Chorus Song Quotes

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.

I want to see an elephant hunt down a man for the sole purpose of collecting his teeth, while a chorus of typewriters sings songs that praises the bananas for their wisdom, leadership, and their high levels of potassium.

Throughout all of the changes that have happened in my life, one of the priorities I've had is to never change the way I write songs and the reasons I write songs. I write songs to help me understand life a little more. I write songs to get past things that cause me pain. And I write songs because sometimes life makes more sense to me when it's being sung in a chorus, and when I can write it in a verse.

The audience keeps singing, keeps making my case, and I just keep strumming until I get close enough to see her eyes. And then I start singing the chorus. Right to her. And she smiles at me, and it’s like we’re the only two people out here, the only ones who know what’s happening. Which is that this song we’re all singing together is being rewritten. It’s no longer an angry plea shouted to the void. Right here, on this stage, in front of eighty thousand people, it’s becoming something else. This is our new vow.

You deserve to be the chorus to a person’s favorite song. You deserve to be the dedication in their favorite book.

Whether it was a song, a person, or a story, there was a lot you couldn’t know from just an excerpt, a glance, or part of a chorus.

I have not had one word from her Frankly I wish I were dead When she left, she wept a great deal; she said to me, "This parting must be endured, Sappho. I go unwillingly." I said, "Go, and be happy but remember (you know well) whom you leave shackled by love "If you forget me, think of our gifts to Aphrodite and all the loveliness that we shared "all the violet tiaras, braided rosebuds, dill and crocus twined around your young neck "myrrh poured on your head and on soft mats girls with all that they most wished for beside them "while no voices chanted choruses without ours, no woodlot bloomed in spring without song...

I want to write a song about the only girl I’ve ever loved. And the chorus will say something like, “I really want to see you tonight, so I hope you leave your blinds open.

His desperation and misery swept her up like a storm capturing the sea. She turned her mind to even these feelings, because they were his, like his terrified rage in the lift when they had first met, being wrapped in his arms in the cold well, being dazzled by his wonder at the woods and her home and her. Like being a child, awareness of him the morning chorus that woke her and the lullaby that sent her to sleep, his thoughts always her first and last song. I love you, Kami told him, and cut.

Music replays the past memories, awaken our forgotten worlds and make our minds travel.

That’s a medley of promise, fairy tales, and magic bullets all welded together in a chorus of a cloud nine song.

Elli couldn’t help it, she had to. She smiled before saying, “Nothing much, but Shea?” “Yeah?” he asked wearily as she smirked up at him. “I’ll never break your heart. I’ll never make you cry,” she continued to sing the chorus of the well known Backstreet Boys song as Shea turned beet red with embarrassment. “Grace, I swear I’m going to kill you!” Shea yelled.

The Song of Kali is with us. It has been with us for a very long time. Its chorus grows and grows and grows. But there are other voices to be heard. There are other songs to be sung.

There are, of course, inherent tendencies to repetition in music itself. Our poetry, our ballads, our songs are full of repetition; nursery rhymes and the little chants and songs we use to teach young children have choruses and refrains. We are attracted to repetition, even as adults; we want the stimulus and the reward again and again, and in music we get it. Perhaps, therefore, we should not be surprised, should not complain if the balance sometimes shifts too far and our musical sensitivity becomes a vulnerability.

Once he went into the mountains on a clear, sunny day, and wandered about for a long time with a tormenting thought that refused to take shape. Before him was the shining sky, below him the lake, around him the horizon, bright and infinite, as if it went on forever. For a long time he looked and suffered. He remembered now how he had stretched out his arms to that bright, infinite blue and wept. What had tormented him was that he was a total stranger to it all. What was this banquet, what was this great everlasting feast, to which he had long been drawn, always, ever since childhood, and which he could never join? Every morning the same bright sun rises; every morning there is a rainbow over the waterfall; every evening the highest snowcapped mountain, there, far away, at the edge of the sky, burns with a crimson flame; every little fly that buzzes near him in a hot ray of sunlight participates in this whole chorus: knows its place, loves it, and is happy; every little blade of grass grows and is happy! And everything has its path, and everything knows its path, goes with a song and comes back with a song; only he knows nothing, understands nothing, neither people nor sounds, a stranger to everything and a castaway.

The song was about a girl who didn't fit in and she didn't care and she was different than everyone else. I think there's a long chorus of me singing "Do do do do do do do do do do". It's very young and I look back and it's kind of interesting to hear those kind of storylines and the lyrics that I used to write compared to the lyrics that I write now.

Oh no," I said, because if our life is just one endless song about hope and regret, then "oh no" is apparently that song's chorus, the words we always return to.

I Love Loving You You are my favorite song; a rhythm of beauty that captures my spirit. You are my favorite poem; an exquisite grouping of ideas set in motion with an unmatched enchanting elegance. You are my best friend; from our laughter to our deep conversations, our moments together are a timeless pleasure. You are my soul mate; a connection so pure, so powerful, that it can only be considered divine. You are my lover; a passionate entwinement, a chorus of ecstasy, and a feeling of complete unity that words could never adequately describe. You are my angel; you remind me of the goodness in this world and inspire me to be the greatest version of myself. You are my home; it is in your loving gaze that I find the comfort, acceptance, and the sense of belonging. You are my love ~ mi amor; there are not enough days in forever to allow me to fully express my love for you. I love loving you.

I turned to Ren, dropping my head low to honor the fallen alpha. The circled wolves did the same. I lifted my muzzle first, my howl singing out the pain of Ren's death, mourning him. One by one my packmates joined the song. Our howls filled the library, spilling into the winter night. The death song grew as the wolves still outside raised their voices to honor the lost young warrior. The chorus of wolf cries, full of heartache, swelled in the night, carrying Ren's memory to the very stars.

She needed what most colored girls needed: a chorus of mamas, grandmamas, aunts, cousins, sisters, neighbors, Sunday school teachers, best girl friends, and what all to give her the strength life demanded of her—and the humor with which to live it.

She’s smokin’ hearts with a burnin’ flame She’s got a wild side without a name And when she’s riled it’s a cryin’ shame Yeah! Yeah! Yeah! I’ve got it bad Yeah! Yeah! Yeah! I’m going’ mad Cause in your head you’ve got it right Won’t go to bed without a fight You think you’re wise, you think it shows So show me wise without those clothes Isaac raised an eyebrow at me, but I couldn’t even shrug. I was frozen. My heart had stopped. Everything had stopped. She’s playin’ hardball and it’s nothin’ new Short skirts so enjoy the view She’s a coldblooded tease baby through and through Yeah! Yeah! Yeah! I’ve got it bad Yeah! Yeah! Yeah! I’m goin’ mad Cause in your head you’ve got it right Won’t go to bed without a fight You think you’re wise you think it shows So show me wise without those clothes Come on Legs don’t go to waste I could be your only savin’ grace” “Put those morals on the back burner Something tells me you’re a fast fast learner As I listened to the chorus taunt me over and over again until the song came to a climatic end, I somehow remembered to breathe.

I love when we do this. When he says my name and then I say his. Fond exasperation and gentle amusement in every syllable. A call and response. The chorus to the song I can’t get out of my head.

How easily a life can become a litany of guilt and regret, a song that keeps echoing with the same chorus, with the inability to forgive ourselves. How easily the life we didn’t live becomes the only life we prize. How easily we are seduced by the fantasy that we are in control, that we were ever in control, that the things we could or should have doneor said have the power, if only we had done or said them, to cure pain, to erase suffering, to vanish loss. How easily we can cling to – worship – the choice we think we could or should have made.

So that night after Wyatt goes to bed, I can't sleep. And I see this piece of paper with this song he's writing and it's clearly about me. It says something about a redhead and mentioned the hoop earrings that I was wearing all the time. And then he had this chorous about me having a big heart but no love in it. I kept looking at the words, thinking, This isn't right. He didn't understand me at all. So I thought about it for a little while and got out a pen and paper. I wrote some things down. When he woke up, I said, "Your chorus should be more like 'Big eyes, big soul/big heart, no control/but all she got to give is tiny love.'" Wyatt grabbed a pen and paper and he said, "Say that again?" I said, "It was just an example. Write your own goddamn song." Simone: "Tiny Love"was the Breeze's biggest hit. And Wyatt pretended he wrote the whole thing.

The chorus of disapproval is like one of those formula songs that seem to hit number one all the time. You know the tune in a moment and it begins to bore you in two.

What about a teakettle? What if the spout opened and closed when the steam came out, so it would become a mouth, and it could whistle pretty melodies, or do Shakespeare, or just crack up with me? I could invent a teakettle that reads in Dad’s voice, so I could fall asleep, or maybe a set of kettles that sings the chorus of “Yellow Submarine,” which is a song by the Beatles, who I love, because entomology is one of my raisons d’être, which is a French expression that I know. Another good thing is that I could train my anus to talk when I farted. If I wanted to be extremely hilarious, I’d train it to say, “Wasn’t me!” every time I made an incredibly bad fart. And if I ever made an incredibly bad fart in the Hall of Mirrors, which is in Versailles, which is outside of Paris, which is in France, obviously, my anus would say, “Ce n’étais pas moi!” What about little microphones? What if everyone swallowed them, and they played the sounds of our hearts through little speakers, which could be in the pouches of our overalls? When you skateboard down the street at night you could hear everyone's heartbeat, and they could hear yours, sort of like sonar. One weird thing is, I wonder if everyone's hearts would start to beat at the same time, like how women who live together have their menstrual periods at the same time, which I know about, but don't really want to know about. That would be so weird, except that the place in the hospital where babies are born would sound like a crystal chandelier in a houseboat, because the babies wouldn't have had time to match up their heartbeats yet. And at the finish line at the end of the New York City Marathon it would sound like war.

Once upon a time, wasn’t singing a part of everyday life as much as talking, physical exercise, and religion? Our distant ancestors, wherever they were in this world, sang while pounding grain, paddling canoes, or walking long journeys. Can we begin to make our lives once more all of a piece? Finding the right songs and singing them over and over is a way to start. And when one person taps out a beat, while another leads into the melody, or when three people discover a harmony they never knew existed, or a crowd joins in on a chorus as though to raise the ceiling a few feet higher, then they also know there is hope for the world.

When the sunlight hit the trees, all the beauty and wonder come together. Soul unfolds its petals. Flowering and fruiting of plants starts. The birds song light up the spinal column and harmonize the hippocampal functioning.

I don't know. I mean, it's not all beautifully harmonic, this world we find ourselves in. Clearly. There's shit music, and sometimes the melody goes away completely. There's silence and dissonant chord that cringe your ears. But the synchronicity of a perfectly created chorus? And the fact that you never know when one is coming? And that amazing feeling, the first time you hear a song and now it's going to be with you forever? I have to think that's worth everything.

She finishes the chorus and shuts her eyes again. Her long legs bounce against the rail of the stool to keep rhythm and I fall victim to her siren's song. She has bewitched me. And I want her. She's the one.

How easily a life can become a litany of guilt and regret, a song that keeps echoing with the same chorus, with the inability to forgive ourselves. How easily the life we didn’t live becomes the only life we prize. How easily we are seduced by the fantasy that we are in control, that we were ever in control, that the things we could or should have done or said have the power, if only we had done or said them, to cure pain, to erase suffering, to vanish loss. How easily we can cling to—worship—the choices we think we could or should have made.

You deserve so much more than hiding out in high school basements. You don't deserve to be someone's secret, Ashlyn. You deserve to be the chorus to a person's favourite song. You deserve to be the dedication in their favourite book.

Each singer adds his own voice to the chorus but sings a song all his own.

I don't want to go to university. I don't like unity and I hate verses. I just love the choruses of songs.

Sabine stood up, satisfied that her friends were safe and content. When she moved, Calla lifted her head. Her eyes focused in Sabine's direction. Despite the distance between them, Sabine Could have sworn Calla was looking right at her. The white wolf's ears flicked back and forth. She lifted her muzzle and howled. The sound filled Sabine with a mixture of sweetness and sorrow. The other wolves joined the song, their familiar voices blending in the winter air. Sabine watched them from another minute, then she turned and walked back to Ethan. "Everything okay?" he asked. She handed him the binoculars. "They're happy. So I'm happy." ... She turned, listening to the song carried on the stiff winter breeze. Nev's voice rose about the other wolves' as the chorus of howls wove through the air. Sabine wondered if somehow they knew she was here, and if they might be saying good-bye or if they were asking her to stay.

I believe every man who stood up was either killed or wounded," said Lieutenant Oliver Williams, who was himself hit. This regiment had participated in a touching event, well remembered by both armies. At Fredericksburg in late 1862, after the Sharpsburg campaign, it had held a dress parade at which the band played "Dixie." Across the Rappahannock a Northern band heard and played back the song as a bit of camaraderie. The band of the 20th North Carolina responded by playing "Yankee Doodle." Then both bands, as if by prearrangement, joined in "Home, Sweet Home." This chorus ran along the lines and both armies sang and wept.

Then, lifting me up, his head fell back and he opened his mouth wide. “Once I let Lucy Larson into my heart! I was able to take my sad, shitty song and make it better!” he sung, off key and at full volume. Some of the students around us tipped their beers at him, some broke in during the “Nah, nah, nah,” chorus, and a few looked at him like he was a crazy man. But I just laughed—I already knew he was crazy. And I loved him for it. “I think that’s called taking creative liberties with the lyrics.

Before I answered, Seth broke into song, cracking out the Backstreet Boys classic, I Want It That Way. Caleb picked up the next line on cue and Seth started clicking his fingers to the beat. They both started dancing, sashaying their way toward us and I stared on in surprise. Seth looked to Caleb and they both belted out the last line of the chorus together with their hands on their hearts.

KPS is not, and I say this with absolutely no slight intended, a brooding symphony of a novel. It’s a pop song. It’s meant to be light and catchy, with three minutes of hooks and choruses for you to sing along with, and then you’re done and you go on with your day, hopefully with a smile on your face. I had fun writing this, and I needed to have fun writing this. We all need a pop song from time to time, particularly after a stretch of darkness.

Ten Best Song to Strip 1. Any hip-swiveling R&B fuckjam. This category includes The Greatest Stripping Song of All Time: "Remix to Ignition" by R. Kelly. 2. "Purple Rain" by Prince, but you have to be really theatrical about it. Arch your back like Prince himself is daubing body glitter on your abdomen. Most effective in nearly empty, pathos-ridden juice bars. 3. "Honky Tonk Woman" by the Rolling Stones. Insta-attitude. Makes even the clumsiest troglodyte strut like Anita Pallenberg. (However, the Troggs will make you look like even more of a troglodyte, so avoid if possible.) 4. "Pour Some Sugar on Me" by Def Leppard. The Lep's shouted choruses and relentless programmed drums prove ideal for chicks who can really stomp. (Coincidence: I once saw a stripper who, like Rick Allen, had only one arm.) 5. "Amber" by 311. This fluid stoner anthem is a favorite of midnight tokers at strip joints everywhere. Mellow enough that even the most shitfaced dancer can make it through the song and back to her Graffix bong without breaking a sweat. Pass the Fritos Scoops, dude. 6. "Miserable" by Lit, but mostly because Pamela Anderson is in the video, and she's like Jesus for strippers (blonde, plastic, capable of parlaying a broken nail into a domestic battery charge, damaged liver). Alos, you can't go wrong stripping to a song that opens with the line "You make me come." 7. "Back Door Man" by The Doors. Almost too easy. The mere implication that you like it in the ass will thrill the average strip-club patron. Just get on all fours and crawl your way toward the down payment on that condo in Cozumel. (Unless, like most strippers, you'd rather blow your nest egg on tacky pimped-out SUVs and Coach purses.) 8. Back in Black" by AC/DC. Producer Mutt Lange wants you to strip. He does. He told me. 9. "I Touch Myself" by the Devinyls. Strip to this, and that guy at the tip rail with the bitch tits and the shop teacher glasses will actually believe that he alone has inspired you to masturbate. Take his money, then go masturbate and think about someone else. 10. "Hash Pipe" by Weezer. Sure, it smells of nerd. But River Cuomo is obsessed with Asian chicks and nose candy, and that's just the spirit you want to evoke in a strip club. I recommend busting out your most crunk pole tricks during this one.

Nada que temer, nada que cambiar Por ti me olvide de quien yo era en realidad Contigo me quede, como un diamante sin brillar No quiero ser así, espejo de tu vanidad Prefiero ser de mí Sin nada que temer, nada que cambiar Na na na Yo me siento así Bella y auténtica Na na na No seré por ti Una fuerte mental, no no [Chorus] Dices, que soy imperfecta, Que tu eres mi dueño, Quien no te madura todo el tiempo. Dices que hablo cosas tontas, Que no te merezco, Quien te crees que eres, dime quien. Te pido por favor, Que no me quieras controlar, Entregame tu amor, Sin condiciones nada mas. Permíteme vivir, soñando ésta realidad No ves que soy asi, distinta sin igual Na na na Yo me siento así Bella y auténtica Na na na No seré por ti Una fuerte mental, no no [Chorus] Dices, que soy imperfecta, Que tu eres mi dueño, Quien no te madura todo el tiempo. Dices que hablo cosas tontas, Que no te merezco, Quien te crees que eres, dime quien. [Bridge] Dices que soy una niña, Que me tienen consentida. Dices que soy diferente, Ciertamente, ciertamente. Soy lo que me gusta ser, No me intentes detener. Mírame bien, no estoy hecha de papel. Dices! [Chorus] Dices, que soy imperfecta, Que tu eres mi dueño, Quien no te madura todo el tiempo. Dices que hablo cosas tontas, Que no te merezco, Quien te crees que eres, dime quien. Eue soy imperfecta, Que tu eres mi dueño, Quien no te madura todo el tiempo. Dices que hablo cosas tontas, Que no te merezco, Quien te crees que eres, dime quien.

What is courage?" its chorus asked--and the song answered, "It is to give when hope is gone, when there is no chance that men may call you a hero, when you have tried and failed and rise to try again." It asked the same of friendship, answering that "the friend stands beside you when you are right and all others despise you for it.

