understanding of laws; they have no moral sense, they are brutes; do not be mistaken.

Every time, it’s a miracle. Here are all these people, full of heartache or hatred or desire, and we all have our troubles and the school year is filled with vulgarity and triviality and consequence, and there are all these teachers and kids of every shape and size, and there’s this life we’re struggling through full of shouting and tears and laughter and fights and break-ups and dashed hopes and unexpected luck—it all disappears, just like that, when the choir begins to sing. Everyday life vanishes into song, you are suddenly overcome with a feeling of brotherhood, of deep solidarity, even love, and it diffuses the ugliness of everyday life into a spirit of perfect communion. Even the singers’ faces are transformed: it’s no longer Achille Grand-Fernet that I’m looking at (he is a very fine tenor), or Déborah Lemeur or Ségolène Rachet or Charles Saint-Sauveur. I see human beings, surrendering to music.

I necessarily care about cooking, but because it was either that or choir. And while I have many strengths and powers that are considered exceptional on Earth, singing is not one of them. So I walk into home ec and take a seat. It is a small room, and just before the bell rings Sarah walks in and sits beside me.

I am exhorted to be virtuous and fertile. The people see me indicated as the choice of God for Queen of England. Choirs sing as I enter the city, rose petals are showered down on me. I am myself, my own tableau: the Englishwoman from the House of Lancaster come to be the Queen of York. I am an object of peace and unity.

Rejoice, heavenly powers! Sing, choirs of angels! Exalt, all creation around God’s throne! Jesus Christ, our King, is risen! Sound the trumpet of salvation! Rejoice, O Earth, in shining splendor, Radiant in the brightness of your King! Christ has conquered! Glory fills you! Darkness vanishes for ever! Amen. —EXSULTET (6TH C.)

All children can be taught to sing if they begin their personal vocal discovery at a very early age and if they are taught by someone who not only believes all children can sing but also has the pedagogical skills to teach them to sing. Children must never, ever, be told that they cannot sing or be told to just mouth the words.

Ah, friend, this world—this one universe— Is already too expansive for me. When I die, let my mourners know That I shrugged at the possibility Of other universes. Hire a choir— Let them tell the truth But tell it choral— Let the assembled voices sing About my theology: I’m the fragile and finite mortal Who wanted no part of immortality. 27.

Admit it —  you wanted the end with a serpentine greed. How to negotiate that strangling mist, the fibrous whisper? To cease to exist and to die are two different things entirely. But you knew this, didn’t you? Some days you knelt on coins in those yellow hours. You lit a flame to your shadow and ate scorpions with your naked fingers. So touched by the sadness of hair in a dirty sink. The malevolent smell of soap. When instead of swallowing a fistful of white pills, you decided to shower, the palm trees nodded in agreement, a choir of crickets singing behind your swollen eyes. The masked bird turned to you with a shred of paper hanging from its beak. At dusk, hair wet and fragrant, you cupped a goat’s face and kissed his trembling horns. The ghost? It fell prostrate, passed through you like a swift and generous storm.

And in front of it all are the pearly gates: the proverbial entrance to Heaven that she, in earthly life, thought might not exist. But they are real, not myth or fantasy. As she passes through them, several people greet her. In foreign tongues even, but she understands. Language no longer matter. There are no barriers between herself and others, just love. The gorgeous views seem to go on forever. Ornate structures, mansions, banquet halls, and natural beauty, orchards, gardens. People congregate around huge marble fountains. In the distance are snow-capped mountains of the purist white. She can hear the sounds of rushing rivers and the surf of the ocean at once. Everyone around her is happy, loving, thankful. A choir sings songs of joy and peace while others play musical instruments of every kind in perfect harmony. Children laugh and play in the streets as well as in the clouds above her head.

Presently a choir of small voices chanted forth an old Christmas carol, the burden of which was— Rejoice, our Saviour he was born On Christmas Day in the morning. I rose softly, slipt on my clothes, opened the door suddenly, and beheld one of the most beautiful little fairy groups that a painter could imagine. It consisted of a boy and two girls, the eldest not more than six, and lovely as seraphs. They were going the rounds of the house and singing at every chamber door,

It is safe to say that the message spoke of a common shape to all the processes of the world, and insisted there was a unity to all explanations. It confirmed that all phenomena are expressions of a single phenomenon, and while all droplets consider themselves independent, they are nonetheless still ocean through and through. In that message the great suspicions were vindicated and the old cliches were jettisoned. The hymn of the world was notated and an invitation to join the choir extended. The shape of Being was outlined in all its myriad forms and the whole was expressed in the part. With the right ears even a lesser creature can hear the song. It is sung constantly, from the heart of each atom and star. The galaxies hum of shape and form in their essence. That is their secret. The particles whisper of the nature of proper interactions. That is their game. And during a storm, in the forest, on the right night, it is no secret that the leaves all sing of God.

In the search for a strong and permanent glue, Spencer Silver at 3M in Minneapolis found a weak and temporary adhesive instead. This was in 1968. Nobody could think of a use for it, until five years later a colleague named Art Fry remembered it when irritated by his place-markers falling out of a hymn-book while singing in a church choir. He went back to Silver and asked to apply the glue to small sheets of paper. The only paper lying around was bright yellow. The Post-it note was born.

A Summer's Singing" "Where does that singing start, you know, that thin sound—almost pure light? Not the birds at false dawn or their song when morning comes, feathered throats warm with meaning. A different kind of music. Listen, it is somewhere near you. In the heart, emptied of fear, stubbornly in love with itself at last, the old desires a ruined chorus, a radiant bloody choir. Where does the singing start? Here, where you are, there’s room between your heartbeats, as if everything you have ever been begins, inside, to sing.

She remembers rehearsals. Wrong notes turning to right ones, dissonance becoming harmony. She remembers “O Holy Night” sounding so perfect, in the end, her voice wrapping itself around Jonah’s like they were created just for this. She remembers his smile at her from across their shared mic. She remembers getting asked to reprise her duet with Jonah a year later. Just after everything happened with Luke. But then Mr. Boyden took her aside. Told her that Jonah had backed out. He’d said he was too busy for extra rehearsals, but she knew: it was because of her. She saw it in Jonah’s face, in the way he avoided her eyes. She saw it in everyone else’s faces too. She was a bullet he’d just dodged. She remembers standing up for the solo she was given instead—her last performance before she quit choir. She remembers opening her mouth, nothing coming out. She’d cleared her throat, tried again. Her voice emerged, but all wrong: small and shaky and sharp. With everyone looking at her, with the rumors still swirling, she felt exposed. She felt small and shaky and sharp. Vulnerable, but made of angles and thorns.

Mabel went on, and you Petites Cendres, you haven’t forgotten we’re throwing a party for your Doctor Dieudonné, oh yes, soon as he gets back, the entire Black Ancestral Choir’s going to celebrate Dieudonné, man of God taking care of the poor and never asking for one cent, why did he have to go away said Petites Cendres, carefree in the comfort of his bed, wasn’t his clinic enough, he mumbled into the dishevelled folds of his sloth, I mean why go volunteer there when we’re holding a party for him right here, Mabel’s singsong voice cut in, going from deep to nasal, he’s getting the town’s medal of honour for doctoring all you lazy layabouts and lost souls, and running two hospitals and a hospice, our very own choir director’s going to give him his plaque with those same fingers and long thin red nails of hers, the ideal man, says the doctor, is not one who piles up money but one who saves lives, why he’s even helped our Ancestral Choir a whole lot too, he’s going to need a nice black tuxedo, just what he hates, and Eureka, the head of the choir, will be so proud that day when Reverend Ézéchielle invites us all to sing in her church,

Children and adults alike need to experience how rewarding it is to work at the edge of their abilities. Resilience is the product of agency: knowing that what you do can make a difference. Many of us remember what playing team sports, singing in the school choir, or playing in the marching band meant to us, especially if we had coaches or directors who believed in us, pushed us to excel, and taught us we could be better than we thought was possible. The children we reach need this experience. Athletics, playing music, dancing, and theatrical performances all promote agency and community.

When I grew up in the church, once or twice a year one of the women in our choir would sing a song that really tore the house down called “I Am Not Ashamed.” This was an emotional song for everybody in the room. Our chins would quiver, and we’d close our eyes and put our hands in the air, really feeling it. But looking back, I think what made that song so overpowering to me was that I was ashamed. And I don’t think I was the only one. That’s why we had that song! You don’t have to sing “I am not ashamed of the Gospel of Jesus Christ” if you’re really not ashamed. No one has ever sang “I am not ashamed of ice cream.” There’s no need.

In their book Radical Reconciliation, Curtiss DeYoung and Allan Boesak unpack why this happens. They write, "reconciliation is revolutionary, that is, oriented to structural change." Which means, reconciliation can never be apolitical. Reconciliation chooses sides, and the side is always justice. This is why white American churches remain so far from experiencing anything resembling reconciliation. The white Church considers power its birthright rather than its curse. And so, rather than seeking reconciliation, they stage moments of racial harmony that don't challenge the status quo. They organize worship services where the choirs of two racially different churches sing together, where a pastor of a different race preaches a couple of times a year, where they celebrate MLK but don't acknowledge current racial injustices. Acts like these can create beautiful moments of harmony and goodwill, but since they don't change the underlying power structure at the organization, it would be misleading to call them acts of reconciliation. Even worse, when they're not paired with greater change, diversity efforts can have the opposite of their intended effect. They keep the church feeling good, innocent, maybe even progressive, all the while preserving the roots of injustice.

We walked back to the hotel under a deep navy sky bejeweled with stars. In the center of the plaza a choir was singing. They held quivering candles, and their voices lilted icily into the sky. I didn't see the moment. Not really. I saw the story behind the moment - a tale passed down over two thousand years that told of a child of a superbeing sent to save the world. Never before had I seen Homo Sapiens so clearly - a species, at its most fundamental level, of story tellers. Creatures who overlay story on everything, but especially their own lives, and in so doing, can imbue a cold, random, sometimes brutal existence, with fabricated meaning.

Come sing, your choirs exultant, those messengers of God, Through whom the living Gospels came sounding all abroad! Whose voice proclaimed salvation that poured upon the night, And drove away the shadows, and filled the world with light. In one harmonious witness the chosen four combine, While each his own commission fulfills in every line; As, in the prophet’s vision from out the amber flame In mystic form and image four living creatures came. Four-square on this foundation the Church of Christ remains, A house to stand unshaken by floods or winds or rains. How blessed this habitation of gospel liberty, Where with a holy people God dwells in Unity. Latin, 12th Century

They organize worship services where the choirs of two racially different churches sing together, where a pastor of a different race preaches a couple times a year, where they celebrate MLK but don’t acknowledge current racial injustices. Acts like these can create beautiful moments of harmony and goodwill, but since they don’t change the underlying power structure at the organization, it would be misleading to call them acts of reconciliation. Even worse, when they’re not paired with greater change, diversity efforts can have the opposite of their intended effect. They keep the church feeling good, innocent, maybe even progressive, all the while preserving the roots of injustice.