The driver had on Radio 1, which was giving us Kylie Minogue's 'I should be so lucky'....By the song's second verse I was already longing for an IRA ambush and and by the second chorus I was dreaming of a rogue comet strike.

Each person whoever was or is or will be has a song. It isn’t a song that anybody else wrote. It has its own melody, it has its own words. Very few people get to sing their own song. Most of us fear that we cannot do it justice with our voices, or that our words are too foolish or too honest, or too odd. So people live their songs instead. Take Daisy, for example. Her song, which had been somewhere in the back of her head for most of her life, had a reassuring, marching sort of beat, and words that were about protecting the weak, and it had a chorus that began “Evildoers beware!” and was thus much too silly ever to be sung out loud. She would hum it to herself sometimes though, in the shower, during the soapy bits. And that is, more or less, everything you need to know about Daisy. The rest is details.

The fading dawn colors revive momentarily, and the sky shines with lilac and daffodil, layering colors in clouds like quilts stacked on a bed. More birds chime into the morning air: a nuthatch’s nasal onk joins the crow’s croak and a black-throated green warbler’s murmur from the branches above the mandala. As the colors finally fade under the fierce gaze of their mother, the sun, a wood thrush caps the dawn chorus with his astounding song. The song seems to pierce through from another world, carrying with it clarity and ease, purifying me for a few moments with its grace. Then the song is gone, the veil closes, and I am left with embers of memory.

Evadne, my heart. My chorus. I would sing with you until the end of days. I would sing with you until my bones turned to dust.

The most uplifting music in the world is that of Mother Natures orchestra. Sit atop a hill or mountain, with a fabulous view and listen..... Hear the winds song, the birds chorus, and the far off sound of childrens laughter and song and the sounds of life that you can soundtrack to your own playlists.

Out ahead of them, Arkady began something very like a marching song, chanting lines answered by the other ferals, their voices ringing out across the sky, each to each. Temeraire added his own to the chorus, and little Iskierka began to scrabble at his neck, demanding, "What are they saying? What does it mean?" "We are flying home," Temeraire said, translating. "We are all flying home.

I believe every man who stood up was either killed or wounded," said Lieutenant Oliver Williams, who was himself hit. This regiment has participated in a touching event, well remembered by both armies. At Fredericksburg in late 1862, after the Sharpsburg campaign, it had held a dress parade at which the band played "Dixie." Across the Rappahannock a Northern band heard and played back the song as a bit of camaraderie. The band of the 20th North Carolina responded by playing "Yankee Doodle." Then both bands, as if by prearrangement, joined in "Home, Sweet Home." This chorus ran along the lines and both armies sang and wept.

All things carefully considered, I believe they come down to this: what scares me is the Church as a social thing. Not solely because of her stains, but by the very fact that it is, among other characteristics, a social thing. Not that I am by temperament very individualistic. I fear for the opposite reason. I have in myself a strongly gregarious spirit. I am by natural disposition extremely easily influenced in excess, and especially by collective things. I know that if in this moment I had before me twenty German youth singing Nazi songs in chorus, part of my soul would immediately become Nazi. It is a very great weakness of mine. . . . I am afraid of the patriotism of the Church that exists in the Catholic culture. I mean ‘patriotism’ in the sense of sentiment analogous to an earthly homeland. I am afraid because I fear contracting its contagion. Not that the Church appears unworthy of inspiring such sentiment, but because I don’t want any sentiment of this kind for myself. The word ‘want’ is not accurate. I know— I sense with certainty— that such sentiment of this type, whatever its object might be, would be disastrous in me. Some saints approved the Crusades and the Inquisition. I cannot help but think they were wrong. I cannot withdraw from the light of conscience. If I think I see more clearly than they do on this point— I who am so far below them— I must allow that on this point they must have been blinded by something very powerful. That something is the Church as a social thing. If this social thing did such evil to them, what evil might it not also do to me, one who is particularly vulnerable to social influences, and who is infinitely feebler than they?

This is the next lyric of my life’s song. You’re the bridge, the chorus, the final chord. This heart,” he says, eyes softening and smile widening, “brought you to me. Was the catalyst that forced me to see so many things I probably otherwise wouldn’t have. This heart represents you, represents me, and is my promise to you that I’m going to make it count.

DD/MM/YYYY was not an ordinary day. Early in the morning, before the sunrise, a Baby Girl Fairy was dropped from the Fairy Lands to the Earth. There were songs of joys and rejoices everywhere. Cool breeze was playing and running across the meadows. Dew drops were dancing and floating over the leaves. Birds were swaying and singing in chorus: "Happy Birthday Happy Birthday Happy Birthday (Name), Happy Birthday Happy Birthday Happy Birthday to you.

She could feel the common blood song inside the place, the chorus of ancestors moving about in familiar constellations.

Is that how the song goes? It's the chorus.

When he woke up, I said, “Your chorus should be more like ‘Big eyes, big soul/big heart, no control/but all she got to give is tiny love.

Since being back in London everything seemed greyer, but clearer. She couldn't explain it. The strangest thing was she couldn't recall her New York self. She wanted that part of herself back, but she couldn't remember what it was like to be that Elle. She would catch a whiff of it, like the snatch of a song that still won't lead you to the chorus, and then it would be gone.

The sound of the chorus came across the water and I felt leap up that old impulse, which has moved me all my life, to be thrown up and down on the roar of other people's voices, singing the same song; to be tossed up and down on the roar of almost senseless merriment, sentiment, triumph, desire.

He sang a song from Media's chorus, it was a few bitter scenes later when the kids are dead, and it gives a weird sense of time mergin', and for a moment I have the feeling that the future and the past aren't separate at all, just different snatches of a single song, always sung, giving consequences when aired.

Her song, which had been somewhere in the back of her head for most of her life, had a reassuring, marching sort of beat, and words that were about protecting the weak, and it had a chorus that began “Evildoers beware!” and was thus much too silly ever to be sung out loud. She would hum it to herself sometimes though, in the shower, during the soapy bits.

the song consisted of an invocation to Neptune, chanted by a single leader and repeated in chorus, with a rhythm so sweet and well balanced that it imitated the regular movement of the sailors bending to their oars and the oars beating the water.

The years tumble past you like bits of paper on the street and you may not even feel the breeze at your back but then something catches your eye, a twist of black hair or a dog leaping to catch a tennis ball. The splintered chorus of a stupid pop song. You turn around and another chunk of your life drifts by like unrecognized trash and it was never yours to begin with.

I may not be able to play a harp again, or sing for the clan,” he said. “But I have found that this is my song. This is my music.” And he framed her face in his hands. “Months ago, I told you that I was a verse inspired by your chorus. I thought I knew what those words meant then, but now I fully understand the depth and the breadth of them. I want to write a ballad with you, not in notes but in our choices, in the simplicity and the routine of our life together. In waking up at your side every sunrise and falling asleep entwined with you every sunset. In kneeling beside you in the kail yard and leading a clan and overseeing trade and eating at our parents’ tables. In making mistakes, because I know that I’ll make them, and then restitution, because I’m better than I once ever hoped to be when I’m with you.” Adaira turned her face to kiss his palm, where his scar from their blood vow still shone. When she looked at him again, there were tears in her eyes. “What do you think, Heiress?” Jack whispered, because he was suddenly desperate to know her thoughts. To know what she was feeling. Adaira leaned forward, brushing his lips with hers. “I think that I want to make such music with you until my last day when the isle takes my bones. I think you are the song I was longing for, waiting for. And I will always be thankful that you returned to me.

AND BOB DYLAN TOO “Anything worth thinking about is worth singing about.” Which is why we have songs of praise, songs of love, songs of sorrow. Songs to the gods, who have so many names. Songs the shepherds sing, on the lonely mountains, while the sheep are honoring the grass, by eating it. The dance-songs of the bees, to tell where the flowers, suddenly, in the morning light, have opened. A chorus of many, shouting to heaven, or at it, or pleading. Or that greatest of love affairs, a violin and a human body. And a composer, maybe hundreds of years dead. I think of Schubert, scribbling on a café napkin. Thank you, thank you.

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

Songs are funny like that—you might not hear them play for years, but you still remember every word. And I think it’s because songs are more than words, more than notes, more than verses and choruses. Words fade and scatter over time, but songs tied to life’s most precious memories live inside of us forever.

Song of myself Now I will do nothing but listen, To accrue what I hear into this song, to let sounds contribute toward it. I hear bravuras of birds, bustle of growing wheat, gossip of flames, clack of sticks cooking my meals, I hear the sound I love, the sound of the human voice, I hear all sounds running together, combined, fused or following, Sounds of the city and sounds out of the city, sounds of the day and night, Talkative young ones to those that like them, the loud laugh of work-people at their meals, The angry base of disjointed friendship, the faint tones of the sick, The judge with hands tight to the desk, his pallid lips pronouncing a death-sentence, The heave'e'yo of stevedores unlading ships by the wharves, the refrain of the anchor-lifters, The ring of alarm-bells, the cry of fire, the whirr of swift-streaking engines and hose-carts with premonitory tinkles and color'd lights, The steam-whistle, the solid roll of the train of approaching cars, The slow march play'd at the head of the association marching two and two, (They go to guard some corpse, the flag-tops are draped with black muslin.) I hear the violoncello, ('tis the young man's heart's complaint,) I hear the key'd cornet, it glides quickly in through my ears, It shakes mad-sweet pangs through my belly and breast. I hear the chorus, it is a grand opera, Ah this indeed is music--this suits me.

What about a teakettle? What if the spout opened and closed when the steam came out, so it would become a mouth, and it could whistle pretty melodies, or do Shakespeare, or just crack up with me? I could invent a teakettle that reads in Dad's voice, so I could fall asleep, or maybe a set of kettles that sings the chorus of "Yellow Submarine," which is a song by the Beatles, who I love, because entomology is one of my raisons d'etre, which is a French expression that I know.

You’re sure you want to do this,” Galen says, eyeing me like I’ve grown a tiara of snakes on my head. “Absolutely.” I unstrap the four-hundred-dollar silver heels and spike them into the sand. When he starts unraveling his tie, I throw out my hand. “No! Leave it. Leave everything on.” Galen frowns. “Rachel would kill us both. In our sleep. She would torture us first.” “This is our prom night. Rachel would want us to enjoy ourselves.” I pull the thousand-or-so bobby pins from my hair and toss them in the sand. Really, both of us are right. She would want us to be happy. But she would also want us to stay in our designer clothes. Leaning over, I shake my head like a wet dog, dispelling the magic of hairspray. Tossing my hair back, I look at Galen. His crooked smile almost melts me where I stand. I’m just glad to see a smile on his face at all. The last six months have been rough. “Your mother will want pictures,” he tells me. “And what will she do with pictures? There aren’t exactly picture frames in the Royal Caverns.” Mom’s decision to mate with Grom and live as his queen didn’t surprise me. After all, I am eighteen years old, an adult, and can take care of myself. Besides, she’s just a swim away. “She keeps picture frames at her house though. She could still enjoy them while she and Grom come to shore to-“ “Okay, ew. Don’t say it. That’s where I draw the line.” Galen laughs and takes off his shoes. I forget all about Mom and Grom. Galen, barefoot in the sand, wearing an Armani tux. What more could a girl ask for? “Don’t look at me like that, angelfish,” he says, his voice husky. “Disappointing your grandfather is the last thing I want to do.” My stomach cartwheels. Swallowing doesn’t help. “I can’t admire you, even from afar?” I can’t quite squeeze enough innocence in there to make it believable, to make it sound like I wasn’t thinking the same thing he was. Clearing his throat, he nods. “Let’s get on with this.” He closes the distance between us, making foot-size potholes with his stride. Grabbing my hand, he pulls me to the water. At the edge of the wet sand, just out of reach of the most ambitious wave, we stop. “You’re sure?” he says again. “More than sure,” I tell him, giddiness swimming through my veins like a sneaking eel. Images of the conference center downtown spring up in my mind. Red and white balloons, streamers, a loud, cheesy DJ yelling over the starting chorus of the next song. Kids grinding against one another on the dance floor to lure the chaperones’ attention away from a punch bowl just waiting to be spiked. Dresses spilling over with skin, matching corsages, awkward gaits due to six-inch heels. The prom Chloe and I dreamed of. But the memories I wanted to make at that prom died with Chloe. There could never be any joy in that prom without her. I couldn’t walk through those doors and not feel that something was missing. A big something. No, this is where I belong now. No balloons, no loud music, no loaded punch bowl. Just the quiet and the beach and Galen. This is my new prom. And for some reason, I think Chloe would approve.

As our ship tumbled, free-falling through the eye of a saltwater cyclone, the nine giant maidens spiraled around us, weaving in and out of the tempest so they appeared to drown over and over again. Their faces contorted in anger and glee. Their long hair lashed us with icy spray. Each time they emerged, they wailed and shrieked, but it wasn’t just random noise. Their screams had a tonal quality, like a chorus of whale songs played through heavy feedback. I even caught snippets of lyrics: boiling mead...wave daughters...death for you! It reminded me of the first time Halfborn Gunderson played Norwegian black metal for me. After a few bars, it dawned on me...Oh, wait. That’s supposed to be music!

Victims can have victims, and the world needs to be reminded.

What I did I can’t undo. But I can address it, and undress you.” This is the chorus in a new song I’m writing called “Mannequin Love.

I’m sleepin’ in your pee pee, and I’m dreaming of what could be.” That’s just the chorus of a little love song I recently wrote.

We were a song that howled with arrhythmic heartbeats and a never-ending bridge. But I wanted us to be the chorus. The good part. The catchy part that stayed with you forever.

I nominate this song as the "Song for the group" (from the Benefit CD): Chorus from the song "Inside" by Jethro Tull for it's positive mention of "joe": I'm sittin' in the corner feelin' glad, got no money comin' in but I can't be sad, That was the best cuppa coffee I ever had, And I won't worry about a thing because we got it made, here on the Inside outside's so far away.

She's gone, she's gone.'" Paul sang the chorus of that Hall & Oates song. He sang without irony, for he was a twenty-first-century American who'd been taught to mourn his small and large losses by singing Top 40 hits.

Heart-Shaped Glasses (When the Heart Guides the Hand), the first single from Eat Me, Drink Me, features a video filmed by Titanic director James Cameron. In it, Manson croons to Wood, who – with bobbed hair, gloves and a demure frock – blankly masturbates in an audience of writhing lesbians, Manson’s image reflected in her heart-shaped glasses. I wanted to like the song, but found Manson’s threadbare voice and overdubbed music annoying, and the chorus - 'Don’t break my heart/and I won’t break your heart-shaped glasses' – suggested a pugilistic retribution ('Dump me, and I’ll punch your lights out!') more in keeping with Norman Mailer than Nabokov.

Call Me Maybe”—filled the cabin. The chorus repeated. The song was a ringtone. She’d had the phone for only a few hours, and she’d downloaded “Call Me Maybe” for his ringtone. He was fairly certain he knew what that meant.

There wasn’t a change in the world order that didn’t echo other changes in the world order. And the news stopped being new. The very word ‘news’ became a joke. It was all just a cycle. A slowly rotating downward one. And your tolerance for human beings, making the same mistakes over and over and over and over again, began to fade. It was like being stuck in the same song, with a chorus you had once liked but now made you want to rip your ears off.

Cosmopolitanism gives us one country, and it is good; nationalism gives us a hundred countries, and every one of them is the best. Cosmopolitanism offers a positive, patriotism a chorus of superlatives. Patriotism begins the praise of the world at the nearest thing, instead of beginning it at the most distant, and thus it insures what is, perhaps, the most essential of all earthly considerations, that nothing upon earth shall go without its due appreciation. Wherever there is a strangely-shaped mountain upon some lonely island, wherever there is a nameless kind of fruit growing in some obscure forest, patriotism insures that this shall not go into darkness without being remembered in a song.

Almost all city-dwellers are daily participants in a complex part-song of voices, sometimes performing the aria but more often the chorus, the call and response, the passing back and forth of verbal small change with near and total strangers.

It occurred to me that human beings didn’t live beyond a hundred because they simply weren’t up for it. Psychologically, I mean. You kind of ran out. There wasn’t enough self to keep going. You grew too bored of your own mind. Of the way life repeated itself. How, after a while, there wasn’t a smile or gesture that you hadn’t seen before. There wasn’t a change in the world order that didn’t echo other changes in the world order. And the news stopped being new. The very word ‘news’ became a joke. It was all just a cycle. A slowly rotating downward one. And your tolerance for human beings, making the same mistakes over and over and over and over again, began to fade. It was like being stuck in the same song, with a chorus you had once liked but now made you want to rip your ears off.

Our harmonies anchor to one another the way they have since I was in grade school, each of us building in dynamic as the chorus swells into a blend so achingly right. I wish we could secure this same sense of unity outside of song. Because it's here, with my heart open and my voice lifted, that I feel the most connected to the family God gave me. No matter the differences between us, our frustrations, tensions offenses, or grief, when the four of us sing together, all the chaos in our world is forced to yield as we merge into one with the music.

The deep rumbling of discontent that we hear today is the thunder of disinherited masses, rising from dungeons of oppression to the bright hills of freedom. In one majestic chorus the rising masses are singing, in the words of our freedom song, “Ain’t gonna let nobody turn us around.

To a bird, a song is a very different thing. The bird doesn’t prefer a three-to-five-minute format or accept the chorus as the hook, yet the song for the bird is just as sonorous. And even more intrinsic to the bird’s being. It’s an invitation, a warning, a way to connect, a means of survival.