The Choir And Music Of Solitude And Silence - Silence is a great blue bell Swinging and ringing, tinkling and singing, In measure’s pleasure, and in the supple symmetry of the soaring of the immense intense wings glinting against All the blue radiance above us and within us, hidden Save for the stars sparking, distant and unheard in their singing. And this is the first meaning of the famous saying, The stars sang. They are the white birds of silence And the meaning of the difficult famous saying that the sons and daughters of morning sang, Meant and means that they were and they are the children of God and morning, Delighting in the lights of becoming and the houses of being, Taking pleasure in measure and excess, in listening as in seeing. Love is the most difficult and dangerous form of courage. Courage is the most desperate, admirable and noble kind of love. So that when the great blue bell of silence is stilled and stopped or broken By the babel and chaos of desire unrequited, irritated and frustrated, When the heart has opened and when the heart has spoken Not of the purity and symmetry of gratification, but action of insatiable distraction’s dissatisfaction, Then the heart says, in all its blindness and faltering emptiness: There is no God. Because I am hope. And hope must be fed. And then the great blue bell of silence is deafened, dumbed, and has become the tomb of the living dead.

Coincidentally the couple who had endowed it had lived in her parents’ building. They had had an eight-year-old with a pretty singing voice who drowned at a Maine summer camp. “You can’t imagine what happened,” said Sarah, but of course Rebecca could imagine. Being a boy soprano had a shorter shelf life than being a supermodel. She could almost see it as Sarah went on and on, the boy with the pale blue eyes, insensible to the hormones coursing through his body as he stood on the stage at Alice Tully Hall. Apparently his choir director had chosen “Old Man River,” sung not in the bass range made famous by Paul Robeson, or in the dialect in which it had been written, but in a high register with crisp consonants. (To be fair to the choir director, he had never

The first time that I went to Tuskegee I was asked to make an address to the school on Sunday evening. I sat upon the platform of the large chapel and looked forth on a thousand coloured faces, and the choir of a hundred or more behind me sang a familiar religious melody, and the whole company joined in the chorus with unction. I was the only white man under the roof, and the scene and the songs made an impression on me that I shall never forget. Mr. Washington arose and asked them to sing one after another of the old melodies that I had heard all my life; but I had never before heard them sung by a thousand voices nor by the voices of educated Negroes. I had associated them with the Negro of the past, not with the Negro who was struggling upward. They brought to my mind the plantation, the cabin, the slave, not the freedman in quest of education. But on the plantation and in the cabin they had never been sung as these thousand students sang them. I saw again all the old plantations that I had ever seen; the whole history of the Negro ran through my mind; and the inexpressible pathos of his life found expression in these songs as I had never before felt it. And the future? These were the ambitious youths of the race, at work with an earnestness that put to shame the conventional student life of most educational institutions. Another song rolled up along the rafters. And as soon as silence came, I found myself in front of this extraordinary mass of faces, thinking not of them, but of that long and unhappy chapter in our country's history which followed the one great structural mistake of the Fathers of the Republic; thinking of the one continuous great problem that generations of statesmen had wrangled over, and a million men fought about, and that had so dwarfed the mass of English men in the Southern States as to hold them back a hundred years behind their fellows in every other part of the world—in England, in Australia, and in the Northern and Western States; I was thinking of this dark shadow that had oppressed every large-minded statesman from Jefferson to Lincoln. These thousand young men and women about me were victims of it. I, too, was an innocent victim of it. The whole Republic was a victim of that fundamental error of importing Africa into America.

The important parts of my story, I was realizing, lay less in the surface value of my accomplishments and more in what undergirded them—the many small ways I’d been buttressed over the years, and the people who’d helped build my confidence over time. I remembered them all, every person who’d ever waved me forward, doing his or her best to inoculate me against the slights and indignities I was certain to encounter in the places I was headed—all those environments built primarily for and by people who were neither black nor female. I thought of my great-aunt Robbie and her exacting piano standards, how she’d taught me to lift my chin and play my heart out on a baby grand even if all I’d ever known was an upright with broken keys. I thought of my father, who showed me how to box and throw a football, same as Craig. There were Mr. Martinez and Mr. Bennett, my teachers at Bryn Mawr, who never dismissed my opinions. There was my mom, my staunchest support, whose vigilance had saved me from languishing in a dreary second-grade classroom. At Princeton, I’d had Czerny Brasuell, who encouraged me and fed my intellect in new ways. And as a young professional, I’d had, among others, Susan Sher and Valerie Jarrett—still good friends and colleagues many years later—who showed me what it looked like to be a working mother and consistently opened doors for me, certain I had something to offer. These were people who mostly didn’t know one another and would never have occasion to meet, many of whom I’d fallen out of touch with myself. But for me, they formed a meaningful constellation. These were my boosters, my believers, my own personal gospel choir, singing, Yes, kid, you got this! all the way through. I’d never forgotten it. I’d tried, even as a junior lawyer, to pay it forward, encouraging curiosity when I saw it, drawing younger people into important conversations.

A notion of character, not so much discredited as simply forgotten, once held that people only came into themselves partway through their lives. They woke up, were they lucky enough to have consciousness, in the act of doing something they already knew how to do: feeding themselves with currants. Walking the dog. Knotting up a broken bootlace. Singing antiphonally in the choir. Suddenly: This is I, I am the girl singing this alto line off-key, I am the boy loping after the dog, and I can see myself doing it as, presumably, the dog cannot see itself. How peculiar! I lift on my toes at the end of the dock, to dive into the lake because I am hot, and while isolated like a specimen in the glassy slide of summer, the notions of hot and lake and I converge into a consciousness of consciousness–in an instant, in between launch and landing, even before I cannonball into the lake, shattering both my reflection and my old notion of myself.

Sinners have more good times, I say. You know why? she ast. Cause you ain't all the time worrying bout God, I say. Naw, that ain't it, she say. Us worry bout God a lot. But once us feel loved by God, us do the best us can to please him with what us like. You telling me God love you, and you ain't never done nothing for him? I mean, not go to church, sing in the choir, feed the preacher and all like that? But if God love me, Celie, I don't have to do all that. Unless I want to. There's a lot of things I can do that I speck God likes. Like what? I ast. Oh, she say. I can lay back and just admire stuff. Be happy. Have a good time. Well, this sound like blasphemy sure nuff. She say, Celie, tell the truth, have you ever found God in church? I never did. I just found a bunch of folks hoping for him to show. Any God I ever felt in church I brought in with me. And I think all the other folks did too. They come to church to share God, not find God.

When other birds are still, the screech owls take up the strain, like mourning women their ancient u-lu-lu. Their dismal scream is truly Ben Jonsonian.( Wise midnight hags! It is no honest and blunt tu-whit tu-who of the poets, but, without jesting, a most solemn graveyard ditty, the mutual consolations of suicide lovers remembering the pangs and the delights of supernal love in the infernal groves. Yet I love to hear their wailing, their doleful responses, trilled along the woodside; reminding me sometimes of music and singing birds; as if it were the dark and tearful side of music, the regrets and sighs that would fain be sung. They are the spirits, the low spirits and melancholy forebodings, of fallen souls that once in human shape night-walked the earth and did the deeds of darkness, now expiating their sins with their wailing hymns or threnodies in the scenery of their transgressions. They give me a new sense of the variety and capacity of that nature which is our common dwelling. Oh-o-o-o-o that I never had been bor-r-r-r-n! sighs one on this side of the pond, and circles with the restlessness of despair to some new perch on the gray oaks. Then — that I never had been bor-r-r-r-n! echoes another on the farther side with tremulous sincerity, and — bor-r-r-r-n! comes faintly from far in the Lincoln woods. I was also serenaded by a hooting owl. Near at hand you could fancy it the most melancholy sound in Nature, as if she meant by this to stereotype and make permanent in her choir the dying moans of a human being — some poor weak relic of mortality who has left hope behind, and howls like an animal, yet with human sobs, on entering the dark valley, made more awful by a certain gurgling melodiousness — I find myself beginning with the letters gl when I try to imitate it — expressive of a mind which has reached the gelatinous, mildewy stage in the mortification of all healthy and courageous thought. It reminded me of ghouls and idiots and insane howlings. But now one answers from far woods in a strain made really melodious by distance — Hoo hoo hoo, hoorer hoo; and indeed for the most part it suggested only pleasing associations, whether heard by day or night, summer or winter. I rejoice that there are owls. Let them do the idiotic and maniacal hooting for men. It is a sound admirably suited to swamps and twilight woods which no day illustrates, suggesting a vast and undeveloped nature which men have not recognized. They represent the stark twilight and unsatisfied thoughts which all have. All day the sun has shone on the surface of some savage swamp, where the double spruce stands hung with usnea lichens, and small hawks circulate above, and the chickadee lisps amid the evergreens, and the partridge and rabbit skulk beneath; but now a more dismal and fitting day dawns, and a different race of creatures awakes to express the meaning of Nature there.

Elsa walked to her desk and looked down at the small porcelain jar and candlestick. She had been using them as stand-ins for the orb and scepter she would have to hold, like her father did during his coronation. As she had many times before, Elsa closed her eyes and tried to imagine herself inside the chapel where the ceremony would take place. She thought of the choir that would be singing in the balcony, and she could see the pulpit she would be standing at in front of the priest and all her people, as well as nobles and visiting dignitaries. With no family, she'd be up there alone. Elsa tried not to think about that as she imagined the priest placing the jeweled tiara on her head. Then he'd hold out the pillow with the orb and scepter for her to take. She couldn't wear her teal gloves during that portion of the ceremony, so she removed them for practice. She wore gloves all the time these days. Perhaps it was silly, but she thought the gloves helped her conceal her magic. This was her battle cry: Conceal it. Don't feel it. Don't let it show.

On this side of eternity, Christmas is still a promise. Yes, the Savior has come, and with him peace on earth, but the story is not finished. Yes, there is peace in our hearts, but we long for peace in our world. Every Christmas is still a “turning of the page” until Jesus returns. Every December 25 marks another year that draws us closer to the fulfillment of the ages, that draws us closer to . . . home. When we realize that Jesus is the answer to our deepest longing, even Christmas longings, each Advent brings us closer to his glorious return to earth. When we see him as he is, King of kings and Lord of lords, that will be “Christmas” indeed! Talk about giving Christmas gifts! Just think of this abundance . . . You do not lack any spiritual gift as you eagerly wait for our Lord Jesus Christ to be revealed. (1 Cor. 1:7) And carols? You’re about to hear singing like you’ve never heard before. Listen . . . Then I heard something like the voice of a great multitude and like the sound of many waters and like the sound of mighty peals of thunder, saying, “Hallelujah! For the Lord our God, the Almighty, reigns.” (Rev. 19:6, nasb) Christmas choirs? Never was there a choir like the one about to be assembled . . . They held harps given them by God and sang . . . the song of the Lamb: “Great and marvelous are your deeds, Lord God Almighty. Just and true are your ways, King of the ages.” (Rev. 15:2–3) True, Main Street in your town may be beautifully decorated for the season, but picture this . . . The twelve gates [of the city] were twelve pearls, each gate made of a single pearl. The great street of the city was of pure gold, like transparent glass. (Rev. 21:21) Oh, and yes, we love the glow of candles on a cold winter’s night and the twinkling of Christmas lights in the dark, but can you imagine this? There will be no more night. They will not need the light of a lamp or the light of the sun, for the Lord God will give them light. And they will reign for ever and ever. (Rev. 22:5) Heaven is about to happen. The celebration is about to burst on the scene. We stand tiptoe at the edge of eternity, ready to step into the new heaven and the new earth. And I can hardly wait.