There is a new song on Top 40 radio right now that's so good I want to kill myself. I'm not sure why exceptionally good hip-hop singles make me want to commit suicide, but they often do. I don't know what the title of the song is, but it's that religious woman with the perfect stomach from Destiny's Child and Jay-Z doing a duet featuring a horn riff from the '70s that I've never heard before (but that sounds completely familiar), and the chorus is something along the lines of, "Your love is driving me crazy right now/ I'm kind of hoping you'll page me right now." It's also possible that Jay-Z compares himself to Golden State Warriors guard Nick Van Exel during the last verse, but I can't be positive. ANYWAY, by the time you read this sentence, the song I am referring to will be ten thousand years old. You will have heard it approximately 15,000 times, and you might hate it, and I might hate it, too. But right now -- today -- I am living for this song. As far as I'm concerned, there is nothing that matters as much as hearing it on the radio; I am interested in nothing beyond Beyonce Knowles's voice. All I do is scan the FM dial for hours at a time, trying to find it.

Relly fired off the opening riff. Butt laid down the beat, old doom and new joy mixed together. "I wait till I, like fire, shall rise," Jerod sang. And then again, louder, wailing sure and true. I was the last one to join in. I had a bass line all wroked out, of course. I'd been waiting weeks for this momment. My fingers colosed on the strings, pressed them hard to the frets. Butt and Relly were locked in, repeating the four-bar intro. Louder and louder, fierce as a war cry. "Ok," I whispered into the pounding noise. I joined in, doubling Relly at first, then splitting off to coil our riffs together. It was great, it was huge, it was endless. The song rose, churning and sucking everything in like a cyclone. "The will my voice in great goodbyes," Jerod screamed from the speakers. "Join to the chorus of the skies." Silence was inside me, riding the Ghost Metal tornado. Right at the center, at the heart of the song. I didn't need a voice. I had a bass. I didn't need to hear myself talk or sing. Jerod could make the words for me. Or maybe it was Silence herself, pouring out through the PA system. Either way, any way, They were my words. And all the world would hear them.

: I said, “You’re Tiny Love?” And Daisy started telling me this story about her and Wyatt and how she came up with those lines about “Big eyes, big soul/big heart, no control/but all she got to give is tiny love.” I loved the chorus of that song. I had always loved it. Daisy: Billy listened to me.

You are an integral part of this precious opportunity to take part in the collaboration of a world. Despite the cacophonous cast of characters inside and out, your one true voice continuously rallies you towards self-actualization. The universe or ‘one song’ awaits your note in the collective chorus.

One might have supposed one’s self at an opera in listening to the voices in my aviary. There were duets and trios, and quartetts and choruses, all arranged as in one piece of music. Did I want silence from the birds? I had but to draw a curtain over the aviary, and their song hushed as they found themselves left in the dark.

Two women at the same event wearing the same outfit is a disaster. But two women at the same event singing the same song is a party. And two women at the same event talking about Doris from Fame is a friendship for life. Fill yourself with words, choruses, and heroes, like you're supposed to fill your wardrobe with shoes, brooches, and belts.

Seed Thought Everything in the Universe has its own song. A chorus of frogs. The wind in the trees. Songs inspire the soul to remember how to love. Ave Maria opens the heart to compassion. Kyrie Eleison awakens forgiveness. Shalom Aleichem beckons the tired soul to rest. Om restores harmony and unity. Music is a powerful connection to our Source.

Forever” by Logan Keeley October 18, 20xx Lying beside me in the failure of flesh, You wait for the words that will let your mind rest, But I’ve already left you—I’m inside this song, I’m chasing the rhythms that split right from wrong, Forming chords on your shoulder, tracing notes on your hips, I can’t hear your thoughts as they fall from your lips, and Every day I give away A piece of me all torn and frayed— What I can’t keep, I sell for cheap, Til nothing’s left for you and me— Chorus: How can so much love feel like nothing at all? How can so much nothing leave me dying to crawl To the foot of your bed, I should be with you—instead, I walk away, stumbling, waiting, always waiting to fall. When you look in my eyes, can you see I’m not there, Just skin over bones and this flesh that I bear, And there’s no room for you, and you know I can never Get out of myself, get over myself, For even one moment, much less for forever. They all take their shares and they all think they see This stranger inside who pretends to be me. They’re a roomful of mirrors in this funhouse of fame, I shrink and I grow, I am wild, I am tame, But when I stand before you, I can pause, I can heal, Because you make me matter—you make me real. Every day they took away A piece of me all torn and frayed— What I couldn’t keep, I sold for cheap, So now what’s left for you and me? How can so much love feel like nothing at all? How can so much nothing leave me dying to crawl To the foot of your bed, I should be with you—instead, I walk away, stumbling, waiting, always waiting to fall. So I close my eyes, fill my hands with your hair, It’s your skin and your bones and your flesh that I bear, If I could be part of you, if we could come together I could find myself, I could lose myself, Just for one moment, or maybe forever. They always say that nothing lasts forever Well, can this nothing last forever Now? When you look in my eyes, and this time I’m there, More than skin over bones and this flesh that we bare, When I’m getting worse, when you make me better, We’ll find ourselves, we’ll lose ourselves, We’ll take this one moment…and make it forever.

Mr. DuBois, you are a rehearsal accompanist. I do not pay you for your musical interpretation.' The impresario marched down the aisle and stood in the middle like the commander of a mutinying ship. 'No, Mr. Ziegfeld. I'm not. I'm a songwriter. My songs are a damn sight better than this garbage.' One of the midwestern chorus girls gasped. 'Forgive my language,' Henry added.

ONE All the best things in my life have started with a Dolly Parton song. Including my friendship with Ellen Dryver. The song that sealed the deal was “Dumb Blonde” from her 1967 debut album, Hello, I’m Dolly. During the summer before first grade, my aunt Lucy bonded with Mrs. Dryver over their mutual devotion to Dolly. While they sipped sweet tea in the dining room, Ellen and I would sit on the couch watching cartoons, unsure of what to make of each other. But then one afternoon that song came on over Mrs. Dryver’s stereo. Ellen tapped her foot as I hummed along, and before Dolly had even hit the chorus, we were spinning in circles and singing at the top of our lungs. Thankfully, our love for each other and Dolly ended up running deeper than one song. I

...this was all we collectively had, we knew no protest songs, had little to protest--and I felt a swelling in my chest, a surge of joy flowering out through my limbs; there is nothing like crooning in a group to a chorus to communicate to yourselves and the world that you are young and drunk and unhindered by responsibility, that the future stretches out endlessly before you like a California highway.

Split in two,” he sang, “Loved by one, and then another. Pulled in a direction and then the other. If I could breathe you in, all of you, every day of my life, it wouldn’t be enough. My heart was captive long ago — then you stole it away, you helped me grow. Now I’m staring at my crossroads with a choice to make, wondering how in the world I even thought there was one way to take.” His hands flew over the piano, muscles tightened in his forearms as he leaned forward and continued singing. “My biggest fear, is not the ending of this life, but going through it without you by my side.” He repeated the chorus and closed his eyes, humming the haunting melody in such a way that I felt hypnotized. “Letting her go will be the hardest thing I’ve ever had to do — but I’m doing it so I can say goodbye to her — and good morning to you. Tell me it’s not too late to ask for a second.” He smirked but continued singing. “Third, fourth, tenth date.” His hands slowed. “Loving you will always be easy because when I look into your eyes I know you see the real me, so be my love, be my rain, be my clouds, be my pain.” “My biggest fear, is not the ending of this life, but going through it without you by my side.” He stopped playing. The room fell silent.

In 1938, blues musician Lead Belly sang a song he wrote about “the Scottsboro boys,” a group of Black teenagers who were sent to jail after being falsely accused of raping two white women on a train (one of the women later admitted it was a made-up charge). After the song, Lead Belly talked about the case and advised fellow Black Americans “to stay woke—keep their eyes open.” Stay woke. The term has been a part of the Black American lexicon for a very long time. In more recent years, the term has evolved from the way Lead Belly was using it—warning Black people to stay alert to dangerous situations that might arise—to a broader meaning about staying aware of racist systems of oppression. After the release of Erykah Badu’s 2007 song Master Teacher, with a chorus that repeated the line “I stay woke,” the term exploded into the mainstream.

From the Heliconian Muses, let us now begin the song Of those who hold the great and sacred hill of Helicon, And dance on tender feet around the dark spring in a row, And round about the altar of the son of Kronos go; And when in the Permessos they have bathed their soft, young skin, Or sacred stream Olmeios or the fountain Hippocrene, They make their dancing chorus on the heights of Helicon­ -- So beautiful, beguiling, as their feet glide swiftly on.

I don’t know. I mean, it’s not all beautifully harmonic, this world we find ourselves in. Clearly. There’s shit music, and sometimes the melody goes away completely. There’s silence and dissonant chords that cringe your ears. But the synchronicity of a perfectly created chorus? And the fact that you never know when one is coming? And that amazing feeling, the first time you hear a song and you know it’s going to be with you forever? I have to think that’s worth everything.

So I turn the mic toward the fields, and the crowd just goes insane, singing my song, chanting my plea. I leave them at it and I take a little walk around the stage. The rest of the band sees what's going on so they just keep repping the chorus. When I get closer to the side of the stage, I see her there, where she always felts most comfortable, thought for the foreseeable future, she'll be the one out here in the spotlight, and I'll be the one in the wings, and that feels right, too.

From that Sunday on Preacher Franklin added a new song to the service called , 'I Am Better Than You' and it went like this: Many years I wandered lost and scared, Through troubles and toils my wickedness flared Then in my darkness I realized what I needed to do Now I do all the right things and I am better than you. Chorus: Better than you, yes I am better than you My life has a purpose and I can tell you what to do Better than you, yes I am better than you If you are a scared miserable loser, I will help pull you through.

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.

Tenting Tonight on the Old Camp Ground” We’re tenting tonight on the old camp ground; Give us a song to cheer Our weary hearts, a song of home, And friends we love so dear. (Chorus) Many are the hearts that are weary tonight, Wishing for the war to cease; Many are the hearts looking for the right To see the dawn of peace. Tenting tonight, tenting tonight, Tenting on the old camp ground. We’ve been tenting tonight on the old camp ground, Thinking of days gone by, Of the loved ones at home that gave us the hand And the tear that said, “Good-bye!

After centuries of being told that “Jesus saves,” the time has come to save Jesus from the church. If the door is locked, we will break in through the windows. If anyone forbids us to approach the table, we will overturn it and serve Communion on the floor. If any priest tells us we cannot sing this new song, we will sing it louder, invite others to sing it with us, and raise our voices in unison across all the boundaries of human contrivance—until this joyful chorus is heard in every corner of the world, and the church itself is raised from the dead.

Why do we love nonsense? Why do we love Lewis Carroll with his “‘Twas brillig, and the slithy toves did gyre and gimble in the wabe, all mimsy were the borogoves, and the mome raths outgrabe…”? Why is it that all those old English songs are full of “Fal-de-riddle-eye-do” and “Hey-nonny-nonny” and all those babbling choruses? Why is it that when we get “hep” with jazz we just go “Boody-boody-boop-de-boo” and so on, and enjoy ourselves swinging with it? It is this participation in the essential glorious nonsense that is at the heart of the world, not necessarily going anywhere. It seems that only in moments of unusual insight and illumination that we get the point of this, and find that the true meaning of life is no meaning, that its purpose is no purpose, and that its sense is non-sense. Still, we want to use the word “significant.” Is this significant nonsense? Is this a kind of nonsense that is not just chaos, that is not just blathering balderdash, but rather has in it rhythm, fascinating complexity, and a kind of artistry? It is in this kind of meaninglessness that we come to the profoundest meaning.

Halia looked at the sky and watched the stars dancing to the song of the wind and rain. A spotlight of lightning always came before the chorus of thunder. She wondered if there were anyone else like her, sitting at their window and listening to the choir of dark, grey clouds. When time paused for as long as the rain fell, when the city of lights was blacked out, and Ameral Alley was quiet, dark, and wild, and all but a city of tall buildings and people working their lives away. But then she’d realised… maybe she just saw magic in times when others saw nothing.

Norway. A gift to the wandering tribes who pressed ever northward into the sea-split orchestral tumult of salty shores and cragged earth sheltering the gods that time forgot. Wine spilling like children through empty halls echoing waiting, neverly for distant guests, the fire and song rising, still and bright into the ever darkening sky. A proclamation to the eternal night. A chorus of candles and spice. We . . . they say. Children of the norlands, with fathers buried in this earth’s cradle. All memory conspiring to a single story— This . . . they say. This is our land.

On the drive home the car lurches over frost heaves and through potholes, an endless wall of pitch-black woods on either side. The radio plays hits from the seventies and eighties, Dad tapping the steering wheel along to “My Sharona” while Mom sleeps, her head leaning against the window. “Such a dirty mind / I always get it up for the touch of the younger kind.” I watch his fingers tap to the beat as the chorus comes around again. Does he even hear what the song is about, what he’s humming along to? “Get it up for the touch of the younger kind.” It’s enough to make me crazy, seeing these things that no one else ever seems to notice.

What was this universe? What was this grand, eternal pageant to which he had yearned from his childhood up, and in which he could never take part? Every morning the same magnificent sun; every morning the same rainbow in the waterfall; every evening the same glow on the snow-mountains. Every little fly that buzzed in the sun's rays was a singer in the universal chorus, "knew its place, and was happy in it." Every blade of grass grew and was happy. Everything knew its path and loved it, went forth with a song and returned with a song; only he knew nothing, understood nothing, neither men nor words, nor any of nature's voices; he was a stranger and an outcast.

We drove through a few more neighborhoods after that, searching for the lost truck, listening to a CD of old Khmer songs, the same CD that had been stuck in the stereo since the Honda had belonged to mom. I barely understood the lyrics, aside from a few phrases in the choruses, but I knew the melodies, the voices, the weird mix of mournful, psychedelic tones. When I tried articulating my feelings about home, my mind inevitably returned to these songs, the way the incomprehensible intertwined with what made me feel so comfortable. I’d lived with misunderstanding for so long, I’d stopped even viewing it as bad. It was just there, embedded in everything I loved.

When Sally stopped crying, she found herself alone, the cold draft of the window at her neck, and on both sides, the rows of doors went on and on, diminishing to nothing, the end. 'What fun it is to ride and sing a sleighing song tonight, oh.' What glories. Mathilde came. And though she appeared to be the... same sweet girl Sally had been afraid of, she was not. Sally saw the flint in her. Mathilde can save Lotto from his own laziness, Sally thought. But here they were, a year later, and he was still ordinary. The chorus caught in her throat. A stranger hurrying as fast as he could over the icy sidewalks looked in. He saw a circle of singing people bathed in the clean, white light from a tree, and his heart did a soumersault. And the image stayed with him, it merged with him even as he came home to his own children, who were already asleep in their beds, to his wife crossly putting together the tricycle without the screwdriver he'd run out to borrow. It remained long after his children ripped open their gifts and abandoned their toys and puddles of paper and grew too old for them and left their house and parents and childhoods, so that he and his wife gaped at each other in bewilderment as to how it had happened so terribly swiftly. All those years, the singers in the soft light in the basement apartment crystalized in his mind, became the very idea of what happiness should look like.

Antique Foundation Here I built the ruin in My voice on either side of me In the temple the ocean could Not be a crowd I mined The shore with fog the sun dries These bricks I built the vision in The cinder block that is the city Wall this grave Tone I speak with a picture Of myself in my wallet • Don’t be fooled by grass and these words Grass whispers Because they are real they are Ruinous Here, the gossip is in the dust Not the sea cloud enters the open Child’s window dimming the silver Flute’s sheen Where is he Who hears inside the brick those notes? There is a rumor in the city we’ll exist If he plays his song no one knows • Follow that shadow don’t tell me it’s mine Here there is no being alone Here are my hands which tore the leaves so Quietly in the temple the god Emerging from marble points at the chisel At the base of his stone Did I tell you Where I’m going? To the old man Who sings the margin Where on wave-tip swords turn edge over edge Wound us and the shore with foam • My face on either side of my face I tore My picture in half to show the gate You must climb inside your breath to leave As fog the wind will bear you— If you’re lovely—away In the spare clouds The children’s chorus Do you hear?— Where were you, and where are you going? Here I built the ruin in the stone-crushed Sage leaves my hands scented as long ago When I liked to press the desert against my head to think

The flower-covered grave of the saint in the inner room could be seen dimly through the narrow doorway. In front of it was a wide vestibule where about two dozen people were seated in a circle. One of them was singing lustily some Persian verses, while others kept the time by clapping their hands; they joined in the refrain which was sung in chorus. Like rising tidal waves, the tempo of the singing was getting faster and faster, the clapping became more frantic and heads rolled from side to side, keeping time with the tempestuous melody. Eyes were closed and everyone was lost in the surging waves of emotion that seemed to flow out of the Sufistic poetry of the great Roomi. Then, to his amazement Anwar saw a man in the centre of the crowd open his eyes and stare vacantly. For a moment this man was silent, ominously silent and motionless in the midst of the emotional storm that raged around him. Then he was caught by a sudden frenzy, his whole body quivered and moved, beating time to the song which by now had reached a weird and frightening crescendo, faster and faster, louder and louder. The man's hands rose high in the air and as if clutching at an unseen rope, he raised himself and started to dance, wildly, ecstatically, tearing his clothes and pulling his hair, completely unselfconscious and unrestrained, oblivious of everything by some mysterious inner urge that demanded expression in this wild manner. And then the song died on the lips of the singer, the waves of emotion receded and in the ghostly silence that descended upon the assembly the standing figure of the man in the centre which looked inspired and hallowed a moment ago, suddenly appeared ridiculous and grotesque. For a few moments he stood as if poised for another outburst of frenzy. Then, deprived of the emotional support of the song, his knees sagged and he collapsed to the ground. For several minutes Anwar was speechless; so great had the effect of this spectacle been on him. His pulse beat faster, his mind was in a whirl and, as the song stopped, he felt a gnawing emptiness in his bowels. This then was Qawwali, the ecastatic ritual of the Persian Sufis.

Does Jesus Care? In a fit of despondency, the psalmist once bemoaned, “No one cares for my soul” (Ps. 142:4). But in the next verse he turned his gloom into a prayer, declaring to God, “You are my refuge.” The word care occurs eighty-two times in the Bible, which frequently reminds us that when “the days are weary, the long nights dreary,” our Savior cares. Frank Graeff wrote “Does Jesus Care?” in 1901, and it was set to music by the noted conductor and composer, Dr. J. Lincoln Hall (born November 4, 1866), who later called it his most inspired piece of music. The form of the hymn is unusual. Each stanza asks questions about God’s care for us in various situations, and the chorus resounds with the bolstering answer: “Oh yes, He cares, I know He cares!” NOVEMBER 4 Does Jesus care when my heart is pained Too deeply for mirth or song, As the burdens press, and the cares distress And the way grows weary and long? Does Jesus care when I’ve tried and failed To resist some temptation strong; When for my deep grief there is no relief, Though my tears flow all the night long? Does Jesus care when I’ve said “good-bye” To the dearest on earth to me, And my sad heart aches till it nearly breaks, Is it aught to Him? Does He see? Oh yes, He cares, I know He cares, His heart is touched with my grief; When the days are weary, the long nights dreary, I know my Savior cares. . . . casting all your care upon Him, for He cares for you. – 1 Peter 5:7

It certainly began in improvisations — as did also Comedy; the one originating with the authors of the Dithyramb, the other with those of the phallic songs, which still survive as institutions in many of our cities. And its advance after that was little by little, through their improving on whatever they had before them at each stage. It was in fact only after a long series of changes that the movement of Tragedy stopped on its attaining to its natural form. (1) The number of actors was first increased to two by Aeschylus, who curtailed the business of the Chorus, and made the dialogue, or spoken portion, take the leading part in the play. (2) A third actor and scenery were due to Sophocles. (3) Tragedy acquired also its magnitude.

In terms of cultural impact, one parallel for “Earth Song” is John Lennon’s classic, “Imagine.” Both songs became global anthems with instantly identifiable piano hooks and choruses. Both ask listeners to try to care for the world we have, rather than simply be placated by the thought of an afterlife. Yet where “Imagine” makes a subdued, elegant statement, “Earth Song” is epic, intense, and visceral. This, indeed, is one reason “Imagine” is more palatable to the average music listener. Its radical ideas can be softened by its ethereal sound. “Earth Song,” in contrast, seeks to shatter indifference, as it demands accountability. Radio can’t do it justice. It is a song that was created to blast out of speakers if it couldn’t be seen in person.

He remembered an old tale which his father was fond of telling him—the story of Eos Amherawdur (the Emperor Nightingale). Very long ago, the story began, the greatest and the finest court in all the realms of faery was the court of the Emperor Eos, who was above all the kings of the Tylwydd Têg, as the Emperor of Rome is head over all the kings of the earth. So that even Gwyn ap Nudd, whom they now call lord over all the fair folk of the Isle of Britain, was but the man of Eos, and no splendour such as his was ever seen in all the regions of enchantment and faery. Eos had his court in a vast forest, called Wentwood, in the deepest depths of the green-wood between Caerwent and Caermaen, which is also called the City of the Legions; though some men say that we should rather name it the city of the Waterfloods. Here, then, was the Palace of Eos, built of the finest stones after the Roman manner, and within it were the most glorious chambers that eye has ever seen, and there was no end to the number of them, for they could not be counted. For the stones of the palace being immortal, they were at the pleasure of the Emperor. If he had willed, all the hosts of the world could stand in his greatest hall, and, if he had willed, not so much as an ant could enter into it, since it could not be discerned. But on common days they spread the Emperor's banquet in nine great halls, each nine times larger than any that are in the lands of the men of Normandi. And Sir Caw was the seneschal who marshalled the feast; and if you would count those under his command—go, count the drops of water that are in the Uske River. But if you would learn the splendour of this castle it is an easy matter, for Eos hung the walls of it with Dawn and Sunset. He lit it with the sun and moon. There was a well in it called Ocean. And nine churches of twisted boughs were set apart in which Eos might hear Mass; and when his clerks sang before him all the jewels rose shining out of the earth, and all the stars bent shining down from heaven, so enchanting was the melody. Then was great bliss in all the regions of the fair folk. But Eos was grieved because mortal ears could not hear nor comprehend the enchantment of their song. What, then, did he do? Nothing less than this. He divested himself of all his glories and of his kingdom, and transformed himself into the shape of a little brown bird, and went flying about the woods, desirous of teaching men the sweetness of the faery melody. And all the other birds said: "This is a contemptible stranger." The eagle found him not even worthy to be a prey; the raven and the magpie called him simpleton; the pheasant asked where he had got that ugly livery; the lark wondered why he hid himself in the darkness of the wood; the peacock would not suffer his name to be uttered. In short never was anyone so despised as was Eos by all the chorus of the birds. But wise men heard that song from the faery regions and listened all night beneath the bough, and these were the first who were bards in the Isle of Britain.

He needs to be talked to." "This is funny, but I know how to talk, too." Brian swore under his breath. "He prefers singing." "Excuse me?" "I said,he prefers singing." "Oh." Keeley tucked her tongue in her cheek. "Any particular tune? Wait, let me guess. Finnegan's Wake?" Brian''s steely-eyed stare had her laughing until she had to lean weakly against the gelding.The horse responded by twisting his head and trying to sniff her pockets for apples. "It's a quick tune," Brian said coolly, "and he likes hearing his name." "I know the chorus." Gamely Keeley struggled to swallow another giggle. "But I'm not sure I know all the words.There are several verses as I recall." "Do the best you can," he muttered and strode off.His lips twitched as he heard her launch into the song about the Dubliner who had a tippling way. When he reached Betty's box, he shook his head. "I should've known. If there's not a Grant one place, there's a Grant in another until you're tripping over them." Travis gave Betty a last pat on the shoulder. "Is that Keeley I hear singing?" "She's being sarcastic, but as long as the job's done. She's dug in her heels about grooming Finnegan." "She comes by it naturally.The hard head as well as the skill." "Never had so many owners breathing down my neck.We don't need them, do we, darling?" Brian laid his hands on Beetty's cheek, and she shook her head, then nibbled his hair. "Damn horse has a crush on you." "She may be your lady, sir, but she's my own true love.Aren't you beautiful, my heart?" He stroked, sliding into the Gaelic that had Betty's ears pricked and her body shifting restlessly. "She likes being excited before a race," Brian murmured. "What do you call it-pumped up like your American football players.Which is a sport that eludes me altogether as they're gathered into circles discussing things most of the time instead of getting on with it." "I heard you won the pool on last Monday nights game," Travis commented. "Betting's the only thing about your football I do understand." Brian gathered her reins. "I'll walk her around a bit before we take her down. She likes to parade.You and your missus will want to stay close to the winner's circle." Travis grinned at him. "We'll be watching from the rail." "Let's go show off." Brian led Betty out.

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.

Proclamation, the preaching of the Gospel, should be central to Christian worship. The sermon is the central dynamic in the worship experience. It is the fulcrum upon which the entire service of worship hinges. Everything that comes before it should point to it, and everything that comes after it should issue out of it. Because of this, the pastor is the worship leader of the church. In too many places and in too many circumstances, worship is only identified with something we do before the sermon. That is, we think the worship leader is one who leads choruses or spiritual songs. The dynamic of the worship experience is a complete package, and it is the sermon, the preaching of the Gospel, that must be central to it. It is the poastor himself who sets the tone for worship.

Interviewer: What helps to sustain you while you're climbing? Is there a particular Bible verse, or, song or song verse? Poem maybe? Mekael: That's a good question. Thoughts of my three sons, are my constant companions. Thoughts of them, help to keep me focused. As for other sources of inspiration....I'm a music lover. I think all Mountaineers and Poets are music lovers, so, when I'm climbing, I'm either in a Tupac zone, or I may be in a Linkin Park or Creed zone. Interviewer: Any song or verse in particular? Mekael: When during a climb, everything has aligned, Creed's 'Higher' pops into my head. I dig the part in the chorus when they sing..... 'Up high I feel like I'm, alive for the, very first time Set up high, I'm strong enough To take these dreams And make them mine

The thought makes my teeth gnash and my lip snarl and my jaw fill with a scream. A scream that always has the same chorus. What they took away, seemingly so easily, was a person. "This was a person!" A person who could watch a sunset and feel the wind against their cheek. Smell fresh-cut grass or listen to a Bowie song. A person who could scrape up enough money to buy themselves a hot-fudge sundae. A person who could still close their eyes and dream. That's what the media refuses to understand. No matter how down and out someone may seem, no matter how many drugs they took or arrests they had or rock bottoms they hit-they could have still done all those things. Those things that make us human. And one day, someone came along and took all those things away. Every single one of them. And left them with darkness.

The large room was full of people. One of the girls in yellow was playing the piano and beside her stood a tall red haired young lady from a famous chorus, engaged in a song. She had drunk a quantity of champagne and during the course of her song she had decided ineptly that everything was very very sad--she was not only singing, she was weeping too. Whenever there was a pause in the song she filled it with gasping broken sobs and then took up the lyric again in a quavering soprano. The tears coursed down her cheeks--not freely, however, for when they came into contact with her heavily beaded eyelashes they assumed an inky color, and pursued the rest of their way in slow black rivulets. A humorous suggestion was made that she sing the notes on her face whereupon she threw up her hands, sank into a chair, and went off into a deep vinous sleep.

A lady known as Paris, Romantic and Charming Has left her old companions and faded from view Lonely men with lonely eyes are seeking her in vain Her streets are where they were, but there's no sign of her She has left the Seine The last time I saw Paris, her heart was warm and gay, I heard the laughter of her heart in every street café The last time I saw Paris, her trees were dressed for spring, And lovers walked beneath those trees and birds found songs to sing. I dodged the same old taxicabs that I had dodged for years. The chorus of their squeaky horns was music to my ears. The last time I saw Paris, her heart was warm and gay, No matter how they change her, I'll remember her that way. I'll think of happy hours, and people who shared them Old women, selling flowers, in markets at dawn Children who applauded, Punch and Judy in the park And those who danced at night and kept our Paris bright 'til the town went dark.

Human ears are built to hear birdsong, we hear most acutely in the range of 2.5 megahertz, which is the peak of birdsong. Human speech is pitched much lower, on kilohertz or below…Acoustic ecologist Gordon Hempton surmises that our bodies evolved not for party conversation but rather to harvest sounds from wild creatures… the aural signals on which our species’ success depended. But that’s just the beginning of the meaning we harvest by listening. Victor Hugo reminded us that ‘music expresses that which cannot be said and on which it is impossible to be silent.’ Listen. Breathe Earth’s wild music into you body. You are not alone. Here is the harmony of which you are a part. Your joy is the exhilaration of birds…The depth of your feelings is the depth of time. Your longing is a spring chorus of frogs, ‘the wordless voice of longing that resonates within us, the longing to continue, to participate in the sacred life of the world,’ as Robin Wall Kimmerer wrote

For a while Ignatius was relatively still, reacting to the unfolding plot with only an occasional subdued snort. Then what seemed to be the film’s entire cast was up on the wires. In the foreground, on a trapeze, was the heroine. She swung back and forth to a waltz. She smiled in a huge close-up. Ignatius inspected her teeth for cavities and fillings. She extended one leg. Ignatius rapidly surveyed its contours for structural defects. She began to sing about trying over and over again until you succeeded. Ignatius quivered as the philosophy of the lyrics became clear. He studied her grip on the trapeze in the hope that the camera would record her fatal plunge to the sawdust far below. On the second chorus the entire ensemble joined in the song, smiling and singing lustily about ultimate success while they swung, dangled, flipped, and soared. “Oh, good heavens!” Ignatius shouted, unable to contain himself any longer. Popcorn spilled down his shirt and gathered in the folds of his trousers. “What degenerate produced this abortion?

We talked into the night, the room blurring around us as it had done at the dance in West Side Story when Tony and Maria first saw each other across a crowd of people. Tonight, tonight, it all began tonight. My friends giggled and sipped wine at the table where I’d abandoned them earlier in the night, oblivious to the fact that their redheaded amiga had just been struck by a lightning bolt. Before I could internally break into the second chorus of song, my version of Tony--this mysterious cowboy--announced abruptly that he had to go. Go? I thought. Go where? There’s no place on earth but this smoky bar…But there was for him: he and his brother had plans to cook Christmas turkeys for some needy folks in his small town. Mmmm. He’s nice, too, I thought as a pang stabbed my insides. “Bye,” he said with a gentle smile. And with that, his delicious boots walked right out of the J-Bar, his dark blue Wranglers cloaking a body that I was sure had to have been chiseled out of granite. My lungs felt tight, and I still smelled his scent through the bar smoke in the air. I didn’t even know his name. I prayed it wasn’t Billy Bob.

Over and over again we find the Church councils complaining that the peasants (and sometimes the priests too) were singing 'wicked songs with a chorus of dancing women,' or holding 'ballads and dancings and evil and wanton songs and such-like lures of the devil'; over and over again the bishops forbade these songs and dances; but in vain. In every country in Europe, right through the Middle Ages to the time of the Reformation, and after it, country folk continued to sing and dance in the churchyard. Two hundred years after Charlemagne's death there grew up the legend of the dancers of Kölbigk, who danced on Christmas Eve in the churchyard, in spite of the warning of the priest, and all got rooted to the spot for a year, till the Archbishop of Cologne released them. Some men say that they were not rooted standing to the spot, but that they had to go on dancing for the whole year; and that before they were released they had danced themselves waist-deep into the ground. People used to repeat the little Latin verse which they were singing: ... Through the leafy forest, Bovo went a-riding And his pretty Merswind trotted on beside him-- Why are we standing still? Why can't we go away?

The Highest Octaves of Light Sands, in wild winds of surging waves Over the desert dunes, sing with the tones Of tiny pebbles moving all together, a shifting Of dust grains humming and moaning Over the growing and diminishing dunes. His body in the mirror is the color Of sands. The song he sings in the voice Of light shining like waves of wind Passing over his body inside the glass. The mirror sings with the color of sand In the highest octaves of light. Have you ever listened to sands sing With gold light as they fall in threads Through the needle-eye opening At the center of a hour-glass globe? Why not arrange such globes in rows Before a window of sun, each globe A different width, a different height Of refined or rudimentary glass, clear Amber rose, a tinted blue of noon sky, And listen to the chorus? And then why not turn the globes Upside down and over again to hear Sands sing one more time? The desert dunes are singing, wind-risen Voices from a primeval earth, haunting, Pacific, pining and irate. we listen For the repeating message we remember. The songs are only tumbling pebble grains; Their words are only notes of swirling dust, Sings the eternal light, Emanuel.

In E-CENT counselling, we teach our clients to explore the stories they are living, which mainly come from their family of origin. Even some novelists understand this process, as illustrated by Donna Tartt, writing about the family of Charlotte Cleve: “…the Cleves loved to recount among themselves even the minor events of their family history – repeating word for word, with stylized narrative and rhetorical interruptions, entire death-bed scenes, or marriage proposals that had occurred a hundred years before… … (T)hese family discussions were how the Cleves made sense of the world. Even the cruellest and most random disasters … were constantly rehearsed among them, her grandmother’s gentle voice and her mother’s stern one merging harmoniously with her grandfather’s baritone and the babble of her aunts, and certain ornamental bits, improvised by daring soloists, eagerly seized upon and elaborated by the chorus, until finally, by group effort, they arrived together at a single song which was then memorized, and sung by the entire company again and again, which slowly eroded memory and came to take the place of truth”. Donna Tartt, 2003. The Little Friend, London: Bloomsbury. Pages 3-4.

I remember standing in the wings when Mother’s voice cracked and went into a whisper. The audience began to laugh and sing falsetto and to make catcalls. It was all vague and I did not quite understand what was going on. But the noise increased until Mother was obliged to walk off the stage. When she came into the wings she was very upset and argued with the stage manager who, having seen me perform before Mother’s friends, said something about letting me go on in her place. And in the turmoil I remember him leading me by the hand and, after a few explanatory words to the audience, leaving me on the stage alone. And before a glare of footlights and faces in smoke, I started to sing, accompanied by the orchestra, which fiddled about until it found my key. It was a well-known song called Jack Jones that went as follows: Jack Jones well and known to everybody Round about the market, don’t yer see, I’ve no fault to find with Jack at all, Not when ’e’s as ’e used to be. But since ’e’s had the bullion left him ’E has altered for the worst, For to see the way he treats all his old pals Fills me with nothing but disgust. Each Sunday morning he reads the Telegraph, Once he was contented with the Star. Since Jack Jones has come into a little bit of cash, Well, ’e don’t know where ’e are. Half-way through, a shower of money poured on to the stage. Immediately I stopped and announced that I would pick up the money first and sing afterwards. This caused much laughter. The stage manager came on with a handkerchief and helped me to gather it up. I thought he was going to keep it. This thought was conveyed to the audience and increased their laughter, especially when he walked off with it with me anxiously following him. Not until he handed it to Mother did I return and continue to sing. I was quite at home. I talked to the audience, danced, and did several imitations including one of Mother singing her Irish march song that went as follows: Riley, Riley, that’s the boy to beguile ye, Riley, Riley, that’s the boy for me. In all the Army great and small, There’s none so trim and neat As the noble Sergeant Riley Of the gallant Eighty-eight. And in repeating the chorus, in all innocence I imitated Mother’s voice cracking and was surprised at the impact it had on the audience. There was laughter and cheers, then more money-throwing; and when Mother came on the stage to carry me off, her presence evoked tremendous applause. That night was my first appearance on the stage and Mother’s last.