Bloody hell,” Charlie gasped. “That’s twenty-five quid each, Isaac.” “Language.” “Shit.” Isaac blew out a breath. “A hundred quid, Mum.” “Isaac, language.” “Hey no,” Dex said, holding up a hand. “I mean a hundred each. I could use these as stencils. At this size I could pretty much charge double that, if not more, each time they’re used. Probably twice again if they have them in colour.” The three of us looked at Dex in awe. He wanted to buy my talented boy’s drawings for a hundred pounds each. “Well?” I prompted. “Fuck yeah.” “Language,” I said, barely above a whisper, still in a state of shock. “It’s a deal.” Dex grinned. “Speaking of which, I said I’d show you my designs, but I gotta be honest, I’m not sure they’re as good as these.” “Oh fuck,” I muttered. “Language,” Charlie cried. As Dex stripped off his shirt, I genuinely thought I heard a choir of angels sing and saw a shaft of light shine through the darkness outside and into my lounge. There was only one word for what I was looking at – wondrous. He could honestly market himself as a tourist attraction and sell tickets.

No, no, we can't know his name, otherwise the Devil will have a story, a beginning and an end just like you or me, and Hell has no threat when it is staffed by commoners. But the Devil also likes to flirt with his own destruction - just like those he recruits to his cause - so he makes it a point to torment the weakest and greediest and guiltiest of the lot in their worst moments of need and make them guess his name. Guess right and live. Fail and burn forever. All of them fail, of course. But it's in good fun! Give the damned a chance. Wink, wink. There are a lot of sinning fools to choose from, and today, as he hunches over his river Styx, a churning, bubbling bath, each of the bubbles shows him a soul ready to be plucked from their time on earth and whisked down to eternal suffering. He can hear the screams of his choir now, millions strong, broiling in the dungeons beneath his river. Who will join his little chickies? He sings a song, because the Devil is an artist: Fiddle dee dum, Fiddle dee dee, Look at my bubbles, one two thee. Who will play my game? Who will guess my name? Who will be the next to burn in flames?

It could be that God has not absconded but spread, as our vision and understanding of the universe have spread, to a fabric of spirit and sense so grand and subtle, so powerful in a new way, that we can only feel blindly of its hem. In making the thick darkness a swaddling band for the sea, God ‘set bars and doors’ and said, ‘hitherto shalt thou come, but no further.’ But have we come even that far? Have we rowed out to the thick darkness, or are we all playing pinochle in the bottom of the boat? Cruelty is a mystery, and the waste of pain. But if we describe a world to compass these things, a world that is a long, brute game, then we bump up against another mystery: the inrush of power and light, the canary that sings on the skull. Unless all ages and races of men have been deluded by the same mass hypnotist, there seems to be such a thing as beauty, a grace wholly gratuitous. If these tremendous events are random combinations of matter run amok, the yield of millions of monkeys at millions of typewriters, then what is it in us, hammered out of those same typewriters, that they ignite? Our life is a faint tracing on the surface of mystery, like the idle, curved tunnels of leaf miners on the face of a leaf. We must somehow take a wider view, look at the whole landscape, really see it, and describe what’s going on here. Then we can at least wail the right question into the swaddling band of darkness, or, if it comes to that, choir the proper praise.

You might expect that if you spent such an extended period in twelve different households, what you would gather is twelve different ideas about how to raise children: there would be the strict parents and the lax parents and the hyperinvolved parents and the mellow parents and on and on. What Lareau found, however, is something much different. There were only two parenting “philosophies,” and they divided almost perfectly along class lines. The wealthier parents raised their kids one way, and the poorer parents raised their kids another way. The wealthier parents were heavily involved in their children’s free time, shuttling them from one activity to the next, quizzing them about their teachers and coaches and teammates. One of the well-off children Lareau followed played on a baseball team, two soccer teams, a swim team, and a basketball team in the summer, as well as playing in an orchestra and taking piano lessons. That kind of intensive scheduling was almost entirely absent from the lives of the poor children. Play for them wasn’t soccer practice twice a week. It was making up games outside with their siblings and other kids in the neighborhood. What a child did was considered by his or her parents as something separate from the adult world and not particularly consequential. One girl from a working-class family—Katie Brindle—sang in a choir after school. But she signed up for it herself and walked to choir practice on her own. Lareau writes: What Mrs. Brindle doesn’t do that is routine for middle-class mothers is view her daughter’s interest in singing as a signal to look for other ways to help her develop that interest into a formal talent. Similarly Mrs. Brindle does not discuss Katie’s interest in drama or express regret that she cannot afford to cultivate her daughter’s talent. Instead she frames Katie’s skills and interests as character traits—singing and acting are part of what makes Katie “Katie.” She sees the shows her daughter puts on as “cute” and as a way for Katie to “get attention.

Now, we’ll begin,’ interrupted Mr. Torkingham, his mind returning to this world again on concluding his search for a hymn. Thereupon the racket of chair-legs on the floor signified that they were settling into their seats,—a disturbance which Swithin took advantage of by going on tiptoe across the floor above, and putting sheets of paper over knot-holes in the boarding at points where carpet was lacking, that his lamp-light might not shine down. The absence of a ceiling beneath rendered his position virtually that of one suspended in the same apartment. The parson announced the tune, and his voice burst forth with ‘Onward, Christian soldiers!’ in notes of rigid cheerfulness. In this start, however, he was joined only by the girls and boys, the men furnishing but an accompaniment of ahas and hems. Mr. Torkingham stopped, and Sammy Blore spoke,— ‘Beg your pardon, sir,—if you’ll deal mild with us a moment. What with the wind and walking, my throat’s as rough as a grater; and not knowing you were going to hit up that minute, I hadn’t hawked, and I don’t think Hezzy and Nat had, either,—had ye, souls?’ ‘I hadn’t got thorough ready, that’s true,’ said Hezekiah. ‘Quite right of you, then, to speak,’ said Mr. Torkingham. ‘Don’t mind explaining; we are here for practice. Now clear your throats, then, and at it again.’ There was a noise as of atmospheric hoes and scrapers, and the bass contingent at last got under way with a time of its own: ‘Honwerd, Christen sojers!’ ‘Ah, that’s where we are so defective—the pronunciation,’ interrupted the parson. ‘Now repeat after me: “On-ward, Christ-ian, sol-diers.”’ The choir repeated like an exaggerative echo: ‘On-wed, Chris-ting, sol-jaws!’ ‘Better!’ said the parson, in the strenuously sanguine tones of a man who got his living by discovering a bright side in things where it was not very perceptible to other people. ‘But it should not be given with quite so extreme an accent; or we may be called affected by other parishes. And, Nathaniel Chapman, there’s a jauntiness in your manner of singing which is not quite becoming. Why don’t you sing more earnestly?

I was a country kid who went to a public school, and she was more of a middle-class girl who attended a private school. I was into hunting and fishing, and she liked drama and singing in the choir at school and church. Our lives up until that point were totally different. But Missy and I had a very deep spiritual connection, and I thought our mutual love for the Lord might be our biggest strength in sustaining our relationship. Even though Missy was so different from me, I found her world to be very interesting. Looking back, perhaps another reason I decided to give our relationship a chance was because of my aunt Jan’s bizarre premonition about Missy years earlier. My dad’s sister Jan had helped bring him to the Lord, and she taught the fourth grade at OCS. One of her students was Missy, and they went to church together at White’s Ferry Road Church. When I was a kid we attended a small church in the country, but occasionally we visited White’s Ferry with my aunt Jan and her husband. One Sunday, Missy walked by us as we were waiting in the pew. “Let me tell you something,” Jan told me as she pointed at me and then Missy. “That’s the girl you’re going to marry.” Missy was nine years old. To say that was one of the dumbest things I’d ever heard would be an understatement. I love my aunt Jan, but she has a lot in common with her brother Si. They talk a lot, are very animated, and even seem crazy at times. However, they love the Lord and have great hearts. I actually never thought about it again until she reminded me of that day once Missy and I started getting serious. Freaky? A bit. Bizarre? Definitely! Was she right? Absolutely, good call! Missy still isn’t sure what my aunt Jan saw in her. Missy: What did Jan see in me at nine years old? Well, you’ll have to ask her about that. She was the only teacher in my academic history from whom I ever received a smack. She announced a rule to the class one day that no one could touch anyone else’s possessions at any time (due to a recent rash of kids messing with other people’s stuff). The next day, I moved some papers around on one of my classmates’ desks before school, and he tattled on me. Because of her newly pronounced rule, she took me to the girls’ bathroom and gave me a whack on the rear. At the time, I certainly would have never thought she had picked me out to marry her nephew!

Robert Askins Brings ‘Hand to God’ to Broadway Chad Batka for The New York Times Robert Askins at the Booth Theater, where his play “Hand to God” opens on Tuesday. By MICHAEL PAULSON The conceit is zany: In a church basement, a group of adolescents gathers (mostly at the insistence of their parents) to make puppets that will spread the Christian message, but one of the puppets turns out to be more demonic than divine. The result — a dark comedy with the can-puppets-really-do-that raunchiness of “Avenue Q” and can-people-really-say-that outrageousness of “The Book of Mormon” — is “Hand to God,” a new play that is among the more improbable entrants in the packed competition for Broadway audiences over the next few weeks. Given the irreverence of some of the material — at one point stuffed animals are mutilated in ways that replicate the torments of Catholic martyrs — it is perhaps not a surprise to discover that the play’s author, Robert Askins, was nicknamed “Dirty Rob” as an undergraduate at Baylor, a Baptist-affiliated university where the sexual explicitness and violence of his early scripts raised eyebrows. But Mr. Askins had also been a lone male soloist in the children’s choir at St. John Lutheran of Cypress, Tex. — a child who discovered early that singing was a way to make the stern church ladies smile. His earliest performances were in a deeply religious world, and his writings since then have been a complex reaction to that upbringing. “It’s kind of frustrating in life to be like, ‘I’m a playwright,’ and watch people’s face fall, because they associate plays with phenomenally dull, didactic, poetic grad-schoolery, where everything takes too long and tediously explores the beauty in ourselves,” he said in a recent interview. “It’s not church, even though it feels like church a lot when we go these days.” The journey to Broadway, where “Hand to God” opens on Tuesday at the Booth Theater, still seems unlikely to Mr. Askins, 34, who works as a bartender in Brooklyn and says he can’t afford to see Broadway shows, despite his newfound prominence. He seems simultaneously enthralled by and contemptuous of contemporary theater, the world in which he has chosen to make his life; during a walk from the Cobble Hill coffee shop where he sometimes writes to the Park Slope restaurant where he tends bar, he quoted Nietzsche and Derrida, described himself as “deeply weird,” and swore like, well, a satanic sock-puppet. “If there were no laughs in the show, I’d think there was something wrong with him,” said the actor Steven Boyer, who won raves in earlier “Hand to God” productions as Jason, a grief-stricken adolescent with a meek demeanor and an angry-puppet pal. “But anybody who is able to write about such serious stuff and be as hilarious as it is, I’m not worried about their mental health.” Mr. Askins’s interest in the performing arts began when he was a boy attending rural Texas churches affiliated with the conservative Lutheran Church-Missouri Synod denomination; he recalls the worshipers as “deeply conservative, old farm folks, stone-faced, pride and suffering, and the only time anybody ever really livened up was when the children’s choir would perform.” “My grandmother had a cross-stitch that said, ‘God respects me when I work, but he loves me when I sing,’ and so I got into that,” he said. “For somebody who enjoys performance, that was the way in.” The church also had a puppet ministry — an effort to teach children about the Bible by use of puppets — and when Mr. Askins’s mother, a nurse, began running the program, he enlisted to help. He would perform shows for other children at preschools and vacation Bible camps. “The shows are wacky, but it was fun,” he said. “They’re badly written attempts to bring children to Jesus.” Not all of his formative encounters with puppets were positive. Particularly scarring: D

By the authority of God Almighty, the Father, Son, and Holy Ghost, and of the holy canons, and of the undefiled Virgin Mary, mother and patroness of our Saviour, and of all the celestial virtues, angels, archangels, thrones, dominions, powers, cherubins and seraphins, and of all the holy patriarchs, prophets, and of all the apostles and evangelists, and of the holy innocents, who in the sight of the Holy Lamb, are found worthy to sing the new song of the holy martyrs and holy confessors, and of the holy virgins, and of all the saints together, with the holy and elect of God, may he be damn'd. We excommunicate, and anathematize him, and from the thresholds of the holy church of God Almighty we sequester him, that he may be tormented, disposed, and delivered over with Dathan and Abiram, and with those who say unto the Lord God, Depart from us, we desire none of thy ways. And as fire is quenched with water, so let the light of him be put out for evermore, unless it shall repent him' and make satisfaction. Amen. May the Father who created man, curse him. May the Son who suffered for us curse him. May the Holy Ghost, who was given to us in baptism, curse him May the holy cross which Christ, for our salvation triumphing over his enemies, ascended, curse him. May the holy and eternal Virgin Mary, mother of God, curse him. May St. Michael, the advocate of holy souls, curse him. May all the angels and archangels, principalities and powers, and all the heavenly armies, curse him. [Our armies swore terribly in Flanders, cried my uncle Toby,---but nothing to this.---For my own part I could not have a heart to curse my dog so.] May St. John the Pre-cursor, and St. John the Baptist, and St. Peter and St. Paul, and St. Andrew, and all other Christ's apostles, together curse him. And may the rest of his disciples and four evangelists, who by their preaching converted the universal world, and may the holy and wonderful company of martyrs and confessors who by their holy works are found pleasing to God Almighty, curse him. May the holy choir of the holy virgins, who for the honor of Christ have despised the things of the world, damn him May all the saints, who from the beginning of the world to everlasting ages are found to be beloved of God, damn him May the heavens and earth, and all the holy things remaining therein, damn him. May he be damn'd wherever he be---whether in the house or the stables, the garden or the field, or the highway, or in the path, or in the wood, or in the water, or in the church. May he be cursed in living, in dying. May he be cursed in eating and drinking, in being hungry, in being thirsty, in fasting, in sleeping, in slumbering, in walking, in standing, in sitting, in lying, in working, in resting, in pissing, in shitting, and in blood-letting! May he be cursed in all the faculties of his body! May he be cursed inwardly and outwardly! May he be cursed in the hair of his head! May he be cursed in his brains, and in his vertex, in his temples, in his forehead, in his ears, in his eye-brows, in his cheeks, in his jaw-bones, in his nostrils, in his fore-teeth and grinders, in his lips, in his throat, in his shoulders, in his wrists, in his arms, in his hands, in his fingers! May he be damn'd in his mouth, in his breast, in his heart and purtenance, down to the very stomach! May he be cursed in his reins, and in his groin, in his thighs, in his genitals, and in his hips, and in his knees, his legs, and feet, and toe-nails! May he be cursed in all the joints and articulations of the members, from the top of his head to the sole of his foot! May there be no soundness in him! May the son of the living God, with all the glory of his Majesty and may heaven, with all the powers which move therein, rise up against him, curse and damn him, unless he repent and make satisfaction! Amen. I declare, quoth my uncle Toby, my heart would not let me curse the devil himself with so much bitterness!

441 Once, the image was being exhibited over the altar during the Corpus Christi procession [June 20, 1935]. When the priest exposed the Blessed Sacrament, and the choir began to sing, the rays from the image pierced the Sacred Host and spread out all over the world. Then I heard these words: These rays of mercy will pass through you, just as they have passed through this Host, and they will go out (184) through all the world. At these words, profound joy invaded my soul

The white Church considers power its birthright rather than its curse. And so, rather than seeking reconciliation, they stage moments of racial harmony that don’t challenge the status quo. They organize worship services where the choirs of two racially different churches sing together, where a pastor of a different race preaches a couple times a year, where they celebrate MLK but don’t acknowledge current racial injustices. Acts like these can create beautiful moments of harmony and goodwill, but since they don’t change the underlying power structure at the organization, it would be misleading to call them acts of reconciliation. Even worse, when they’re not paired with greater change, diversity efforts can have the opposite of their intended effect. They keep the church feeling good, innocent, maybe even progressive, all the while preserving the roots of injustice.

convert this place into something far more powerful than a contentious shrine and tourist curiosity. This complex should be a living museum. It should be a vibrant symbol of tolerance, where schoolchildren can gather inside a mountain to learn about the horrors of tyranny and the cruelties of oppression, such that they will never be complacent.” The king pressed on as if he had waited a lifetime to speak these words. “Most importantly,” he said, “this museum must celebrate the other lesson history has taught us—that tyranny and oppression are no match for compassion…that the fanatical shouts of the bullies of the world are invariably silenced by the unified voices of decency that rise up to meet them. It is these voices—these choirs of empathy, tolerance, and compassion—that I pray one day will sing from this mountaintop.

Scars" They tell how it was, and how time came along, and how it happened again and again. They tell the slant life takes when it turns and slashes your face as a friend. Any wound is real. In church a woman lets the sun find her cheek, and we see the lesson: there are years in that book; there are sorrows a choir can't reach when they sing. Rows of children lift their faces of promise, places where the scars will be. William Stafford, Americans’ Favorite Poems edited by Maggie Dietz and Robert Pinsky (W. W. Norton & Company; 1st edition, November 1, 1999)

When there's no audience, The choir will not sing

For years, I assumed that educating people who are already interested in climate change would just be preaching to the choir. But my reporting career has taught me that's note true. Most people who are interested in climate change just don't yet have the tools to talk about it confidently. The choir is there. They want to sing. But they don't know the words. (Emily Atkin, Truth Be Told)

Our love song! In the silence of the night, In the midst of the choir of my thoughts, I have loved you with all my delight, While bearing your essence in all my thoughts, In the wanderings of my memories, In the isolation of my existence, I have only dreamt of you and never of Gods and fairies, Because without you, for me this world shall have no existence, In the stillness of my fixated mental outflows, In my imaginings about you, I have always thought about how our love flows, While I am thinking of you, only of you, In the stare of the long and never ending roads, In my quest for the destiny, I have never dealt with a feeling that your presence erodes, From my eyes and from my final destiny, In the kiss many years ago, In the heart beats that we once felt together, I have never let its freshness, its warmth to abandon me and go, Because its memory makes me believe we shall someday be together, But in the nights, when darkness lasts for long, In the days when I hear the lovers song, I miss you Irma, and I often think what did I do so wrong, That I am denied to sing with you our own love song!

There were church announcements, which I listened to intently trying to stay focused. Then the choir stood and started to sing, “Speak to my

heart, Lord,” and my eyes closed tight as the words poured over me. I could hear the claps from those around me, the beat of the drum, the piano keys with each note, and even a tambourine off to my side. Eventually my mouth began to sing along, reciting the words along with the choir. My hands rubbed up and down my arms, and I swayed back and forth as a chill overtook my body.

The sea is wide, and I can't swim over, and neither have I wings to fly" A line such as this one, from Carrickfergus, a traditional ballad Shane admired, says more about state of mind than any sentence loaded with adjectives and adverbs. Shane understood the power of simple words placed in order carefully. "The boys of the NYPD choir were singing Galway Bay" (Fairytale of New York)

was

I was not able to sleep that night. To be honest, I didn’t even try. I stood in front of my living room window, staring out at the bright lights of New York City. I don’t know how long I stood there; in fact, I didn’t see the millions of multicolored lights or the never-ending streams of headlights and taillights on the busy streets below. Instead, I saw, in my mind’s eye, the crowded high school classrooms and halls where my friends and I had shared triumphs and tragedies, where the ghosts of our past still reside. Images flickered in my mind. I saw the faces of teachers and fellow students I hadn’t seen in years. I heard snatches of songs I had rehearsed in third period chorus. I saw the library where I had spent long hours studying after school. Most of all, I saw Marty. Marty as a shy sophomore, auditioning for Mrs. Quincy, the school choir director. Marty singing her first solo at the 1981 Christmas concert. Marty at the 1982 Homecoming Dance, looking radiant after being selected as Junior Princess. Marty sitting alone in the chorus practice room on the last day of our senior year. I stared long and hard at those sepia-colored memories. And as my mind carried me back to the place I had sworn I’d never return to, I remembered.

Together we will ensure that for as long as we are alive to achieve it, the King’s School shall send its singing boys to the cathedral as it has done these four hundred years.

I'm no knight in shining armour. Just a weather-beaten man in a crumpled overcoat on a street corner with only a grey idea of something you might as well go ahead and call Morality. Sure, I'm none too scrupulous about the things that might benefit my pocket, and I could no more inspire a bunch of young thugs to do good works than I could stand up and sing a solo in the church choir. But of one thing I was sure. I was through looking at my fingernails when there were thieves in the store.

God can be good and terrible -- not in succession -- but at the same time. This is why we seek a mediator between us and him; we approach him through the mediating priest and attenuate and enclose him through the sacraments. It is for our own safety: to trap him within confines which render him safe. But now, as Fat had seen, God had escaped the confines and was transubstantiating the world; God had become free. The gentle sounds of the choir singing "Amen, amen" are not to calm the congregation but to pacify the god.

They are counting the dead. They ask the old to die willingly. Sign here, please. There will be no mourners, no funeral. Wind is our choir, owl our plainsong. Birds sing our penillion. Silence in the first spring leaves is prayer, last rights and requiem. - The Hours: Sext

I am the wind, I just want to flow amongst the people without any barrier. I have no desire to prove the supremacy of facts where there's no need. Some days you may find me in the church taking part in the choir and singing out loud praising my humanitarian predecessor most enthusiastically. Other days, you may find me talking shop with a bunch of atheist scientists. I am in everybody, everybody is in me.

Children and adults alike need to experience how rewarding it is to work at the edge of their abilities. Resilience is the product of agency: knowing that what you do can make a difference. Many of us remember what playing team sports, singing in the school choir, or playing in the marching band meant to us, especially if we had coaches or directors who believed in us, pushed us to excel, and taught us we could be better than we thought was possible. The children we reach need this experience.

is safe to say that the message spoke of a common shape to all the processes of the world, and insisted there was a unity to all explanations. It confirmed that all phenomena are expressions of a single phenomenon, and while all droplets consider themselves independent, they are nonetheless still ocean through and through. In that message the great suspicions were vindicated and the old cliches were jettisoned. The hymn of the world was notated and an invitation to join the choir extended. The shape of Being was outlined in all its myriad forms and the whole was expressed in the part. With the right ears even a lesser creature can hear the song. It is sung constantly, from the heart of each atom and star. The galaxies hum of shape and form in their essence. That is their secret. The particles whisper of the nature of proper interactions. That is their game. And during a storm, in the forest, on the right night, it is no secret that the leaves all sing of God.