Dewey was wrong when he said that being noble enough is all we can ask for in this world, because we can ask for much more than that. We can ask for a second helping of pound cake even though someone has made it quite clear that we will not get any. We can ask for a new watercolor set, even though it will be pointed out that we never used the old one, and that all of the paints dried into a crumbly mess. We can ask for Japanese fighting fish, to keep us company in our bedroom, and we can ask for a special camera that will allow us to take photographs even in the dark, for obvious reasons, and we can ask for an extra sugar cube in our coffees in the morning and an extra pillow in our beds at night. We can ask for justice, and we can ask for a handkerchief and we can ask for cupcakes, and we can ask for all the soldiers in the world to lay down their weapons and join us in a rousing chorus of ‘Cry Me a River,’ if that happens to be our favorite song. But we can also ask for something we are much more likely to get, and that is to find a person or two, somewhere in our travels, who will tell us that we are noble enough, whether it is true or not. We can ask for someone who will say, ‘You are noble enough,’ and remind us of our good qualities when we have forgotten them, or cast them into doubt.

Oh,Ella. I wish you'd had a better time at the ball." "Fuhgeddaboudit," I muttered. Greaseball. Freddy. Freak. "It's not like she and I were ever going to be BFFs." "I wasn't just referring to Amanda." Of course he wasn't. "I'll try," I moaned into the crook of my elbow. "Oh, Lord.I'll try to carry on." "That sounds rather dramatic, even for you." "It's Styx," I told him. "After your time, before mine. I don't know all the words,but those work for the moment. And for the record, I'm being ironic, not dramatic." "If you say so." I ignored him. "I have had my last flutter over Alex Bainbridge. I mean it. Frankie was right.How many signs do I need that we are never, ever going to have...anything...before I get it? Obviously, it doesn't matter that we realte to the same schizo seventies songs. Or that we can discuss antique Japanese woodblock prints. Or that when he sits next to me, he kinda takes my breath away. You would think that would count for a lot,wouldn't you?" Edward gets the concept of rhetorical questions, so I went on. "I wouldn't even want to hazard a guess about what makes Amanda's pulse go all skittery, but I would bet anything it's not Alex. And he's still with her. He doesn't belong with her, but apparently he feels he belongs to her. Explain that,please." "Oh,Ella.We men are not always the best at looking beyond the...er..." "Boobs,Edward. You can say it. Amanda Alstead has boobs and blonda hair. Beyond that, I can't see a single thing that's special about her." "Because there isn't a single thing. Beyond the...er, obvious. You,on the other hand,are a creature of infinite charms. Shall I list them alphabetically or from the top down?" I scowled up at him. "Y'know, you are beginning to sound a little too much like Frankie and Sadie,my deluded Greek chorus." "yes,well,I rather thought that's what friends are for." "You're not supposed to be my friend," I muttered. "You're supposed to be my Prince Charming." "Ahem." Edward's sculpted lips compressed into a grim line. "Have you looked at me lately? I am supposed to be startling and even a bit scary." "Nope.Neither." I rested my chin on my forearm. "To me,you are perfect. You are loyal and reliable and completely lacking in surprises." "That is a good thing?" "Absolutely," I said. "It's an excellent thing.I don't want any more surprises, over." "Hardly an admirable goal,that." "Maybe not," I agreed, "but pleasant. Among all the other bizarreness tonight, I found something new to be afraid of. Evil girlfriends." "Now,Ella. You can't go on being afraid forever." "Oh,yes,I can. As far as Amanda Alstead is concerned, I can." Edward tilted his head and studied me for a moment. He looked annoyed. "Why do you insist on having these conversations with me when you ignore everything I have to say?" It was a pretty good question. "Fine." I sat up straight and folded my hands in my lap. Home Truth time. "Go ahead. On this night when we celebrate the mysteries of life and death..Say something profound, something startling." There was a long silence. Then, "Boo," Edward said. "Thank you,Mr. Willing." "Don't mention it, Miss Marino. I am yours to command.

Hold Everything Dear for John Berger as the brick of the afternoon stores the rose heat of the journey as the rose buds a green room to breathe and blossoms like the wind as the thinning birches whisper their silver stories of the wind to the urgent in the trucks as the leaves of the hedge store the light that the moment thought it had lost as the nest of her wrist beats like the chest of a wren in the turning air as the chorus of the earth find their eyes in the sky and unwrap them to each other in the teeming dark hold everything dear the calligraphy of birds across the morning the million hands of the axe, the soft hand of the earth one step ahead of time the broken teeth of tribes and their long place steppe-scattered and together clay's small, surviving handle, the near ghost of a jug carrying itself towards us through the soil the pledge of offered arms, the single sheet that is our common walking the map of the palm held in a knot but given as a torch hold everything dear the paths they make towards us and how far we open towards them the justice of a grass that unravels palaces but shelters the songs of the searching the vessel that names the waves, the jug of this life, as it fills with the days as it sinks to become what it loves memory that grows into a shape the tree always knew as a seed the words the bread the child who reaches for the truths beyond the door the yearning to begin again together animals keen inside the parliament of the world the people in the room the people in the street the people hold everything dear 19th May 2005 Gareth Evans

My mother never seemed to listen to much music, but she loved Barbara Streisand, counting The Way We Were and Yentl as two of her favorite films. I remembered how we used to sing the song "Tell Him" together, and skipped through the album until I found it on track four. "Remember this?" I laughed, turning up the volume. It's a duet between Babe and Celine Dion, two powerhouse divas joining together for one epic track. Celine plays the role of a young woman afraid to confess her feelings to the man she loves, and Barbara is her confidant, encouraging her to take the plunge. "I'm scared, so afraid to show I care... Will he think me weak, if I tremble when I speak?" Celine begins. When I was a kid my mother used to quiver her lower lip for dramatic effect when she sang the word "tremble." We would trade verses in the living room. I was Barbara and she was Celine, the two of us adding interpretive dance and yearning facial expressions to really sell it. "I've been there, with my heart out in my hand..." I'd join in, a trail of chimes punctuating my entrance. "But what you must understand, you can't let the chance to love him pass you by!" I'd exclaim, prancing from side to side, raising my hand to urge my voice upward, showcasing my exaggerated vocal range. Then, together, we'd join in triumphantly. "Tell him! Tell him that the sun and moon rise in his eyes! Reach out to him!" And we'd ballroom dance in a circle along the carpet, staring into each other's eyes as we crooned along to the chorus. My mom let out a soft giggle from the passenger seat and we sang quietly the rest of the way home. Driving out past the clearing just as the sun went down, the scalloped clouds flushed with a deep orange that made it look like magma.

Based on a 1934 play by George S. Kaufman and Moss Hart, Merrily We Roll Along tells the story of three friends—Franklin Shepard, a composer; Charley Kringas, a playwright and lyricist; and Mary Flynn, a novelist—who meet in the enthusiasm of youth, when everything seems possible. The play traces what happens to their dreams and goals as time passes and they are faced with life’s surprises, travails, successes, and disappointments. The trick here is that the play moves chronologically backward. It begins on an evening in 1976 at a party for the opening of a movie Frank has produced. The movie is apparently a hit, but Frank’s personal life is a mess. His second wife, Gussie, formerly a Broadway star, was supposed to have starred in the movie but was deemed too old; she resents being in the shadows and suspects, correctly, that Frank is having an affair with the young actress who took over her part. Frank is estranged from his son from his first marriage. He is also estranged from Charley, his former writing partner—so estranged, in fact, that the very mention of his name brings the party to an uncomfortable standstill. Mary, unable to re-create the success of her one and only novel and suffering from a longtime unreciprocated love for Frank, has become a critic and a drunk; the disturbance she causes at the party results in a permanent break with Frank. The opening scene reaches its climax when Gussie throws iodine in the eyes of Frank’s mistress. The ensemble, commenting on the action much like the Greek chorus in Allegro, reprises the title song, asking, “How did you get to be here? / What was the moment?” (F 387). The play then moves backward in time as it looks for the turning points, the places where multiple possibilities morphed into narrative necessity.

My interest in comics was scribbled over with a revived, energized passion for clothes, records, and music. I'd wandered in late to the punk party in 1978, when it was already over and the Sex Pistols were history. I'd kept my distance during the first flush of the new paradigm, when the walls of the sixth-form common room shed their suburban-surreal Roger Dean Yes album covers and grew a fresh new skin of Sex Pistols pictures, Blondie pinups, Buzzcocks collages, Clash radical chic. As a committed outsider, I refused to jump on the bandwagon of this new musical fad, which I'd written off as some kind of Nazi thing after seeing a photograph of Sid Vicious sporting a swastika armband. I hated the boys who'd cut their long hair and binned their crappy prog albums in an attempt to join in. I hated pretty much everybody without discrimination, in one way or another, and punk rockers were just something else to add to the shit list. But as we all know, it's zealots who make the best converts. One Thursday night, I was sprawled on the settee with Top of the Pops on the telly when Poly Styrene and her band X-Ray Spex turned up to play their latest single: an exhilarating sherbet storm of raw punk psychedelia entitled "The Day the World Turned Day-Glo" By the time the last incandescent chorus played out, I was a punk. I had always been a punk. I would always be a punk. Punk brought it all together in one place for me: Michael Moorcock's Jerry Cornelius novels were punk. Peter Barnes's The Ruling Class, Dennis Potter, and The Prisoner were punk too. A Clockwork Orange was punk. Lindsay Anderson's If ... was punk. Monty Python was punk. Photographer Bob Carlos Clarke's fetish girls were punk. Comics were punk. Even Richmal Crompton's William books were punk. In fact, as it turned out, pretty much everything I liked was punk. The world started to make sense for the first time since Mosspark Primary. New and glorious constellations aligned in my inner firmament. I felt born again. The do-your-own-thing ethos had returned with a spit and a sneer in all those amateurish records I bought and treasured-even though I had no record player. Singles by bands who could often barely play or sing but still wrote beautiful, furious songs and poured all their young hearts, experiences, and inspirations onto records they paid for with their dole money. If these glorious fuckups could do it, so could a fuckup like me. When Jilted John, the alter ego of actor and comedian Graham Fellows, made an appearance on Top of the Pops singing about bus stops, failed romance, and sexual identity crisis, I was enthralled by his shameless amateurism, his reduction of pop music's great themes to playground name calling, his deconstruction of the macho rock voice into the effeminate whimper of a softie from Sheffield. This music reflected my experience of teenage life as a series of brutal setbacks and disappointments that could in the end be redeemed into art and music with humor, intelligence, and a modicum of talent. This, for me, was the real punk, the genuine anticool, and I felt empowered. The losers, the rejected, and the formerly voiceless were being offered an opportunity to show what they could do to enliven a stagnant culture. History was on our side, and I had nothing to lose. I was eighteen and still hadn't kissed a girl, but perhaps I had potential. I knew I had a lot to say, and punk threw me the lifeline of a creed and a vocabulary-a soundtrack to my mission as a comic artist, a rough validation. Ugly kids, shy kids, weird kids: It was okay to be different. In fact, it was mandatory.

And yet. (“and yet” opening like a door.) How easily a life can become a litany of guilt and regret, a song that keeps echoing with the same chorus, with the inability to forgive ourselves. How easily the life we didn't live becomes the only life we prize. How easily we are seduced by the fantasy that we are in control, that we were ever in control, that the things we could or should have done or said have the power, if only we had done or said them, to cure pain, to erase suffering, to vanish loss. How easily we can cling to—worship—the choices we think we could or should have made. Could I have saved my mother? Maybe. And I will live for all of the rest of my life with that possibility. And I can castigate myself for having made the wrong choice. It is my prerogative. Or I can accept that the more important choice is not the one I made when I was hungry and terrified, when we were surrounded by dogs and guns and uncertainty, when I was sixteen; it’s the one I make now. The choice to accept myself as I am: human, imperfect. And the choice to be responsible for my own happiness. To forgive my flaws and reclaim my innocence. To stop asking why I deserved to survive. To function as well as I can, to commit myself to serve others, to do everything in my power to honor my parents, to see to it that they did not die in vain. To do my best, in my limited capacity, so future generations don’t experience what I did. To be useful, to be used up, to survive and to thrive so I can use every moment to make the world a better place. And to finally,finally, stop running from the past. To do everything possible to redeem it, and then let it go. I can make the choice that all of us can make. I can't ever change the past. But there is a life I can save: It is mine. The one I am living right now, this precious moment.

The Cretan and Spartan laws were found to be faulty because they did not permit their subjects to taste the greatest pleasures. [...] The pleasures of banquets are drinking and singing. In order to justify banquets one must therefore discuss also singing, music, and hence education as a whole: the music pleasures are the greatest pleasures which people can enjoy in public and which they must learn to control by being exposed to them. The Spartan and Cretan laws suffer then from the great defect that they do not at all, or at least not sufficiently, expose their subjects to the music pleasures. The reason for this is that these two societies are not towns but armed camps, a kind of herd: in Sparta and Crete even those youths who are by nature fit to be educated as individuals by private teachers are brought up merely as members of a herd. In other words, the Spartans and Cretans know only how to sing in choruses: they do not know the most beautiful song, the most noble music. In the Republic the city of the armed camp, a greatly improved Sparta, was transcended by the City of Beauty, the city in which philosophy, the highest Muse, is duly honored. In the Laws, where the best possible regime is presented, this transcending does not take place. The city of the Laws is, however, not a city of the armed camp in any sense. Yet it has certain features in common with the city of the armed camp of the Republic. Just as in the Republic, music education proves to be education toward moderation, and such education proves to require the supervision of musicians and poets by the true statesman or legislator. Yet while in the Republic education to moderation proves to culminate in the love of the beautiful, in the Laws moderation rather takes on the colors of sense of shame or of reverence. Education is surely education to virtue, to the virtue of the citizen or to the virtue of man.

Willow chuckled as all up and down Allen Street lights began to glow through every window. Someone in a room down the hall lifted their window threw a chamber pot at the crooners, and followed it with a foul epithet. Undaunted, the men broke into a chorus of Aura Lea. “They sure have lousy timing,” Rider commented wryly. “Just how long does this little serenade last?” Seeing a tall figure in a long frock coat coming up the street, Willow replied, “I think it’s about to end very soon now.” Virgil Earp’s face shone in the gaslight in front of the Grand. “All right, boys,” the couple heard him say, “the party’s over.” He looked up at Rider and Willow with a wide, winsome grin and waved. With that, he ushered the drunken serenaders down the street and into the saloon. Rider turned from the window, shaking his head. “Now where were we? Ah, yes!” He swooped Willow off her feet and tossed her onto the huge bed. “That’s not where we were.” She laughed. “It’s where we were headed, lady, and that’s good enough for me.” Pulling her up, he pulled the rumbled robe off her shoulders to reveal a floaty silk nightdress of aqua. Though it was entirely modest in design, the soft material hugged her curves enticingly. “Lord, woman, there ought to be a law against sheer nothings like this.” Willow smiled seductively. “Do you like it?” “So much that I’m going to strip it off you right now!” Willow giggled and tried to escape, scrambling across the bed. She was quickly foiled by yards of silk tangling about her legs. Rider wasn’t one to waste opportunities and dived onto the bed on top of her. “Ah-hah. I have you in my power now, my pretty!” he said, catching her hands above her head. Chuckling, Willow wiggled and squirmed beneath him in a halfhearted effort to free herself. She watched fascinated as his eyes flamed with desire. Her voice was breathy and provocative. “Who’s got who, villain? I think I’ve got you.

Dear Peter K, First of all I refuse to call you Kavinsky. You think you’re so cool, going by your last name all of a sudden. Just so you know, Kavinsky sounds like the name of an old man with a long white beard. Did you know that when you kissed me, I would come to love you? Sometimes I think yes. Definitely yes. You know why? Because you think EVERYONE loves you, Peter. That’s what I hate about you. Because everyone does love you. Including me. I did. Not anymore. Here are all your worst qualities: You burp and you don’t say excuse me. You just assume everyone else will find it charming. And if they don’t, who cares, right? Wrong! You do care. You care a lot about what people think of you. You always take the last piece of pizza. You never ask if anyone else wants it. That’s rude. You’re so good at everything. Too good. You could’ve given other guys a chance to be good, but you never did. You kissed me for no reason. Even though I knew you liked Gen, and you knew you liked Gen, and Gen knew you liked Gen. But you still did it. Just because you could. I really want to know: Why would you do that to me? My first kiss was supposed to be something special. I’ve read about it, what it’s supposed to feel like00fireworks and lightning bolts and the sound of waves crashing in your ears. I didn’t have any of that. Thanks to you it was as unspecial as a kiss could be. The worst part of it is, that stupid nothing kiss is what made me start liking you. I never did before. I never even thought about you before. Gen has always said that you are the best-looking boy in our grade, and I agreed, because sure, you are. But I still didn’t see the allure of you. Plenty of people are good-looking. That doesn’t make them interesting or intriguing or cool. Maybe that’s why you kissed me. To do mind control on me, to make me see you that way. It worked. Your little trick worked. From then on, I saw you. Up close, your face wasn’t so much handsome as beautiful. How many beautiful boys have you ever seen? For me it was just one. You. I think it’s a lot to do with your lashes. You have really long lashes. Unfairly long. Even though you don’t deserve it, fine, I’ll go into all the things I like(d) about you: One time in science, nobody wanted to be partners with Jeffrey Suttleman because he has BO, and you volunteered like it was no big deal. Suddenly everybody thought Jeffrey wasn’t so bad. You’re still in chorus, even though all the other boys take band and orchestra now. You even sing solos. And you dance, and you’re not embarrassed. You were the last boy to get tall. And now you’re the tallest, but it’s like you earned it. Also, when you were short, no one even cared that you were short--the girls still liked you and the boys still picked you first for basketball in gym. After you kissed me, I liked you for the rest of seventh grade and most of eighth. It hasn’t been easy, watching you with Gen, holding hands and making out at the bus stop. You probably make her feel very special. Because that’s your talent, right? You’re good at making people feel special. Do you know what it’s like to like someone so much you can’t stand it and know that they’ll never feel the same way? Probably not. People like you don’t have to suffer through those kinds of things. It was easier after Gen moved and we stopped being friends. At least then I didn’t have to hear about it. And now that the year is almost over, I know for sure that I am also over you. I’m immune to you now, Peter. I’m really proud to say that I’m the only girl in this school who has been immunized to the charms of Peter Kavinsky. All because I had a really bad dose of you in seventh grade and most of eighth. Now I never ever have to worry about catching you again. What a relief! I bet if I did ever kiss you again, I would definitely catch something, and it wouldn’t be love. It would be an STD! Lara Jean Song

On account of their puny size and disappointing taste, in France wild pears are known as "poires d'angoisse" or pears of anguish. In Versailles, though, in the kitchen garden, pears are bred for pleasure. Of the five hundred pear trees, the best usually fruit in January--- the royal favorite, a type called "Bon Chrétien d'Hiver," or "Good Christian of Winter." Each pear is very large--- the blossom end engorged, the eye deeply sunk--- whilst the skin is a finely grained pale yellow, with a red blush on the side that has been touched by the sunlight. It is known for its brittle, lightly scented, almost translucent flesh that drips with a sugary juice; that soaks your mouth when your teeth sink into it. The gardener here, Jean-Baptiste de La Quintinie, says that when a pear is ripe its neck yields to the touch and smells slightly of wet roses. This winter they have not ripened, though, but have frozen to solid gold. Murders of crows sit on the branches of the pear trees, pecking at the rime of them. They have become fairy fruit; those dangling impossibilities. What would you give to taste one? Spring always comes, though. Is it not magic? The world's deep magic. March brings the vast respite of thaw, that huge unburdening, that gentling--- all winter's knives and jaws turning soft and blunt; little chunks of ice riding off on their own giddy melt; everything dripping and plipping and making little streams and rivulets; tender pellucid fingers feeling their way towards the sea; all the tiny busywork. And with the returning sun, too, sex. Tulips, first found as wild flowers in Central Asia--- named for the Persian word "tulipan," for turban--- thrust and bow in the warm soil of Versailles, their variegated "broken" petals licked with carmine flames. The early worm-catchers begin their chorus, skylarks and song thrushes courting at dawn. Catkins dangle like soft, tiny pairs of elven stockings. Fairy-sized wigs appear on the pussy willows. Hawthorn and sloe put on their powder and patches, to catch a bee's eye.

Bang! Clang! Bang! Clangity bang, rat-a-tat! "Reuben, I have been thinking, what a good world this might be, if the men were all transported far beyond the Northern Sea." "Oh,no!" Willow rose off Rider's lap so fast her forhead bumped his chin. "What is that racket?" he asked, standing and following her to the window overlooking the street. One corner of her mouth quirked in mock disgust. "Take a look for yourself." Clangity bang! Rat-a-tat! The men below beat their pots and pans with wooden spoons and, in a couple cases, gun butts. "Rachel, I have long been thinking, what a fine world this might be, if we had some more young ladies on the side of the Northern Sea. Too ral loo ral. Too ral lee." "Looks like your brothers and the whole Niners team!" Rider laughed. "What are they doing?" "Haven't you ever heard of being shivareed, husband?" Outside the boisterous, drunken voices broke into another chorus of Reuben and Rachel. "Rachel, I will not trasport you,but will take you for a wife. We will live on milk and honey, better or worse we're in for life." Willow chuckled as all up and down Allen Street lights began to glow through every window. Someone in a room down the hall lifted their window, threw a chamber pot at the crooners, and followed it with a foul epithet. Undaunted, the man broke into a chorus of Aura Lea. "They sure have lousy timing," Rider commented wryly. "Just how long does this little serenade last?" Seeing a tall figure in a long frock coat coming up the street, Willow replied, "I think it's about to end very soon now." Virgil Earp's face shone in the gaslight in front of the Grand. "All right, boys," the couple heard him say, "the party's over." He looked up at Rider and Willow with a wide, winsome grin and waved. With that, he ushered the drunken serenaders down the street and into a saloon. Rider turned from the window, shaking his head. "Now where were we? Ah,yes!" he swooped Willow off her feet and tossed her onto the huge bed. "That's not where we were." She laughed. "It's where we were headed, lady, and that's good enough for me.

The birds had multiplied. She'd installed rows upon rows of floating melamine shelves above shoulder height to accommodate the expression of her once humble collection. Though she'd had bird figurines all over the apartment, the bulk of her prized collection was confined to her bedroom because it had given her joy to wake up to them every morning. Before I'd left, I had a tradition of gifting her with bird figurines. It began with a storm petrel, a Wakamba carving of ebony wood from Kenya I had picked up at the museum gift shop from a sixth-grade school field trip. She'd adored the unexpected birthday present, and I had hunted for them since. Clusters of ceramic birds were perched on every shelf. Her obsession had brought her happiness, so I'd fed it. The tiki bird from French Polynesia nested beside a delft bluebird from the Netherlands. One of my favorites was a glass rainbow macaw from an Argentinian artist that mimicked the vibrant barrios of Buenos Aires. Since the sixth grade, I'd given her one every year until I'd left: eight birds in total. As I lifted each member of her extensive bird collection, I imagined Ma-ma was with me, telling a story about each one. There were no signs of dust anywhere; cleanliness had been her religion. I counted eighty-eight birds in total. Ma-ma had been busy collecting while I was gone. I couldn't deny that every time I saw a beautiful feathered creature in figurine form, I thought of my mother. If only I'd sent her one, even a single bird, from my travels, it could have been the precursor to establishing communication once more. Ma-ma had spoken to her birds often, especially when she cleaned them every Saturday morning. I had imagined she was some fairy-tale princess in the Black Forest holding court over an avian kingdom. I was tempted to speak to them now, but I didn't want to be the one to convey the loss of their queen. Suddenly, however, Ma-ma's collection stirred. It began as a single chirp, a mournful cry swelling into a chorus. The figurines burst into song, tiny beaks opening, chests puffed, to release a somber tribute to their departed beloved. The tune was unfamiliar, yet its melancholy was palpable, rising, surging until the final trill when every bird bowed their heads toward the empty bed, frozen as if they hadn't sung seconds before. I thanked them for the happiness they'd bestowed on Ma-ma.

THE RETURN OF THE GODS Like a white bird upon the wind, the sail of the boat of Manannan mac Lir (Pronounced Mananarn mak Leer), the Son of the Sea, flew across the sparkling waves filled with the breeze that blew Westward to the Islands of the Blessed. The Sun Goddess above him smiled down with warmth upon her friend. The fish in the ocean danced for him beneath the turquoise water; the porpoises leapt above the waves to greet him. Upon the wind was a smell of sweetness, the smell of apple blossom in the Spring of the morning of the world. And in the prow of the boat sat Lugh (Pronounced Loo) the long-armed; strumming on his harp, he sang the Song of Creation. And as they drew closer to the green hills of Ireland, the holy land of Ireland, the Shee came out of their earth-barrow homes and danced for joy beneath the Sun. For hidden in a crane-skin sack at the bottom of the boat was the Holy Cup of Blessedness. Long had been her journeying through lands strange and far. And all who drank of that Cup, dreamed the dreams of holy truth, and drank of the Wine of everlasting life. And deep within the woods, in a green-clad clearing, where the purple anemone and the white campion bloomed, where primroses still lingered on the shadowed Northern side, a great stag lifted up his antlered head and sniffed the morning. His antlers seven-forked spoke of mighty battles fought and won, red was his coat, the colour of fire, and he trotted out of his greenwood home, hearing on the wind the song of Lugh. And in her deep barrow home, the green clad Goddess of Erin, remembered the tongue that she had forgotten. She remembered the secrets of the weaving of spells, She remembered the tides of woman and the ebb and flow of wave and Moon. She remembered the people who had turned to other Gods and coming out of her barrow of sleep, her sweet voice echoed the verses of Lugh and the chorus of Manannan. And the great stag of the morning came across the fields to her and where had stood the Goddess now stood a white hind. And the love of the God was returned by the Goddess and the larks of Anghus mac Og hovering above the field echoed with ecstasy the Song of Creation. And in the villages and towns the people came out of their houses, hearing the sweet singing and seeking its source. And children danced in the streets with delight. And they went down to the shore, the Eastern shore, where rises the Sun of the Morning, and awaited the coming of Manannan and Lugh, the mast of their boat shining gold in the Sun. The sea had spoken, the Eastern dawn had given up her secret, the Gods were returning, the Old Ones awakening, joy was returning unto the sleeping land.  

Not long after I learned about Frozen, I went to see a friend of mine who works in the music industry. We sat in his living room on the Upper East Side, facing each other in easy chairs, as he worked his way through a mountain of CDs. He played “Angel,” by the reggae singer Shaggy, and then “The Joker,” by the Steve Miller Band, and told me to listen very carefully to the similarity in bass lines. He played Led Zeppelin’s “Whole Lotta Love” and then Muddy Waters’s “You Need Love,” to show the extent to which Led Zeppelin had mined the blues for inspiration. He played “Twice My Age,” by Shabba Ranks and Krystal, and then the saccharine ’70s pop standard “Seasons in the Sun,” until I could hear the echoes of the second song in the first. He played “Last Christmas,” by Wham! followed by Barry Manilow’s “Can’t Smile Without You” to explain why Manilow might have been startled when he first heard that song, and then “Joanna,” by Kool and the Gang, because, in a different way, “Last Christmas” was an homage to Kool and the Gang as well. “That sound you hear in Nirvana,” my friend said at one point, “that soft and then loud kind of exploding thing, a lot of that was inspired by the Pixies. Yet Kurt Cobain” — Nirvana’s lead singer and songwriter — “was such a genius that he managed to make it his own. And ‘Smells Like Teen Spirit’?” — here he was referring to perhaps the best-known Nirvana song. “That’s Boston’s ‘More Than a Feeling.’ ” He began to hum the riff of the Boston hit, and said, “The first time I heard ‘Teen Spirit,’ I said, ‘That guitar lick is from “More Than a Feeling.” ’ But it was different — it was urgent and brilliant and new.” He played another CD. It was Rod Stewart’s “Do Ya Think I’m Sexy,” a huge hit from the 1970s. The chorus has a distinctive, catchy hook — the kind of tune that millions of Americans probably hummed in the shower the year it came out. Then he put on “Taj Mahal,” by the Brazilian artist Jorge Ben Jor, which was recorded several years before the Rod Stewart song. In his twenties, my friend was a DJ at various downtown clubs, and at some point he’d become interested in world music. “I caught it back then,” he said. A small, sly smile spread across his face. The opening bars of “Taj Mahal” were very South American, a world away from what we had just listened to. And then I heard it. It was so obvious and unambiguous that I laughed out loud; virtually note for note, it was the hook from “Do Ya Think I’m Sexy.” It was possible that Rod Stewart had independently come up with that riff, because resemblance is not proof of influence. It was also possible that he’d been in Brazil, listened to some local music, and liked what he heard.

The Brain Song Reviews (2025) Official Website and Try Today (hfu) The Brain Song Reviews (2025) Official Website and Try Today (hfu) November 29, 2025 Mikaela Cougar's "The Brain Song": Deconstructing an Alt-Rock Anthem CLICK HERE TO Visit The Official Website CLICK HERE TO Visit The Official Website CLICK HERE TO Visit The Official Website In a music scene saturated with polished pop and predictable beats, Mikaela Cougar’s late 2024 release, "The Brain Song," offers something different: a raw, unfiltered sonic experience. Critics have described it as a "gritty, grungy track," reminiscent of Kurt Cobain's angst and Sheryl Crow's honest storytelling. This isn't designed for instant gratification; it's a 2-minute, 31-second journey into the messy reality of the modern mind. This review delves into the cultural, emotional, and musical layers of Cougar's track. It explores the song as a rebellious statement, a response to the pressures and expectations bombarding our psyches. Unlike other "brain songs" promising order, Cougar's embraces the beautiful chaos of genuine human thought. The Sonic Landscape: Grunge, Grit, and a Feminine Perspective Cougar describes herself as "the girl all those 90's rock boy bands were singing about, and these are my response songs." This provides a crucial framework for understanding the track. "The Brain Song" isn't just influenced by 90s alt-rock; it actively continues the themes of alienation, introspection, and resistance to oversimplification. Why Grunge? Distortion as Emotional Expression The "grungy" and "raw" production is intentional. Instead of the polished sound of modern music, this track uses distortion and a minimalist soundscape to reflect the overwhelmed, fragmented state of mind. The thick, abrasive guitar tone embodies mental friction – the anxiety, inner conflict, and constant noise that disrupts our peace. The raw production becomes the song's initial message: This isn't clean or easy. This is what honest thinking sounds like. The Vocals: Confession and Confrontation Cougar's vocal performance is a standout. Channeling the power of Alanis Morrissette and the theatricality of P!NK, she delivers a masterclass in controlled intensity. * **The Verse:** Expect a lower, conversational tone conveying brooding paranoia – the sound of quiet desperation as someone analyzes their flaws and the world's constraints. * **The Chorus:** The song likely explodes into a cathartic shout, unleashing the track's "gritty" core. This isn't a plea for help but a confrontation. It's the brain, tired of its own loops and societal pressures, finally screaming its truth. This dynamic between the quiet verse and explosive chorus mirrors the inner struggle – the sudden bursts of clarity or anger that cut through mental fog. Lyrical Themes: What the Brain Sings About Without readily available lyrics, we can infer the song's themes based on its title, genre, and Cougar's artistic vision. "The Brain Song" likely explores these alt-rock conflicts: Internal Censorship and Self-Doubt: The brain is often our harshest critic. The song likely confronts this inner voice, challenging the self-criticism or refusing to let negative thoughts win. It's the soundtrack to differentiating between your true self and the noise that tries to silence you. * **Possible Lyric:** “You built a cage with all the things you thought you knew / But the noise I hear is just the engine shaking loose.” The Overload of Modern Information: This song contrasts sharply with neuro-acousti

The slaves selected to go to the Great House Farm, for the monthly allowance for themselves and their fellow-slaves, were peculiarly enthusiastic. While on their way, they would make the dense old woods, for miles around, reverberate with their wild songs, revealing at once the highest joy and the deepest sadness. They would compose and sing as they went along, consulting neither time nor tune. The thought that came up, came out—if not in the word, in the sound;—and as frequently in the one as in the other. They would sometimes sing the most pathetic sentiment in the most rapturous tone, and the most rapturous sentiment in the most pathetic tone. Into all of their songs they would manage to weave something of the Great House Farm. Especially would they do this, when leaving home. They would then sing most exultingly the following words:— "I am going away to the Great House Farm! O, yea! O, yea! O!" This they would sing, as a chorus, to words which to many would seem unmeaning jargon, but which, nevertheless, were full of meaning to themselves. I have sometimes thought that the mere hearing of those songs would do more to impress some minds with the horrible character of slavery, than the reading of whole volumes of philosophy on the subject could do. I did not, when a slave, understand the deep meaning of those rude and apparently incoherent songs. I was myself within the circle; so that I neither saw nor heard as those without might see and hear. They told a tale of woe which was then altogether beyond my feeble comprehension; they were tones loud, long, and deep; they breathed the prayer and complaint of souls boiling over with the bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains. The hearing of those wild notes always depressed my spirit, and filled me with ineffable sadness. I have frequently found myself in tears while hearing them. The mere recurrence to those songs, even now, afflicts me; and while I am writing these lines, an expression of feeling has already found its way down my cheek. To those songs I trace my first glimmering conception of the dehumanizing character of slavery. I can never get rid of that conception. Those songs still follow me, to deepen my hatred of slavery, and quicken my sympathies for my brethren in bonds. If any one wishes to be impressed with the soul-killing effects of slavery, let him go to Colonel Lloyd's plantation, and, on allowance-day, place himself in the deep pine woods, and there let him, in silence, analyze the sounds that shall pass through the chambers of his soul,—and if he is not thus impressed, it will only be because "there is no flesh in his obdurate heart." I have often been utterly astonished, since I came to the north, to find persons who could speak of the singing, among slaves, as evidence of their contentment and happiness. It is impossible to conceive of a greater mistake. Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears. At least, such is my experience. I have often sung to drown my sorrow, but seldom to express my happiness. Crying for joy, and singing for joy, were alike uncommon to me while in the jaws of slavery. The singing of a man cast away upon a desolate island might be as appropriately considered as evidence of contentment and happiness, as the singing of a slave; the songs of the one and of the other are prompted by the same emotion.

Norway. A gift to the wandering tribes who pressed ever northward into the sea-split orchestral tumult of salty shores and cragged earth sheltering the gods that time forgot. Wine spilling like children through empty halls echoing waiting, neverly for distant guests, the fire and song rising, still and bright into the ever darkening sky. A proclamation to the eternal night. A chorus of candles and spice. We . . . they say. Children of the norlands, with fathers buried in this earth’s cradle. All memory conspiring to a single story— This . . . they say. This is our land.

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

Love drains us of estrangement and fills us with familiarity, causing us to come together in all shared gatherings like this, and acting as our leader in festival, chorus and sacrifice. He includes mildness and excludes wildness. He is generous of goodwill an ungenerous of ill-will. He is gracious and kindly; gazed on by the wise, admired by the gods; craved by those denied him, treasured by those enjoying him; father of luxury, elegance, delicacy, grace, desire, longing careful for good people, careless of bad people; in trouble, in terror, in longing, in discourse, he is the best helmsman, marine, comrade, rescuer. For the whole company of gods and humans, most beautiful and best of leaders; every man should follow him singing beautiful hymns of prase, sharing the song he sings to charm the mind of every god and human.

It was in Switzerland, during his first year, in the early part of it, in fact. Then he was almost like an idiot; he could not even speak properly - and sometimes could not understand what was wanted of him. He once went up into the mountain-side, on a bright, sunny day, and walked a long time, his mind possessed with an agonising but unformulated idea. Before him was the brilliant sky, below, the lake, and all around an horizon, bright and boundless which seemed to have no ending. He gazed a long time in distress. He remembered now how he had stretched out his hand to that bright, infinite blue, and had shed tears. What tortured him was that he was utterly outside all this. What was this festival? what was this grand, everlasting pageant to which there was no end, to which he had always, from his earliest childhood, been drawn and in which he could never take part? Every morning the same bright sun rises, every morning the same rainbow in the waterfall, every evening that highest snow mountain glows, with a flush of purple against the distant sky, every 'little fly that buzzes about him in the hot sunshine has its part in the chorus; knows its place, loves it and is happy'. Every blade of grass grows and is happy! Everything has its path, and everything knows its path, and with a song goes forth, and with a song returns. Only he knows nothing, and understands nothing, neither men nor sounds; he is outside it all, and an outcast.