For my mother, the experience was emotional. When my music was evolving, I hadn’t allowed her to hear it. For years up on Cloverdale, I had always locked myself in my room, not letting anybody hear what I was doing. Then, after I moved out, I never invited her to hear me working in the studios. So, when Let Love Rule was released, she was completely shocked. She could hear how everything that I had experienced on my journey came alive in that album: Tchaikovsky; the Jackson 5; James Brown; the Harlem School of the Arts; Stevie Wonder; Gladys Knight and the Pips; Earth, Wind & Fire; Miles Davis; Jimi Hendrix; Led Zeppelin; KISS; the California Boys’ Choir; Prince; David Bowie; Miss Beasley’s orchestra; the Beverly Hills High jazz band; the magical spark between me and Lisa; the spirit of our daughter. More than anyone, Mom knew that I had poured every aspect of my life into this effort. That was enough to make her proud. But what blindsided her—and me as well—was the sight of thousands of fans singing lyrics that I had written—and most of those fans didn’t even speak English.

Cory groaned. “Mom. Stop. I don’t sing as much as I… uh… warble.” Diane laughed and smiled at him sweetly. “Hey, you’re the one that signed up for choir. But trust me, you should look at being a chef long before you consider being a pop star.

I call Dolly Parton The Lady of Country Music because she sings quite like the lark that stirs the silhouettes of early morning risings to secret alarm, loud but silent. I advocate her ditties for earth’s hackneyed choirs, when upon heaven’s epochal list of the supremely engraved, she earns her voice as graciously as she lent it.

Isaac released my hand and set his guitar on the floor before hugging the guy. “How the hell are you?” he asked Isaac. “Good, man. God, it’s great to see you.” His friend released him and eyed me. “And who do we have here? Wife? Girlfriend?” My eyes widened, looking to Isaac for help. “My preacher’s daughter. I kidnapped her. She sings in the choir but secretly loves songs about sex.” I fought my usual reaction, which was to turn ten different shades of red and avert my gaze. This was the start of my favorite dream.

At Crusty House, in a four-hundred-metre race, it was always possible to determine who could run better than everyone else. And pretty often in football, you could say that one pass was better than another. But it was actually less common that you might imagine. And mainly in straightforward situations offering very few openings. In Biehl's classes it was obvious when an answer was correct. With Karin Äre things were a little less clear-cut but, on the whole, there was never any serious doubt as to who sang true enough to be in the choir. One has to be left with the impression that this things about assessing the merit of a person's singing on answers or football was something straightforward, something strictly regulated. But in all of these instances an answer did, already, exist. That you had to score, or remember a particular date or sing true or run a distance under a certain time. There was a clearly defined quadrangle of knowledge -- like a chessboard, like a football pitch. So it was pretty easy to see what was correct and what was wrong, when one thing was better or worse than another. But if it became just a little bit more complicated, as at the opening of an attack, or in midfield, then you could no longer be sure what the answer would be. As with August's drawing. You would think, in that case, that it would have to be almost impossible -- after all, it was his. How could an answer already exist as to how it should be?

I don't see any angels in the city I don't hear any holy choirs sing And if I can't get an angel I can still get a boy And a boy'd be the next best thing

Happy we were then, for we had a good house, and good food, and good work. There was nothing to do outside at night, except chapel, or choir, or penny-readings, sometimes. But even so, we always found plenty to do until bedtime, for if we were not studying or reading, then we were making something out back, or over the mountain singing somewhere. I can remember no time when there was not plenty to be done. I wonder what has happened in fifty years to change it all...But when people stop being friends with their mother and fathers, and itching to be out of the house, and going mad for other things to do, I cannot think. It is like an asthma, that comes on a man quickly. He has no notion how he had it, but there it is, and nothing can cure it.

J. Edgerton/ The Spirit of Christmas Page 17 Continued JONAS AND JAMES (SINGING) “O come all ye faithful. Joyful and triumphant. O come ye, o come ye to Bethlehem. Come and behold him. Born the king of angels. O come let us adore him. O come let us adore him. O come let us adore him. Christ the lord.” “Sing, choirs of angels, Sing in exultations. Sing, all ye citizens of heavn above; Glory to god, Glory in the highest. O come let us adore him. O come let us adore him. O come let us adore him, Christ the lord!” An occasional passer-by dropped a coin into the cup held by the littlest Nicholas. Thorn tipped his hat to them, trying to keep his greedy looks to a minimum. “Sing loudly my little scalawags. We’ve only a few blocks to go of skullduggery. Then you’ll have hot potato soup before a warm fire.” The Nicholas boys sang louder as they shivered from the falling snow and the wind that seemed to cut right through their shabby clothes, to their very souls. A wicked smile spread over the face of the villainous Mr. Thorn, as he heard the clink of a coin topple into the cup. “That’s it little alley muffins, shiver more it’s good for business.” His evil chuckle automatically followed and he had to stifle it. They trudged on, a few coins added to the coffer from smiling patrons. J. Edgerton/ The Spirit of Christmas Page 18 Mr. Angel continued to follow them unobserved, darting into a doorway as Mr. Thorn glanced slyly behind him, like a common criminal but there was nothing common about him. They paused before the Gotham Orphanage that rose up with its cold stone presence and its’ weathered sign. Thorn’s deep voice echoed as ominous as the sight before them, “Gotham Orphanage, home sweet home! A shelter for wayward boys and girls and a nest to us all!” He slyly drew a coin from his pocket, and twirled it through his fingers. Weather faced Thorn then bit down on the rusty coin, to make sure that it was real. He then deposited all of the coin into the inner pocket of his coat, with an evil chuckle. IV. “GOTHAM ORPHANAGE” “Now never you mind about the goings on of my business. You just mind your own. Now off with ya. Get into the hall to prepare for dinner, such as it is,” Thorn’s words echoed behind them. “And not a word to anyone of my business or you’ll see the back of me hand.” He pushed the boy toward the dingy stone building that was their torment and their shelter. The tall Toymaker glanced after them and then trod cautiously towards Gotham Orphanage. Jonas and James paced along the cracked stone pathway and up the front steps of the main entryway, that towered in cold stone before them. Thorn ushered the boys through the weathered front door to Gotham’s Orphanage. Mr. Angel paced after them and paused, unobserved, near the entrance. As they trudged across the worn hard wood floors of Gotham Orphanage, gala Irish music was heard coming from the main hall of building. Thorn herded the boys into the main hall of the orphanage that was filled with every size and make of both orphan boys and girls seated quietly at tables, eating their dinner. Then he turned with an evil look and hurriedly headed down the long hallway with the money they’ve earned. Jonas and James paced hungrily through the main hall, before a long table with a large, black kettle on top of it and loaves of different types of bread. They both glanced back at a small makeshift stage where orphans in shabby clothes sat stone faced with instruments, playing an Irish Christmas Ballad. Occasionally a sour note was heard. At a far table sat Men and Women of the Community who had come to have dinner and support the orphanage. In front of them was a small, black kettle with a sign that said “Donations”.

Tiff was a voice major at Appalachian State and had been singing in the St. Barnabas choir for a couple of years under our “scholarship for young singers” program.

Whether the music is traditional or contemporary, classical or popular, there are some things that just should not be put before the assembly because some music doesn’t lend itself to group singing. Some songs have been written with a soloist in mind. Some hymns and songs have easily learned refrains but stanzas that are irregular. The stanzas can be sung by cantors or choirs while the people sing the refrain. Responsorial singing is an old practice in the history of liturgy that can make worship more dynamic. It is often used today in Roman Catholic liturgy as a means of singing psalms and canticles.

What are you listening to? I love that song.” “It’s the college station. Logan’s show is on,” I say with more than a smidgen of pride. “Hold on.” A second later, Logan’s voice echoes between my radio and hers, which would normally be annoying, but gravelly voice or not, it’s him. “We have a caller. Caller, we’re discussing when was the last time you told someone off. Go ahead.” “Eek.” I can picture her nose crinkle up. “He does not sound happy.” The caller’s voice echoes just like Logan’s did, but this person makes me want to clap my hands over my ears. “I know what’s wrong with you, A.L. It’s that girl, isn’t it? The one you had on the show last week. Well, I’m not going to say I told you so.” “Hold up! I know that voice,” Terra squeals. “I know, right? It’s been driving me crazy but I can’t—” Terra cuts me off. “That’s Rayann.” “No, this girl’s name is Capri.” I pause to listen more. “There’s nothing wrong with me,” Logan says. “If you say so,” Capri says, and it feels like a heavenly light of knowledge bursts through my ceiling to shine down while a choir sings in the background. Those words sound exactly as they did a couple of weeks ago when they were spoken to me. “Oh my good gravy, it is her!” I yell into the phone.

We want justice! We want justice!’ We chanted at the Western Oil Company building; the mirrored glass showed our reflections multiplied as though we were millions. This gave us courage and we shouted louder, even when the men with guns also multiplied. Then we started singing. I copied the women around me as closely as possible. Grandma had taught me many songs but I did not know that one. We sang in unison, like a choir that had been practising all year for that one song. Grandma started it. It was an Ijaw song called Wo Ekilemo. Praise him. Her voice was low and quiet, but one by one we joined in. The sound of us women singing was so powerful that the glass moved on the expensive windows, and people inside the building started shutting the windows, even the high-up ones. The slams made us sing even louder. I imagined the white men on the other side of the windows, watching us as they drank their tea. I wondered if they understood why we were protesting. I wondered if they even cared. The security men waving their guns started swaying, as if their bodies were disobeying their commands. They were Ijaw, too, you see. They removed their hats, and rocked from side to side. I sang loudly until the part that said ‘I have overcome death, poverty and sickness’. I could not sing that part. My mind kept flashing to Ezikiel’s face. But then I joined in again, and our voices rose so high I thought they might reach Allah’s ears. Then we all took off our clothes. ‘There is nothing more powerful than a naked woman,’ Grandma said. ‘Nothing in the world.

Digital is worth its weight when all parts of the choir sing their respective parts in harmony to achieve a higher purpose and make a unique impact.

When you serve others, you are serving God. When you do it for them, you’re doing it for Him. Jesus said, “If you give a cup of cold water to someone in need, you will surely be rewarded.” Every time you serve, God sees it. Every time you help someone else. Every time you sacrifice--you go out of your way to pick up a friend, you get up early to sing in the choir, you stay late to help a coworker--God is keeping the record.

[F]or three-quarters of an hour we sat in silence, and the voice of Mr. Gruffydd, wherever he was, filled us again with courage, and with hope of a better world. And his watch was in my hand, warm as when he gave it to me. “Are you with us here this morning, Mr. Gruffydd?” my father said, with my mother’s hand in his. “Lifting up our eyes to the hills, we are, see. As you said, so we do. Forever. God bless you. Yes. And, O God, give ease to the sore hearts this day. Amen.” “Amen,” said we all. “Let us sing a good hymn,” my father said. “Let us give our voices a good bit of work, now, before they will wash away.” So we sang, and I seemed to hear Mr. Gruffydd’s basso as you will hear it from a choir, only to be heard if you bend your ear and listen well, and only then, if you know what to listen for.

He’s not even singing,” Tobin whispers to Daphne. They sit on the other side of the half circle of chairs in the music room. It’s amusing that he thinks I don’t know what he’s saying. I can’t actually hear their words over the singing, but I have spent the weekend mastering the art of lipreading. What isn’t amusing, however, is that Tobin has caught on to the fact that I’m merely moving my own lips along with the rest of the choir. Daphne looks up at me. I stare down at the songbook in my hands. Maybe I should try singing along, but I don’t know how to make my voice do what hers does, even if I want to. I feel her gaze leave me and I glance back at her. “Maybe he’s just intimidated,” Daphne says. “It’s his first day in the program.” My hands grow hot at the idea that she thinks I am afraid. I take a deep breath, tempering myself before I set the songbook on fire.

Brynn was playing another one of Simon’s borrowed CDs. Last time, it had been a band called Echo and the Bunnymen, which Maggie had thought was cute. This time, it was a soundtrack to a movie called The Lost Boys. A guy was singing about crying for his little sister. There was a choir of kids harmonizing something that sounded like the commandments behind him. It gave Maggie the creeps.

Now, years later, he had been commissioned to fashion pictures with sugar water and dyes, a holiday mural. He had risen into something he could do, he had been recognized, and those years spent enduring his father's impatience seemed far away. He would do it for number 98,761,580, his love whose hand he held, cold as it was, who had lain beside him in the tunnels, in the filth. What had haunted him was the thought of her lovely body wasting away. It had torn at his eyes, his throat. It had taken away his faith. He painted a band of sugar on the walls of the hotel, the mural reflecting the city back to itself - the deep green park, the holiday windows, lovers under golden angels, flowers spilling out of markets in December, a resurrected skyscraper, a choir of variegated faces singing in front of a red door of a dark church, the homeless - not swept away, not forgotten - their realities on their faces, hands, hair. It was not a Rockwell. There were a few artists, subcontractors, who kept trying to abscond with the project, to make it what it wasn't for the sake of something they likened to a good make-believe before bed. -- 'A Potter's Field

All Praise to Thee, My God, This Night All praise to Thee, my God, this night For all the blessings of the light. Keep me, oh, keep me, King of kings, Beneath Thy own almighty wings. 2. Forgive me, Lord, for Thy dear Son, The ill that I this day have done That with the world, myself and Thee, I, ere I sleep, at peace may be. 3. Teach me to live that I may dread The grave as little as my bed. Teach me to die that so I may Rise glorious at the awe-ful Day. 4. Oh, may my soul on Thee repose, And may sweet sleep mine eyelids close, Sleep that shall me more vigorous make To serve my God when I awake. 5. When in the night I sleepless lie, My soul with heavenly thoughts supply; Let no ill dreams disturb my rest, No powers of darkness me molest. 6. Dull Sleep of Sense me to deprive, I am but half my time alive; Thy faithful Lovers, Lord, are griev'd, To lye so long of Thee bereav'd. 7. But though Sleep o'er my frailty Reigns Let it not hold me long in Chains; And now and then let lose my Heart, Till it an Hallelujah dart. 8. The faster Sleep the Senses binds, The more unfetter'd are our Minds; O may my Soul, from matter free, Thy loveliness unclouded see! 9. O when shall I in endless Day, Forever chase dark Sleep away, And Hymns with the Supernal Choir Incessant Sing and never tyre! 10. O may my Guardian while I sleep Close to my Bed his Vigils keep, His Love Angelical instill, Stop all the Avenues of Ill. 11. May he Celestial Joys rehearse, And thought to thought with me converse Or in my stead all the Night long, Sing to my God a Grateful Song. 12. Praise God, from whom all blessings flow; Praise Him, all creatures here below; Praise Him above, ye heavenly host: Praise Father, Son, and Holy Ghost.

The cave exploded with the sound of trumpets. A heavenly choir began to sing. A surge of power ran up the sword into Henry's hand. A voice thundered through the cavern. "Whosoever Pulleth The Sword From Out The Stone, Is Rightwise Born King of All England." Henry screamed and threw the sword into the lake.

Ye Shall Have a Song From Randall Thompson’s The Peaceable Kingdom, written in 1936 Performed by the Choral Society of Grace Church in the Winter, 2011 Water Night Eric Whitacre, 1995 Performed by Stacy Horn alone on January 10, 2012 Fate and Faith Songs Britlin Losee, 2011 Performed by the Women’s Choir of the Aaron Copland School of Music, 2012

I was just about to find a chair and curl up with a copy of Golf Digest to wait it out—but Deborah surprised me. She took a deep breath and said, “Doctor, I got two young girls missing, and the only lead I have is a guy with his teeth fixed so he looks like a vampire.” She breathed again and held his eye. “I need some help.” If the ceiling had melted away to reveal a choir of angels singing “Achy Breaky Heart,” I could not have been more surprised. For Deborah to open up and look vulnerable like this was completely unheard-of, and I wondered if I should help her find professional counseling. Dr. Lonoff seemed to think so, too. He blinked at her for several long seconds, and then glanced at Lloyd.

Psalm 67 For the choir director: A song. A psalm, to be accompanied by stringed instruments. 1 May God be merciful and bless us.        May his face smile with favor on us. Interlude 2 May your ways be known throughout the earth,        your saving power among people everywhere. 3 May the nations praise you, O God.        Yes, may all the nations praise you. 4 Let the whole world sing for joy,        because you govern the nations with justice        and guide the people of the whole world. Interlude 5 May the nations praise you, O God.        Yes, may all the nations praise you. 6 Then the earth will yield its harvests,        and God, our God, will richly bless us. 7 Yes, God will bless us,        and people all over the world will fear him.

Ideally, six- and seven-year-olds should be singing every day, at various times of the day, with their regular classroom teacher.

And then Knight Ryan Foxheart was announced and the crowd turned toward the Great Doors. They opened and I’m pretty sure choirs of angels were singing and at least fourteen women in the room became spontaneously pregnant because godsdamn. (From The Lightning-Struck Heart)

In the auditorium, which had four hundred people attending, the choir was singing when an M-1 Abrams tank crashed through the front doors of the building and came into the auditorium, interrupting the singing. Two other tanks crashed through the east and west walls, with black clad soldiers walking into the auditorium from behind the tanks. The congregation was clearly frightened, but they had nowhere to run, and Pastor Fields got up from his chair, went to the podium, and asked, “What’s going on here?” A man, who looked like he was in charge of this interruption, walked up the steps of the platform, walked over to Pastor Fields, and asked, “Pastor Matt Fields, I presume?” “Yes. Who are you and what on Earth are doing by bringing tanks and soldiers in here?” “Who I am is of no concern to you. We’re here to arrest all of you for being enemies of the state. We have busses outside waiting to take you to our holding facility. Go quietly and no one should get hurt. Not much anyway,

The Resonance of Honeyed Summer Elizabethan Sonnet Sequence abab, cdcd, efef, gg Synchronous in honeyed summer sings a choir of tremulous birch leaves, A sweet breeze surges south from the mountains to cool down the farm. To a white picket fence, among the honeybees, a steadfast garden cleaves, After blind disregard by a town plow, mended again from winter harm. A sensual scent of new mown meadow, the clash of croquet mallet to ball, A ricochet sings a tin din of two wickets and a knock into a winning stake. By the barn, night owls howl, by day gleeful wee hummingbirds enthrall. The mirth of dipping children as wakes of droning motorboats lap a lake. Bluebirds have woven a love nest in a stilted, rough-hewn, wooden house. By a stonewall wild berries grow swollen from green to a misty blue hue. As we ride bikes beside a hayfield, we rouse the flight of a russet grouse. At dawn a doe and fawn cross our lawn leaving hoof prints upon the dew. In long lemonade days, rocking and sipping on the porch, in our defense, We're in awe of honeyed summertime and the harmony of its resonance. + + +

If you have ever wondered what heaven looks and feels like, this book is for you. Many of us may have preconceived ideas or notions about “heaven” as a place with harp-playing angels floating on clouds, or beings walking around in robes singing in choirs. Although I am sure there are places where these things exist, the heaven I speak of is a very different place, and I will show it to you. Prepare yourself to enter a wondrous new dimension. I will take you into a world that is even more magnificent than you could ever possibly conceive—a dimension encompassing vistas of enhanced creativity, and kingdoms of beauty and art unrealized in our limited physical world. It is a world that your soul may somehow remember and, inevitably, a world you will see again.

If you’re reading this book and chapter, you are probably in what we call the 10%er mindset or those in law enforcement that are continually improving them both physically and mentally.  This chapter is preaching to the choir, but as members of this proverbial choir your voices need to be heard.  You need to sing out loudly to those who are not so concerned about improving themselves as they are jeopardizing your life, the lives in the communities you serve, and the tranquility in a free society that is being torn apart by those that would destroy us.  Police officers are the fine blue line between chaos and order. You are our first line of defense. Today’s law enforcement officer can no longer be what has been referred to as a “ROD”.  That is “Retired on Duty.”  Those who look at law enforcement as just a paycheck and a career leading to a secure retirement need to be not only shaken, but steered either out of their departments or quickly change their attitude about what it means to be a cop.

In the whole divine journey, no one else can walk your pathway. In the whole cosmic choir, no one else can sing your song.

She remembers the last perfect evening before everything happened, perfect even though she didn’t know everything was about to change. Karaoke night. A bunch of kids from choir cheering each other on. When it was her turn, Hallelujah belted out “Total Eclipse of the Heart.” She went for every melodramatic note, closing her eyes and beating her chest. She got the whole group to sing along. She remembers Jonah taking the stage next. When he sang the opening lines to Garth Brooks’s “Friends in Low Places,” the room went nuts. He put on a cowboy drawl and sent the low notes reverberating through the wooden floorboards. She remembers him tipping an imaginary Stetson at her when he was done. In a week, Hallelujah would get caught making out with Luke Willis. He would humiliate her and start spreading lies about her. She would become someone quiet and sad and resentful. But right then, performance-flushed and surrounded by friends, she couldn’t stop smiling.

Come Let Us Worship Come, let us bow down in worship, let us kneel before the LORD our Maker. —PSALM 95:6     A recent point of frustration, debate, and tension in many churches has been about defining worship and agreeing what it should look like. Older Christians are confused because of changes made to the style of worship. They wonder whatever happened to the old hymns that were so beloved. They knew the page numbers and all the old verses by heart. Today there are no hymnals, the organs have been silenced, and guitars, drums, and cymbals have taken over. The choir and their robes have been abandoned, and now we have five to seven singers on stage leading songs. We stand for 30 minutes at a time singing song lyrics that we aren’t familiar with from a large screen. What’s happening? If the church doesn’t have these components, the young people leave and go to where it’s happening. Are we going to let the form of worship divide our churches? I hope not! The origins of many of the different expressions of worship can be found in the Psalms, which portray worship as an act of the whole person, not just the mental sphere. The early founders established ways to worship based on what they perceived after reading this great book of the Bible. Over the centuries, Christian worship has taken many different forms, involving various expressions and postures on the part of churchgoers. The Hebrew word for “worship” literally means “to kneel” or “to bow down.” The act of worship is the gesture of humbling oneself before a mighty authority. The Psalms also call upon us to “sing to the LORD, bless His name” (96:2 NASB). Music has always played a large part in the sacred act of worship. Physical gestures and movements are also mentioned in the Psalms. Lifting our hands before God signifies our adoration of Him. Clapping our hands shows our celebration before God. Some worshipers rejoice in His presence with tambourines and dancing (see Psalm 150:4). To worship like the psalmist is to obey Jesus’ command to “love the Lord your God with all your heart and with all your soul and with all your mind and with all your strength” (Mark 12:30). There are many more insights for worship in the book of Psalms: • God’s gifts of instruments and vocal music can be used to help us worship (47:1; 81:1-4). • We can appeal to God for help, and we can thank Him for His deliverance (4:3; 17:1-5). • Difficult times should not prevent us from praising God (22:23- 24; 102:1-2; 140:4-8).