Oh, Marroc! I saw how much you liked my singing. I thought I’d treat you to your own personal show, as long as I’m kept here. I’ll sing for you day and night, your own personal chorus, until you set me free.” Then she launched into that infernal song, the sound of it like fingernails dragging against stone. It was that same dreadful tune. A Rickroll

Momma and I were in the old kitchen when she blared the song, “Dancing,” from the Hello, Dolly! soundtrack. Carol Channing’s voice pounded out of the boom box next to our oven. Momma held my waist and swept me across the kitchen floor as she loudly chimed in on the chorus: “And one, two, three, one, two, three—look! I’m dancing!” In that moment, Momma was Dolly, and I felt like Cornelius—“My heart is about to burst, my head is about to pop, and now that I’m dancing, who cares if I ever stop!”—and I wanted to stay safe in that song forever with her, our bare feet sliding in and out of rhythm on our cold kitchen floor.

Amá’s earliest memory of her mother, whom we called Amá Julia, is of them sitting beneath the same tree outside the courtyard walls of that same ranch, La Loma. Her mother wrapped her in a shawl and they sat huddled together on a rock, listening to the birds roosting for the evening in the trees. It was the evening chorus that makes birds feel as if they are as large as their songs carried over the valley, announcing themselves, saying “I’m still here,” as if there were any doubt about it. The stars were innumerable and soon the night would fall with its absolute darkness, because no one had electricity up on the mountain. It was so dark that everything seemed to be on fire when even the slightest light from the sun emerged in the morning, as if by noon it would all be burned to the ground. Amá said that never again were there as many stars in her life.

I may not be able to play a harp again, or sing for the clan,” he said. “But I have found that this is my song. This is my music.” And he framed her face in his hands. “Months ago, I told you that I was a verse inspired by your chorus. I thought I knew what those words meant then, but now I fully understand the depth and the breadth of them. I want to write a ballad with you, not in notes but in our choices, in the simplicity and the routine of our life together. In waking up at your side every sunrise and falling asleep entwined with you every sunset. In kneeling beside you in the kail yard and leading a clan and overseeing trade and eating at our parents’ tables. In making mistakes, because I know that I’ll make them, and then restitution, because I’m better than I once ever hoped to be when I’m with you.” Adaira turned her face to kiss his palm, where his scar from their blood vow still shone. When she looked at him again, there were tears in her eyes. “What do you think, Heiress?” Jack whispered, because he was suddenly desperate to know her thoughts. To know what she was feeling. Adaira leaned forward, brushing his lips with hers. “I think that I want to make such music with you until my last day when the isle takes my bones. I think you are the song I was longing for, waiting for. And I will always be thankful that you returned to me.

You're the intriguing intro that draws me in. You're the verse that just barely gives an inch before your chorus fucking memorizes me. You're hidden between every heartbreaking cord that I pick at the bridge and your laughter plays in tune with every note of the song in my mind." He brings his hand around, brushing a few strands of hair behind my ear with a soft caress. "You're the whole damn melody to me, Ellie.

The unspoken words sing in the cajoling of his lips, the imploring of his tongue. Please don’t leave. Stay. Stay. Stay. Stay. It has been an internal chorus pulsing with my heartbeat for longer than he knows. Still we hold onto each other’s faces, gazes, souls. Unwilling to ever let go. But we don’t have ever.

You're the intriguing intro that draws me in. You're the verse that just barely gives an inch before your chorus fucking memorizes me. You're hidden between every heartbreaking cord that I pick at the bridge and your laughter plays in tune with every note of the song in my mind. You're the whole damn melody to me, Ellie.

I’m sort of nervous you’ll find out Even though I want you to I’m sort of nervous you’ll be angry Even though I know that’s not you We’ve been through this all before And you never made me feel unsure But still A hush had fallen over the crowd as soon as she began to sing and Julie marveled at how different this atmosphere was from the raucous one the boys had described to her from their visit to the club. She wondered if Caleb would be satisfied with her slow and emotional song choice but if he was dissatisfied with her he didn’t show it on his face. He merely glanced around at the rapt expressions of the lifers and smirked. Julie allowed her eyes to slide over to her friends who were both watching her with knowing looks. She knew that the sadness in her lyrics was reflected in their eyes, that they felt sorry for her and that they ached for Luke too. She forced her gaze away from them, needing to focus on getting through the song and finding it almost impossible in the face of their pity. I’m sort of hopeful you’ll find out Even though that’s not fair I’m sort of hopeful you'll guess Even though I’m so scared I don’t know what the right choice is And part of me wants you to insist But still Despite all of the circumstances that made singing this particular song in this particular venue absolutely loaded down with baggage she found herself slipping into the zone she always occupied when performing. She could feel the heady rush of doing what she was meant to do in front of people hanging on her every word. She wished Luke was there to sing with her but she had also never been so glad that he wasn’t. She gripped the mic stand and raised her voice to new heights as she began the chorus. How do I tell you this isn’t where I belong? How do I tell you this was a tragedy all along? That we never had a chance At a happy ending at all Just a few brief stolen moments Between your heart and mine How do I tell you? How do I tell you? Goodbye She could hear emotion breaking through into her voice but she didn’t care. The ghost band once again seemed to sense what she had heard in her head and the music built and built before suddenly dropping to next to nothing. A few chords on the piano were all that accompanied the final verse as she gave it her all. I’m sort of happy we happened Even though I know the memories Will hurt I’m sort of happy we met here Even if it took a curse I know that I’ve made mistakes And some of them are hard to shake But still Julie allowed herself to truly see the audience for the first time. They were still watching her with awed expressions but something about the lighting in the club seemed different. There was a soft golden glow settling over the whole room. Julie blinked and the glow was gone. She barely had time to wonder if she had imagined it before the band came back in full force for the final chorus. How do I tell you this isn’t where I belong? How do I tell you this was a tragedy all along? That we never had a chance At a happy ending at all Just a few brief stolen moments Between your heart and mine How do I tell you? How do I tell you? Goodbye The band fell away again and Julie’s voice echoed through the ballroom alone on the final lines. How do I tell you? Goodbye

Hora to an Exiled Girl A hora, roaring, tempestuous, blazes around me With the mystery of rhythm, gladdening and forging, It tugs at my body and heart The foot marches, the back quivers, the song is ignited, a searing chorus Dance and song, a wordless prayer, Hail to the future, hail to creation But then a figure flutters before my eyes My arm has escaped my friends’ embrace My heart spurns the tempestuous singing, Far and near it consumes me whole Blue eyes Such a bewildered glance A sad silence and a stubborn mouth The stillness grows in me I remain standing Alone, in a crowd of a hundred, her and I (Translation by Elie Leshem)

I’m sorry,' [Marty] said unexpectedly. “Huh?” “That we never got to perform that duet together. Don’t you remember? For the Spring Concert?” “Oh, yeah. What was that song we were going to sing?” I asked. She placed her right hand on her hip and mock-pouted at me. “James Garraty, don’t tell me you forgot.” I gave her an impish who, me look. When she smiled, I said in a more serious tone: “‘Somewhere,’ from West Side Story.” I hummed the song’s first measure; it sounded a half-octave off key. Marty frowned. “You haven’t practiced lately,” she said disapprovingly. “No, I haven’t,” I said, and as I said it waves of melancholy washed over me like a cold dark tide. Marty saw my expression change; she walked up to me and placed her arm around my shoulder comfortingly. “I know,” she said softly, “how much you were looking forward to it, Jim. I was looking forward to singing that duet with you, too.” “Really?” I asked. “Really. You’re a terrific singer. Who wouldn’t want to sing a duet with you?” “I bet,” I said, “you say that to all the boys.” She laughed. My heart jumped as it usually did when she laughed. A thought clicked in my brain: What was it I’d written just a while ago? You are the one person who has the ability to brighten up a sour day. You have always managed to make me return a smile to someone else.

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.

hundred because they simply weren’t up for it. Psychologically, I mean. You kind of ran out. There wasn’t enough self to keep going. You grew too bored of your own mind. Of the way life repeated itself. How, after a while, there wasn’t a smile or gesture that you hadn’t seen before. There wasn’t a change in the world order that didn’t echo other changes in the world order. And the news stopped being new. The very word ‘news’ became a joke. It was all just a cycle. A slowly rotating downward one. And your tolerance for human beings, making the same mistakes over and over and over and over again, began to fade. It was like being stuck in the same song, with a chorus you had once liked but now made you want to rip your ears off.

My mother didn’t answer. She gestured mutely toward her feet. Is it true that her long toes were burying themselves in the ground, so deeply that she could no longer take a step? Do I honestly remember seeing her two feet rooting themselves to the spot? Did her skin really become hard and rough all over, like a tree? Were there really spring-green leaves spilling forth from her fingertips? Or has my adult mind painted the memory of this night in such unlikely colors, as a way to assuage my guilt for leaving her? I could hear men shouting and dogs barking, coming closer. Ahead I could see the tangled thicket. The wind in the trees sounded like the voices of women singing in chorus, and their voices were filled with glottal embellishments, as if sung by throats made of wood. The music urged me forward. And so I left my mother, and went on without her. I wasn’t afraid, because the trees took care of me, and they brooded and bent over me, and sang to me their melancholy songs, and fed me, and gave me succor, until the Bird of the Wood found me and took me home with her and taught me to trust to the sound of my own voice." From Chouette by Claire Oshetsky Virago: November 4, 2021 Ecco: November 16, 2021

Douglas Wood chorus for Jacob's Hope: The Missing Children's song: - There’s a child all alone in the world tonight He was stolen away and we cry for his plight. But he’s not really gone ‘Cause we won’t let him go. We are Jacob’s Hope

I finally, after more than two hundred years, find something that makes me want to live. And she is Death, and tasting her will kill me. In finding my life, I have found my death, and I have never been more sure, Blythe. You are the verse, the bridge, and the chorus. You are the melody of every song I’ve ever tried to write, and this time, I’m going to get the chords right. I know how this one ends. Now let me sing it. This is my choice, the most glorious risk I’ve ever been afforded. You don’t scare me. Let me taste you, my belladonna.

In Extremis by Stewart Stafford Saturnalia's trumpets sound, The ancestral chorus song, Time's gold web drawn back, For the stocks' denizen throng. Bawdy knights of the feral feast, Daze of snoring stranger sloth, As contagion's banquet guests, Sipping end times' galling broth. Bean found in fortuitous cake, A fool crowned Lord of Misrule, The meek's pantomimed throne, A drone in a queen bee's tulle. Fatted calf, societal scapegoat, Chattels mopping festive vomit, Charon coins on bloodshot eyes, Execution dawn to a dark comet. © Stewart Stafford, 2024. All rights reserved.

We are in desperate need of true worship leaders. The difference between a song leader and a worship leader, is the Holy Spirit. Almost anyone can play four chords and lead people in a singable chorus. But true worship leading is a Spirit empowered activity. It is learning to lead and sing in the Spirit, with the Spirit, and by the Spirit.

I knew whatever they sang, it would sound like a translation because of their accents, so I wanted to keep it a bit formal. After several goes, I eventually came up with the lines, ‘I’m in serious shit, I feel totally lost / If I’m asking for help, it’s only because / Being with you has opened my eyes, could I ever believe such a perfect surprise? / I keep asking myself wondering how / I keep closing my eyes but I can’t block you out / Want to find a place where it’s just you and me / Nobody else so we can be free’. And that was it. I had the beginnings of the lyric, after which, and much to my relief, the rest of the song came. For some reason the Beatles’ song ‘Things We Said Today’ popped into my head. I changed it to ‘All the Things She Said’ and I had the chorus.

Why you hanging in the background Like a painting that's been turned 'round Come on, come on, come on, come on Come on, come on, come on, come on Why you humming with the mashup It's like Aretha singing back up Come on, come on, come on, come on You know the words go write the song [Pre-Chorus 1] Make it alone It's your time now Can you feel it now? [Chorus] You got the heart of a phoenix So let them see you rise, hey-ey-ey, hey-ey-ey Let them know that you mean it Let them see you rise, hey-ey-ey, hey-ey-ey...

Out in the west, where the rivers run wide, Grady Hale rode with his head held high. With Bess by his side, through the dust and the gales, He lived by the code of the old cowboy tales. (Chorus) Oh, ride on, Grady, ride into the sun, Your story's not over, it's only begun. With each step that Bess takes, your legend will grow, Ride on, Grady Hale, through the high and the low. (Verse 2) He stood for the right, when the wrong came to call, A hero to many, a friend to them all. With a heart made of gold and a will made of steel, He fought for a world where the broken could heal. (Chorus) Oh, ride on, Grady, ride into the sun, Your story's not over, it's only begun. With each step that Bess takes, your legend will grow, Ride on, Grady Hale, through the high and the low. (Bridge) In the town where the shadows had taken their claim, Grady's courage shone through, like a bright, burning flame. And though he fell to a bullet, his spirit stayed strong, In the whispers of wind, you can still hear his song. (Verse 3) Now Emma looks out, where the meadows meet skies, And she feels her love's presence, no need for goodbyes. For the cowboy she loved is still riding so free, In the stories we tell, in the memories we see. (Chorus) Oh, ride on, Grady, ride into the sun, Your story's not over, it's only begun. With each step that Bess takes, your legend will grow, Ride on, Grady Hale, through the high and the low. (Outro) So here's to the cowboy, who rode past the end, With the love of a woman, the trust of a friend. May his tale be a beacon, for all those who roam, Ride on, Grady Hale, forever you're home.

(Verse 1) In the glow of a **dawn's early light**, With the dew on the grass, shining so bright, A cup of coffee, a **gentle breeze**, These little things, oh how they please. (Chorus) **Grab your hat and dance in the rain,** **Kick off your boots, forget the pain,** **Laugh with friends, under the sun's reign,** **Life's a sweet ride, hop on the train!** **Raise your glass to the stars above,** **Sing with heart, push and shove,** **Every little moment, fit like a glove,** **It's the simple things that we love!** (Verse 2) A **dog's wagging tail**, a **porch swing's sway**, The **colors of flowers** that brighten the day, A **song on the radio** that takes you back, To the **sweet old memories** that never lack. (Bridge) **Lights down low, we're just starting up,** **Fill up the tank, let's raise our cup,** **To the moments that feel like a live wire,** **Simple sparks igniting our fire.** **Sync to the beat of the city's pulse,** **Every little win, every single result,** **We're living loud in the here and now,** **In the simple life, we take our bow.** (Verse 3) **Under the wide-open sky so blue,** **Life's painting scenes, each one anew,** **A simple hello, a wave goodbye,** **In these little things, our dreams fly high.** **With every sunrise, we start again,** **Finding joy in the whisper of the wind,** **A hearty laugh, a warm embrace,** **In the simple life, we find our grace.** (Chorus) **Turn it up, let the bass line roll,** **Simple life's got that rock 'n' roll soul,** **Snap your fingers, tap your feet,** **Living for the moment, life's so sweet.** **Catch the vibe, let it take control,** **These little things are how we roll,** **From the heartland to the city's grip,** **It's the simple life that makes us flip.** (Verse 4) **The jukebox plays a tune that's bittersweet,** **Echoing tales of love and deceit,** **But in the neon glow, we find our truth,** **In simple things, we reclaim our youth.** **A twist of fate, a turn of the key,** **Life's full of surprises, as we can see,** **A chance encounter, a new beginning,** **In the simple life, we keep on winning.**

(Verse 1) In the glow of a **dawn's early light**, With the dew on the grass, shining so bright, A cup of coffee, a **gentle breeze**, These little things, oh how they please. (Chorus) It's the **simple joys** that make life sweet, The sound of rain, the **warmth of the sun's heat**, A **smile from a stranger**, a **child's laugh** so wild, In every little thing, life's beauty is compiled. (Verse 2) A **dog's wagging tail**, a **porch swing's sway**, The **colors of flowers** that brighten the day, A **song on the radio** that takes you back, To the **sweet old memories** that never lack. (Chorus) It's the **simple joys** that make life sweet, The **harvest moon**, the **stars at your feet**, A **hand to hold**, a **heart to meet**, In every little thing, life's beauty is complete. (Bridge) So take a moment, let's **make it last**, These **simple pleasures** are our repast, From the **morning sun** to the **evening's glow**, It's the little things that make our spirits grow. (Outro) So here's to the **little things**, the **joy they bring**, In the **quiet moments**, let your heart sing, For life's a **tapestry**, woven with care, In the **simplest joys**, we find love to share.

I ain't the man in the silver screen, Got more scars than what can be seen. I walk a line that's thin and frayed, With every step, a price is paid. 'Cause I'm not perfect, I've got my demons, They dance in the shadows, they fight for reasons. But I stand tall, through the trials I roam, I'm not perfect, but I'm finding home. In the mirror, the truth stares back, A life of color in a world of black. I've made mistakes, I've told some lies, But redemption's song is my reprise. 'Cause I'm not perfect, I've got my demons, They whisper doubts, and plot their treasons. But I stand strong, in the light I bask, I'm not perfect, but I'm up to the task. The road is long, the night is deep, But I've got promises to keep. For every demon that I face, There's a grace that I embrace. So here's to the fighters, the broken hearts, To the dreamers playing their parts. We're all just trying to find our way, In the story of our own play. Yeah, I'm not perfect, I've got my demons, They rage like storms, through all the seasons. But I stand brave, with hope in my soul, I'm not perfect, but I'm on a roll. So let the music play, let the chorus ring, In the heart of the imperfect, let the truth sing. We've all got demons, but we've got love too, I'm not perfect, but I'm here with you.