We simply need to claim it back and share it. We are too quick to censor or judge our natural creative impulses as not being good enough. But we need to give ourselves permission to follow what makes us feel most alive. And when we are most alive we are most compassionate and vice versa. If you love to sing, sing—you don’t have to sing in a choir or become a soloist. If you love to write poems or short stories, write them—you don’t have to become a published author. If you love to paint, paint. Don’t squash your creative instincts because you’re not “good enough” to turn what you love to do into a career.

We could never predict what moment in the service would trigger a full-blown crisis of faith. Once, it was the kids’ choir singing “Nothing but the Blood” during special music. “Surely I’m not the only one who thinks it’s creepy to hear all those little voices singing about getting washed in the flow of someone’s blood,” I muttered as Dan and I escaped out the double doors. Another time it was a prayer about God granting our troops victory over their enemies as they served him in Iraq. “Don’t you think the Iraqis are just as convinced God is on their side?” I whispered. Sometimes it was just the way people chatted in the fellowship hall about “those liberals,” as if feminists or Democrats or Methodists couldn’t possibly be in their midst. Often it was the assumption that women were unfit to speak from the pulpit or pass the collection plate on Sunday mornings, but were welcome to serve the men their key lime pie at the church picnic.

Maybe the difference between speech and music isn't all that great. We infer a lot from the tone of someone's voice, so imagine that aspect of speech pushed just a little further. The weird cadences of a Valley girl, for instance, might be viewed as a species of singing. The malls of Sherman Oaks are a setting for a kind of massed choir.

One day when I went up there to work, sleepiness overcame me and I lay down on the floor behind the back pew to take a nap. Waking or sleeping (I couldn’t tell which), I saw all the people gathered there who had ever been there. I saw them as I had seen them from the back pew, where I sat with Uncle Othy (who would not come in any farther) while Aunt Cordie sang in the choir, and I saw them as I had seen them (from the back pew) on the Sunday before. I saw them in all the times past and to come, all somehow there in their own time and in all time and in no time: the cheerfully working and singing women, the men quiet or reluctant or shy, the weary, the troubled in spirit, the sick, the lame, the desperate, the dying, the little children tucked into the pews beside their elders, the young married couples full of visions, the old men with their dreams, the parents proud of their children, the grandparents with tears in their eyes, the pairs of young lovers attentive only to each other on the edge of the world, the grieving widows and widowers, the mothers and fathers of children newly dead, the proud, the humble, the attentive, the distracted—I saw them all. I saw the creases crisscrossed on the backs of the men’s necks, their work-thickened hands, the Sunday dresses faded with washing. They were just there. They said nothing, and I said nothing. I seemed to love them all with a love that was mine merely because it included me. When I came to myself again, my face was wet with tears.

We’re just a sinner’s choir, singing a song for the saints. —Kenny Chesney, “Song for the Saints

Why we all need a night off I developed this rule because I have seen the difference it makes in my own life, a difference not dissimilar from the glow Hannah developed. I love to sing. So I’ve made a habit of seeking out community choirs wherever I live. After moving to New York City in 2002, I joined three ensembles as a way to get my work-from-home-self dressed and out of the apartment at least three evenings per week.

bringing in folding chairs to place in the aisles. She didn’t know Reverend Kelley, but she had met his elder daughter, Kim Randall, through her community service, and her heart went out to the Kelley family. The life of every clergyman in the region was at risk, including Dewan’s life, a thought she could hardly bear. But everyone had to be wondering who the killer would target as his next victim. With her head held high and a brave expression on her face, she entered the sanctuary and found her spot in the front row between Deacon Fuqua and his wife, Dionne. She leaned across and spoke to the deacon. “Should someone adjust the air-conditioning? With so many people packed inside the church, it’s bound to get hot.” “It’s being done,” Deacon Fuqua told her. “Can you believe this crowd? I see God’s hand in this prayer vigil that Dewan organized.” “God’s hand is in everything my husband does,” she said. A flurry of activity up on the podium at the front of the sanctuary gained Tasha’s attention. The members of the choir, decked out in their white and gold robes, were taking their places and preparing to sing God’s praises. She closed her eyes, her every thought a prayer for all those whose hearts were heavy tonight. Patsy and Elliott Floyd had arrived in time to find seats in the middle aisle, a few pews from the back of the building. As she glanced around, Patsy was pleased to see so many of her parishioners here this evening. She had sent out e-mails to the entire congregation and made numerous personal phone calls. Tonight’s prayer vigil was of great importance on several different levels. First and foremost, Bruce Kelley needed the combined strength of this type of group praying. Second, holding this vigil at the black Baptist church went a long way toward bridging the gap between black and white Christians in the area. Third, this was an example of how all churches, regardless of their doctrine, could support one another. And coming together to pray for one of their own would bring strength and comfort to the ministers and their families who were living each day with fear in their hearts. As they sat quietly side by side, Elliott reached between them and took her hand in his. They had been married for nearly thirty years, and they had stayed together through thick and thin. They had argued often in the early years, mostly because Elliott had never been at home and she’d been trapped there with two toddlers. She had not been as understanding as she should have been. After all, Elliott had been holding down a part-time job and putting

As more local Houses of Worship are built, an exponential number of Bahá’í choirs will likely form, aligning with Shoghi Effendi’s encouragement for choirs to sing in the Houses of Worship. Singing in a House of Worship is an unforgettable experience that unites singers around one common goal, causes hearts to beat as one and lifts the spirits of both singers and audience up the rungs of a spiritual ladder towards the heavens.

In the blink of an eye everything was upside down: gentlemen, bakers, customers, bread loaves, counter, benches, bins, cupboards, sacks, threshers, wheat bran, flour, dough.” “What about the musketeers?” “They were busy guarding the Commissioner’s house. You can’t both sing in the choir and carry the cross.

Kale doesn’t make you feel like a choir of angels is singing in your mouth.

I love the church. I like the waxed candles that remind me people think of people. I love the bouquet of flowers on the altar that a group of grandmas grow in their gardens and pridefully donate every week. I admire the wooden statues of craftsmanship, of a mother staring at you with the kind of pure, loving look I forgot to ask from mine. I like the skinny man nailed to the cross reminding me that people are capable of sacrificial love. I like to stare at the art on the stained-glass windows, of angels, of lambs, and of fruit. I love running my hands over mosaics and tracing the lips of saints. I love the hymns and joy of the choir, who sing regardless if you’re too scared. I love watching the collective sway of bodies subconsciously comforted by their environment after finally saying “Peace be with you.” And most of all, I love being surrounded by people trying. They wear Christ around their neck and squeeze a rosary for dear life, admitting their weaknesses and sins. Tell me, where do you find that? There is an honesty in the church, spilling from kneeling persons, that gives me the hope humans can take care of each other and our planet can be a good one. Where else can I be exposed to the practice of morality on such an emotional level? I love everything about the church—the shiny pews, the smoky incense, the Bible and its purpose – because when all is considered, it makes sense. It is a template of discipline and thoughtfulness. Why call religious people idiots when they’re the few paying attention to their own lives? And there are other ways to be moral of course, but not many ways to practice. I’ve learned that to believe in God doesn’t subtract any life from you. It is additional. It is the world and God. If someone wears a jacket over their shirt, they aren’t naked. They’re double-layered.

He didn't pay any attention to anything but the white-and-silver girl down in front. She belonged here; she was like something holy, like one of the altar candles, like an angel. He didn't pay any attention to the altar. There were priests up there chanting the litany; their white-and-gold benediction vestments draped over the red velvet chairs. There was a choir of seminarians singing. Singing the responses. Their faces were foreign like the town; brown Mexican faces, somber, and their voices, unaccompanied were like a heaven choir. He didn't care about that. He hadn't come here to pray; he'd come with a gun to keep his eye on a rat. He wasn't going to be sucked in by holiness.

We couldn’t even see one another’s faces. Yet that darkness was alive. Breathing. Full of expectation. I wept from the moment the lights went out—many did—so here we were, weeping silently in the darkest time of the year. Then the rear doors opened, and we stood. The choir, holding lit candles, came in singing “O Come All Ye Faithful.” They lit the candles of the people sitting at the end of each row, and the light was passed person to person until we were in a candlelit hall, the ceiling and corners all lost in an ancient, glowing darkness, like the dark background of Rembrandt paintings. Into the absolute darkness, so dense and full of human longing, the light had come.

We sat in a dense, velvety blackness for what seemed like an age, but was probably two minutes. We couldn’t even see one another’s faces. Yet that darkness was alive. Breathing. Full of expectation. I wept from the moment the lights went out—many did—so here we were, weeping silently in the darkest time of the year. Then the rear doors opened, and we stood. The choir, holding lit candles, came in singing “O Come All Ye Faithful.” They lit the candles of the people sitting at the end of each row, and the light was passed person to person until we were in a candlelit hall, the ceiling and corners all lost in an ancient, glowing darkness, like the dark background of Rembrandt paintings. Into the absolute darkness, so dense and full of human longing, the light had come.

I have found that my tiny church, St. Andrew Presbyterian, has given me a shape to work against--a darning egg--for the last thirty years, what with all these holes. We have a choir of eight people who open their mouths, and a huge sound comes out, a mix of joy, pain, faith and conversational exposition. Spirit rises and falls in the voices, the choir's and ours. The singing is full-throated and clear, like the sound your finger makes when you run it around the rim of a crystal glass. It is like African singing where people call from various spots and create one sound. Twenty minutes after the first cave children started kicking around the first improvised balls, people started singing. Half an hour later, they found harmonies. Even with a couple of exceptional singers in the choir, you hear a solid spirit of song, rather than how individuals personally embellish it. The rising and falling is like all of us leaning forward together, then leaning backward on our heels, then coming forward together again. Spirit flows, and the sounds keep stirring that spirit, as the breezes from the high open windows above us keep stirring the air. Sometimes the pianist hits a few false notes, or the soloist warbles, and some of us sing along enthusiastically in the wrong key and the old people's voices dim. But we all keep singing, a mix of magnificence and plainsong that is beautiful, and the hymn plays on.

The world “doesn’t open up into a million shimmering dimensions of hope and possibility when I sing alone,” the writer and choir member Stacy Horn observes.

The tram was mostly empty. It climbed steadily up a slope of tilted plain, stopping to pick up or drop off a few travellers. Those that saw Tefwe all stopped and stared at her for a few moments, then ignored her. Nobody chose to sit close to her. The sound built very slowly; it would have been hard to know when it first started to become distinct from the noises of the rattling, swaying tram and the wind moving over the surrounding fields of tall, bronze-coloured grasses and occasional thick-trunked coppery trees. She became aware of the sound when she realised that she’d been assuming for a while that somebody was humming monotonously just behind her, only there was nobody there. “Is that… the sound?” she sub-vocalised to the suit. “Yes.” The tram clattered to a stop at another station, and now she could hear the sound properly, distinctly; it was a low booming collection of tones like very distant and continuous thunder, all the individual claps rolled together and coming and going on the wind. She got up out of the uncomfortably tilted seat and went to the front of the tram’s middle carriage, heading upstairs to get a better view. There were more of the locals here; they parted as though to let her through to the front, but she bowed, gestured, hung back. She could see well enough. The mountains rose out of the hazy plain ahead like a dark storm of rock, the higher massifs draped with cloud, the highest peaks capped in orange-white ice and snow. The sound swelled and fell away with a sort of tantalising grace, its strength implicitly influenced not just by the light breezes circling round the tram but by mightier winds blowing tens of kilometres away towards the far horizon and kilometres further into the sky. The sound, she thought, was like something you might have heard from an enormous choir of basses singing a slow, sonorous hymn in a language you would never understand. The tram station in the foothills possessed a sort of modest, ordered busyness to it, full of the dark folds moving about it with their odd, side-to-side, flip-flopping walk. The station connected with a whole fan of cogged funicular lines, winding up into the mountains like something being unravelled. The sound here was a little louder, still coming and going on the wind.

Reconciliation is not a magic word that we can trot out whenever we need healing or inspiration. Deep down, I think we know this is true, because our efforts to partake of an easy reconciliation have proved fruitless in the world. Too often, our discussions of race are emotional but not strategic, our outreach work remains paternalistic, and our ethnic celebrations fetishize people of color. Many champions of racial justice in the Church has stopped using the term altogether, because it has been so watered down from its original potency. In their book Radical Reconciliation, Curtiss DeYoung and Allan Boesak unpack why this happens. They write, "reconciliation is revolutionary, that is, oriented to structural change." Which means, reconciliation can never be apolitical. Reconciliation chooses sides, and the side is always justice. This is why white American churches remain so far from experiencing anything resembling reconciliation. The white Church considers power its birthright rather than its curse. And so, rather than seeking reconciliation, they stage moments of racial harmony that don't challenge the status quo. They organize worship services where the choir of two racially different churches sing together, where a pastor of a different race preaches a couple times a year, where they celebrate MLK but don't acknowledge current racial injustices. Acts like these can create beautiful moments of harmony and goodwill, but since they don't change the underlying power structure of the organization, it would be misleading to call them acts of reconciliation. Even worse, when they're not paired with greater change, diversity efforts can have the opposite of their intended effect. They keep the church feeling good, innocent, maybe even progressive, allt he while preserving the roots of injustice.

This is a pickup line that’s sure to not work: I want to inquire if you’re in choir or not, because you’re singing to my heart. So, can I see your boobies or what?

The Day of Judgment was coming and sinners were going to burn, burn, burn in the fire of hell. “Repent”, he roared. “You don’t have to anything to sin you just have to think it. Yes, sexual fantasies were a sin. All this sinning must stop”. He asked for loud music to stop videos and televisions to be thrown into the bin. They were corrupting our innocent kids. “Repent, repent “he roared again. His temper was so bad he looked flushed and had to ask the choir to sing to regain his voice. The choir sang Jesus Loves You. Everybody was talking about Fr. Shaw’s sermon from the pulpit for the whole week.

No longer was it a hundred crickets screeching, but a choir, a hundred crickets singing a chorus of praise, just like the Scripture that she and Mis Lill had written in their letters for years. "The Lord thy God in the midst of thee is mighty; He will save, He will rejoice over thee with joy; He will rest in His love, He will joy over thee with singing.

Tonight, after love– and what is a night without it but darkness, and what is love without this night but more darkness?– I will sing to you. I will recite to you the genealogy of shadows, revealing the ease of their coupling and, in turn, our own, softly attended by the lustrous choir of fireflies outside our window, who wait for a word to rise and take wing, — Paul Guest, from “Small Wonder,” The Resurrection of the Body and the Ruin of the World: Poems (New Issues Poetry & Prose, 2003)

Sarah thought the choir were very brave to stand outside singing on such a chilly day. The sky was threatening snow too. If it hadn’t been for an interview for a sales assistant position at Woolworths, she’d have stayed home with Nan. A weather-worn man, a row of medals across the chest of his overcoat, patted her arm. He was the one who’d held the collection tin in front of her as she stopped amid the bustle of Christmas shoppers

It definitely helps to have a darning egg as you go through life. Trust me on this. I have found that my tiny church, St. Andrew Presbyterian, has given me a shape to work against—a darning egg—for the last thirty years, what with all these holes. We have a choir of eight people who open their mouths, and a huge sound comes out, a mix of joy, pain, faith and conversational exposition. Spirit rises and falls in the voices, the choir’s and ours. The singing is full-throated and clear, like the sound your finger makes when you run it around the rim of a crystal glass. It is like African singing where people call from various spots and create one sound. Twenty minutes after the first cave children started kicking around the first improvised balls, people started singing. Half an hour later, they found harmonies. Even with a couple of exceptional singers in the choir, you hear a solid spirit of song, rather than how individuals personally embellish it. The rising and falling is like all of us leaning forward together, then leaning backward on our heels, then coming forward together again. Spirit flows, and the sounds keep stirring that spirit, as the breezes from the high open windows above us keep stirring the air. Sometimes the pianist hits a few false notes, or the soloist warbles, and some of us sing along enthusiastically in the wrong key and the old people’s voices dim. But we all keep singing, a mix of magnificence and plainsong that is beautiful, and the hymn plays on.

All I’m saying is that every time you are near him, your tatas jump for joy, and your beaver is singing ‘Celebration,’ and I swear I can almost hear a gospel choir singing ‘Hallelujah.

I hear a choir, far enough away for me not to hear it when it goes soft. It is a song I know, I don't know how, and when it fades, and when it dies quite away, it goes on inside me, but too slow, or too fast, for when it comes on the air to me again it is not together with mine, but behind, or ahead. It is a mixed choir, or I am greatly deceived. With children too perhaps. I have the absurd feeling it is conducted by a woman. It has been singing the same song for a long time now. They must be rehearsing. It belongs already to the long past, it has uttered for the last time the triumphal cry on which it ends.

These days she is best known for 'Trouble So Hard,' in which she shows off an abundance of that soulful ingredient that non-black people often rely on to add accent to their music, like a blend of secret herbs and spices that makes chicken finger-licking good. Think Merry Clayton on 'Gimme Shelter,' Chaka Khan lending animation to Steve Winwood’s 'Higher Love,' the countless gospel choirs blessing everything from Foreigner’s 'I Want To Know What Love Is' to Billy Joel’s 'The River of Dreams.' In the video version of the latter, Joel cavorts stiffly like a low-rent Blues Brother, singing about his search for something 'taken out of his soul.' The all-black choir, garbed in church robes, helps him mourn 'something somebody stole.

Now he examined the space he intended to preach to. It lay just above an irregular terrain of heads and extended to the gray crossbeams of the nave with their pale dark ax marks and black spots of iron. Beginning at a point in front of him as far as he could leap, it reached through crisscrossing blades of light to the opposite wall where his melting sight composed the space's outer edge. He could imagine, looking at it, how chaos was before the first word. It was a striped waste, a visibly starless night. Dust, chambered in rods, lazily settled in no direction. Indistinctly he could see the tops of those fleshy cabinets which would compartment hell, while above, spanning the peak, were the long bars of heaven and the perching choirs of love. He thought of his voice passing into it, dust dancing to its tune. There'd be land in the shape of his syllables, a sea singing, sky like an echo, plants in bloom burning with speech, animals with yellow answering eyes, and finally men taking form from the chant of their names and gathering in crowds to enlarge their reply to the laments which had created them.

one and all, you should form yourselves into a choir, [176] so that, in perfect harmony and taking your pitch from God, you may sing in unison and with one voice to the Father through Jesus Christ. Thus he will heed you, and by your good deeds he will recognize you are members of his Son. Therefore you need to abide in irreproachable unity if you really want to be God's members forever.

sing the phrase as written without consonants, letting the singers connect vowel sound to vowel sound. This is particularly helpful when the choir has had difficulty singing in a legato manner. It helps the choir understand the importance of singing the vowel sound for its longest possible rhythmic duration, and of short, crisp consonants. Both

can·tor   n. 1 an official who sings liturgical music and leads prayer in a synagogue. Also called HAZZAN. 2 (in formal Christian worship) a person who sings solo verses or passages to which the choir or congregation responds.  mid 16th cent.: from Latin, 'singer', from canere 'sing'.

If we want clues, we need to look at the extracurricular activities they pushed at us. Clearly, with Daniel and me, they were trying to boost our natural talents: fighting for him and running for me. Serena, Hayley, and Nicole were all in the choir and on the swim team. Plus they’re all blonde and pretty.” “Um, thanks,” Hayley said as she came over. “But what…” Her brow furrowed. “You think we’re mermaids?” “Isn’t that sirens?” Corey said. “Those chicks we studied in Greek mythology. Lured guys to their deaths by singing.” Hayley glared at him. “I thought you liked my singing.” “Yeah, because apparently it’s magical. That’s how you seduce guys.” “Seduce them? Or kill them?” “Same thing, kind of, if you think about it. Like that other guy in mythology. The one who got his hair cut and lost all his power. Mr. Parks said it symbolized men losing their power by falling for women.” “No,” I said. “Mr. Parks said it symbolizes men’s irrational fear of losing their power to women. And unless I’m remembering it wrong, mermaids don’t sing and sirens don’t swim.” “Ariel sang in The Little Mermaid,” Corey said. Sam came over to join us. “Do I even want to know why you remember her name?

If any man among you seem to be religious, and bridleth not his tongue, but deceiveth his own heart, this man’s religion is vain. —James 1:26 (KJV) When I was in my twenties, I started going to the opera. An enthusiastic novice, I’d walk joyfully to the lobby for intermission, only to hear the dismissive remarks of the jaded veterans. A fine performance by Pavarotti? “He has no squillo. You really should have heard Corelli in that part.” An incredible high note from Joan Sutherland? “Too bad you couldn’t have heard her twenty years ago.” I’d go back to my seat for the second act, regretting that I wasn’t twenty years older rather than enjoying the singing that night. I’ve tried, with diminishing success as I’ve grown older, to be less of a curmudgeon. But the place I’ve failed utterly has been church. Walking home on Sunday mornings, I’ve recited a litany of complaints. “The music here is terrible. Do you remember the choir at St. So-and-So’s?” “There was no meat in that sermon. Father X was so much more thoughtful.” “Did you see the sneakers the altar server was wearing? We’d never have let that pass at St. Thingummy’s.” Finally, my wife, Julia, had enough. “What are you doing for Lent?” she asked. “Giving up peanut butter, like always,” I answered. “How about giving up all that negativity?” So I tried. Sometimes I’d just keep quiet. Sometimes I’d catch myself mid-complaint. Sometimes I’d even say something positive! And you know what? I found myself praying rather than looking for things I didn’t like. After all, I was there for God’s sake, not my own. You know what else? This Lent I’m going to find something good to say every Sunday. Lord, keep my attention where it really belongs—on You. —Andrew Attaway Digging Deeper: Jl 2:12–13; 1 Pt 5:6