**Verse 1:** The chair's still empty where you used to sit, The silence loud, I can't get used to it. Your laugh's a memory that haunts these halls, Without you here, it's just four lonely walls. **Chorus:** I miss you more than words can say, In every sunset, in the break of day. You were my rock, my steady flame, Now I whisper your name, and it's not the same. **Verse 2:** I see your face in strangers on the street, Hear your voice in every song's heartbeat. They say time heals, but it just feels so wrong, 'Cause every day without you is just too long. **Chorus:** I miss you more with each passing night, In the stars above, in the morning light. You were my everything, my home, Now I'm here, feeling so alone. **Bridge:** But I know you're watching from up above, Sending down your everlasting love. I'll hold on to the memories we've spun, Until my time comes, and our hearts beat as one. **Chorus:** I miss you more, and it cuts so deep, In the dreams I have, in the tears I weep. You were my heart, my soul's refrain, Now I'm singing this song, 'cause I miss you, again. **Outro:** So I'll carry on, with you in my heart, Though we're worlds apart, we're never truly apart. I miss you, love, and until my end, I'll keep loving you, my lost friend. May this song bring comfort to those who are grieving, reminding them that love endures beyond separation.

**Verse 1:** There's a whisper in the willow, a sigh in the pine, A story of healing, line by line. The wounds we carry, hidden from sight, Begin to mend in the morning light. **Chorus:** Healing's a road, long and winding, Through the hills, a silver lining. With every step, the pain decreases, In the heart's quiet, we find our pieces. **Verse 2:** The river flows, it knows no end, Like the spirit's break, it starts to mend. The scars we wear, badges of the past, Become the strength that will forever last. **Chorus:** Healing's a journey, not a race, A gentle touch, a warm embrace. With time's soft hand, we start to see, In the mirror, who we're meant to be. **Bridge:** In the darkest night, there's a flame that glows, A seed of hope, that steadily grows. The pain we knew, starts to fade, In the tapestry of life, newly made. **Chorus:** Healing's a gift, it's ours to take, A new dawn's promise, as we awake. With each breath in, let go of grief, In healing's grace, we find relief. **Outro:** So here's to the broken, now on the mend, To the journey of healing, that never ends. May we all find peace, in the love we keep, In the quiet of healing, where the soul runs deep. May this song bring comfort and hope to anyone on the path to recovery and renewal.

**Verse 1:** When the storms roll in, and the skies turn black, I plant my feet, ain't no turning back. The winds may howl, the floods may rise, But I've got a fire that never dies. **Chorus:** Resilience, it's my middle name, Through the thunder and the rain. I bend, I don't break, I stand tall, With resilience, I'll weather it all. **Verse 2:** Life's thrown curves, knocked me off my track, But like a boomerang, I always come back. Scars on my skin, stories they tell, Of a survivor's heart that knows no farewell. **Chorus:** Resilience, it's the song I sing, In the face of everything. I bend, I don't break, I stand tall, With resilience, I'll outlast it all. **Bridge:** There's a strength that grows, with every fall, A voice that rises, above it all. I'm not just a number, I'm not just a name, I'm resilience, in this life's game. **Chorus:** Resilience, it's the path I choose, With every challenge, I refuse to lose. I bend, I don't break, I stand tall, With resilience, I'll conquer it all. **Outro:** So let the records show, let the story be told, Of a spirit unbroken, a will untold. With resilience, I'm uncontainable, Unstoppable, and unbreakable. May this song inspire strength and determination in anyone facing adversity. Keep standing tall!

I don’t think she’s really gone…’ Robert hesitates. ‘I just think we can’t see her any more.’ ‘What do you mean?’ He straightens up, then hunches forward on his knees. ‘I was reading this thing by St Augustine…’ ‘I didn’t know you’re religious.’ ‘I’m not, really. But he wrote some pretty good stuff. There’s this bit where he’s talking about time, and how it’s just an illusion.’ Ella frowns. ‘Then what are clocks doing?’ ‘They’re measuring the teeth on a cog, or the number of times a pendulum has gone back and forth…’ He looks at Ella’s frown. ‘I don’t know, it’s hard to explain. But what he’s saying is, there’s no such thing as the past or the future, just this big, eternal now.’ Ella tries to get her head around this, craning her neck so she’s looking right up through the gaps in the clouds. The stars flicker. ‘Nope, I don’t get it.’ ‘Well, he compares it to a poem…but you could imagine it like a record.’ ‘A record?’ ‘Yeah, imagine a seventy-eight.’ Ella closes her eyes and pictures the record. ‘So, you put it on the turntable and listen to the first verse of the song, then there’s a chorus, then another verse. While you’re listening to the second verse, the first verse is still there, spinning around on the record, but you’re not listening to it any more. St Augustine said that the record is like a human life, or all of human history.’ Ella thinks for a moment. The idea is starting to take shape in her head as she imagines the shiny black disc, spinning on its axis. She’s not sure if it makes sense or not, but the idea is attractive. She thinks of all the people who have gone before them, their lives still spinning through infinity like silent songs. ‘So where’s Rene, in this metaphor?’ ‘She’s like…’ Robert thinks for a moment. ‘She’s like a clarinet solo in the first verse. A beautiful solo, harmonizing with the melody. And then she stops, and she doesn’t repeat again for the rest of the song…but she’s still there, on the record.

The Lusty Month of May” continues to develop Guenevere as a heroine of operetta in a lighthearted song, which is both naïve and highly suggestive. With the abundance of “tra-las” and an up-tempo chorus joining in the fun, Knapp’s parallels to operetta are more than apt. The clarity, wide range, and versatility of Andrews’s voice only enhance the effect. Andrews never sacrifices vocal precision or tone despite the focus on clever wordplay and a bouncy, allegretto tune. This tune is more virtuosic than “Simple Joys” with additional melodic leaps and the possibility for displays in a higher range. Loewe uses a C♯ diminished chord to denote Guenevere’s lustful feelings, often punctuating lyrics such as “lusty” or “libelous,” in the otherwise carefree milieu of C major. The generally light orchestration favors the string section, similar to “Simple Joys,” and also features a harp. When woodwinds enter, clarinets tend to dominate. At this point, this instrumentation characterizes Guenevere’s musical self and augments her connection to operetta as it reinforces the sense of frivolity. The call-and-response with the chorus further heightens the sense of abandon, which increases throughout the song. Guenevere has not lost her youthful taste for ribaldry during her marriage with Arthur.

Yes, we will make them work, but in the hours free from labor we will arrange their lives like a children's game, with children's songs, choruses, and innocent dancing. Oh, we will allow them to sin, too; they are weak and powerless, and they will love us like children for allowing them to sin. We will tell them that every sin will be redeemed if it is committed with our permission; and that we will allow them to sin because we love them.

Beyond the Judging Eyes” Down a dusty road where the judgments fly, Where the gossips whisper and the rumors pry, If you're lean as a rail, they'll say you're chasing a high, If you're round as a barrel, they'll tell you to diet, oh my. But I'm sick of the box, sick of the fake, We're all just folks, make no mistake. Let's sing it loud, under the wide-open sky, We're all kin in this rodeo of life, Mending fences, not just tearing 'em down, In this country song, we all wear the crown. Dress up like a star, they'll say you're too proud, Wear your workin' boots, they claim you've fallen out, Speak your heart, they'll call you a loudmouth, Keep it to yourself, you're aloof, no doubt. But I'm done with the noise, done with the scorn, We're all diamonds, rough or adorned. Let's sing it loud, under the wide-open sky, We're all kin in this rodeo of life, Mending fences, not just tearing 'em down, In this country song, we all wear the crown. Whether you're the toast of the town hall dance, Or love the quiet of a wide-open expanse, We're each a verse in life's grand old song, In the chorus together, where we all belong. Let's sing it loud, under the wide-open sky, We're all kin in this rodeo of life, Mending fences, not just tearing 'em down, In this country song, we all wear the crown. We're side by side, through the highs and the lows, Lifting each other, that's how it goes, Forget the critics, their talk's just strife, We're the best we can be, in this country life.

Be You [Verse] Standin' at the crossroads burnin' in the sun Dust in my boots heart on the run Grit in my teeth fire in my veins Be who you are don't play no games [Verse 2] Voices in the dark shadows on the wall Be the change you wish to see stand tall False love fades but truth stays bright Better hated for real than loved in the night [Chorus] Be who you are shout from the hills Be who you are shake off them chills Sing your song loud bang on those drums Be who you are let the wild winds hum [Verse 3] Roads twist and turn dreams take flight Stars burn bright in the cold Cold night Chains of the world break 'em down Be who you are find your own crown [Bridge] Feel the heartbeat thunder in your chest Rumble through the night never settle for less Voices might whisper they might scream Be who you are chase your wildest dream [Chorus] Be who you are shout from the hills Be who you are shake off them chills Sing your song loud bang on those drums Be who you are let the wild winds hum

Lonely Hearts and Empty Roads [Verse] Footsteps echoin' on this dusty ground People circlin' like vultures round Can't shake the whisperin' in the wind Dark tales they always tryin' to spin [Verse 2] Shadows lurkin' behind every friend Fake smiles ain't gonna make amends Faces smilin' while they pull the rug Tired of dodgin' every dirty slug [Chorus] Always someone bringin’ you down Always someone jokin’ as you drown Need that soul who saw you true Never made you feel like you’s just a fool [Verse 3] Eyes betray the lies they pave Tired hearts they ain't for sale or save Wanna find someone who'd hold their tongue And sing life's song like you ain't done [Bridge] Man of wisdom said don’t cast the stone Hold the line don’t walk alone In this maze of broken lanes Seek the one who heals your pains [Verse 4] Rusty barbed wire 'round these dreams of mine Each cut deep but I’ll be fine 'Cause somewhere out there’s a heart so rare Never made me feel like life's unfair

**Verse 1:** In the neon glow, where the cowboys roam You've got that look, makes me feel at home With a rockin' riff, and a rebel cheer We're the talk of the town, when we're both in gear **Chorus:** I know you want me, it's a wild, clear sign With the drums a-thumpin' to this heart of mine I know you need me, like the desert needs the rain So let's crank it up, let our spirits soar again **Verse 2:** We're two-steppin' closer, with every beat The rhythm's got us movin', from our heads to our feet There's magic in the music, and sparks in the air With every little glance, I catch, I know we're quite the pair **Bridge:** Let's hit the highway, under the stars so bright With the amps turned up, in the heat of the night We'll ride this song, like a steel horse dream 'Cause I know you want me, we're the perfect team **Chorus:** I know you want me, it's a wild, clear sign With the drums a-thumpin' to this heart of mine I know you need me, like the desert needs the rain So let's crank it up, let our spirits soar again **Outro:** So let's raise our glasses, to nights like these Where the music's our language, and you're all I wanna read We'll dance 'til the morning, under the moon's soft gleam 'Cause I know you want me, and you're my country dream

Thank You, Lord” September 12, 2024 at 10:02 AM Verse 1: Lord, I thank You for this day, For the sunrise and its rays. You’ve given me another chance, To live and love, to sing and dance. Chorus: Oh, thank You, Lord, for nature’s song, For the breeze and birds that sing along. You are my Father, full of grace, In Your Kingdom, I find my place. Verse 2: Thank You for my family dear, For friends who bring me joy and cheer. Holding them close, I feel so blessed, In Your love, I find my rest. Chorus: Oh, thank You, Lord, for nature’s song, For the breeze and birds that sing along. You are my Father, full of grace, In Your Kingdom, I find my place. Bridge: If I falter, if I stray, Guide me back, show me the way. In every choice, in every plan, I trust in You, my guiding hand. Chorus: Oh, thank You, Lord, for nature’s song, For the breeze and birds that sing along. You are my Father, full of grace, In Your Kingdom, I find my place. Outro: Amen, Amen, I praise Your name, For another day, for love’s sweet flame. Thank You, Lord, for all You give, In Your light, I’ll always live.

Journey to Heaven September 18, 2024 at 3:10 PM Verse 1: If I wanted to go to heaven, I’d lay my burdens down, I’d lift my eyes to Jesus, And wear a humble crown. Chorus: Oh, if I wanted to go to heaven, I’d dance in joy and sing, With faith and love as my wings, I’d soar on angel’s wings. Verse 2: If I wanted to see the glory, Of the Lord’s eternal light, I’d follow His commandments, And keep my heart upright. Chorus: Oh, if I wanted to go to heaven, I’d dance in joy and sing, With faith and love as my wings, I’d soar on angel’s wings. Bridge: Through trials and tribulations, I’d hold His hand so tight, For in His grace and mercy, I’d find my guiding light. Verse 3: If I wanted to join the angels, In songs of endless praise, I’d live my life for Jesus, And glorify His ways. Chorus: Oh, if I wanted to go to heaven, I’d dance in joy and sing, With faith and love as my wings, I’d soar on angel’s wings. Outro: Yes, if I wanted to go to heaven, I’d trust in Him alone, For in His arms of mercy, I’d find my eternal home.

We are the feeling folk, Charlie thought, who sparkle of magic and vigor. Who laugh like laughter is a gift to be given and sing like we have always been the chorus of angels. The feeling folk who allow the skin of the world to glide over us, rugged and tender, absorbed into the gospel of our empathies. The feeling folk who dance to songs in our heads because we know those songs source from a heart beating since the beginning. The feeling folk who heal right side in, wielding a power to make a history of horrors evaporate like steam from a stewpot. Power to make any place home. So, in his dream, Charlie thought only of us. The noble We. Not our dreams either, or even hopes. But the enormity. All the colors and energies and outcomes swallowed up to make a community of individuals never alone. No picket fences or pageantry, just open doors and all the space and time one needs to be oneself. We are energies, Charlie dreamt, constantly exchanging and mixing and charging.

I am an American" Verse 1: I am an American, free born and free bred, With the stars and stripes flying high above my head. My old man said, “Son, when it’s time to be counted, Be man enough to stand up, don’t you ever doubt it.” Chorus: This country ain’t built by those who hate it, It’s built on the shoulders of those who love it. From the fields of the heartland to the city lights, We stand together, ready to fight. Verse 2: In the land of the brave, where the eagles soar, We work hard every day, always wanting more. With grit and grace, we face the storm, In the land of the free, where dreams are born. Chorus: This country ain’t built by those who hate it, It’s built on the shoulders of those who love it. From the fields of the heartland to the city lights, We stand together, ready to fight. Bridge: When the night is dark and the road is long, We find our strength in a country song. With tears in our eyes and hope in our hearts, We hold on tight, never falling apart. Through the trials and the pain, we rise above, In this land we cherish, this land we love. Chorus: This country ain’t built by those who hate it, It’s built on the shoulders of those who love it. From the fields of the heartland to the city lights, We stand together, ready to fight. Outro: I am an American, free born and free bred, With the stars and stripes flying high above my head. My old man said, “Son, when it’s time to be counted, Be man enough to stand up, don’t you ever doubt it.

Ain't Lookin' Back" (Verse 1) City lights, country nights, blending in a perfect flow, I'm hitting this life full throttle, ready for the show. You're yesterday's echo, fading in the track, When you take out the trash, ain't no sense in looking back. (Chorus) 'Cause I'm living loud, in the here and now, No rearview glances, I've made my vow. I won't be a part of letting you destroy me, I'm all about the future, that's where you'll see me. (Verse 2) Got my heart tuned up, like a guitar's string, Every lesson learned, is a song I'll sing. I'm done with the digging, done with the old hack, When you take out the trash, you don't unpack. (Bridge) I'm a modern rebel, with an old soul's wisdom, Cutting ties with the past, like a sharp incision. I'm not just surviving, I'm on the attack, When you take out the trash, you don't look back. (Chorus) 'Cause I'm living loud, in the here and now, No rearview glances, I've made my vow. I won't be a part of letting you destroy me, I'm all about the future, that's where you'll see me. (Outro) So here's to the bright days, and the starlit nights, To the new beginnings, and the soaring heights. I'm stepping forward, on a one-way track, 'Cause when you take out the trash, you ain't lookin' back.

Love's Crossroads [Verse] I see you standing there, a smile that could light up the night, Your eyes are calling me, but I know it wouldn’t be right. I got one at home who loves me, waiting up till dawn, And though my heart is aching, I gotta move along. [Verse 2] On this dusty road, I’ve wandered far and wide, Temptation’s always knocking, hard to keep it outside. I hold my wedding ring, a circle made of gold, Promises we kept whisper in my soul. [Chorus] Love's crossroads, where true hearts always meet, Every choice is heavy, though the moment feels sweet. Got a lady back in Tennessee, my heart she's owned for life, So I'll turn away from you, I can't betray my wife. [Verse 3] The jukebox in the corner, plays an old and lonesome song, Two-step thoughts of dancing, but it wouldn't last too long. She’s texting me “I miss you,” while I’m looking in your eyes, But I shake off temptation, and remember my ties. [Bridge] It’s a hard road to travel, walking straight and true, When every stranger's glance feels like a gentle skew. But I'll keep on this path, bound by love so deep, Knowing she's at home, that's the promise I keep. [Chorus] Love's crossroads, where true hearts always meet, Every choice is heavy, though the moment feels sweet. Got a lady back in Tennessee, my heart she's owned for life, So I'll turn away from you, I can't betray my wife.

Lonely Road of Faith [Verse] I see you standing there, a smile that could light up the night Your eyes are calling me, but I know it wouldn’t be right Cause I got one at home who loves me, waiting by the fireside It's a lonely road of faith, that's kept me on the righteous side [Verse 2] Whiskey on my breath, the neon lights, they start to fade The jukebox playing songs of lovers lost and a debt to be paid But her love's a lighthouse, guiding me through this rough tide It's a lonely road of faith, where temptation and truth collide [Chorus] Oh, this heart might wander, but it knows where it belongs A wandering outlaw, but her love keeps me strong Lonely road of faith, where I'm tempted every night But I got one at home who loves me, and she's my guiding light [Verse 3] Wild times and smoky bars, they offer me a fleeting thrill But the thought of her touch keeps me steady, against my will In the dark of night, it's her voice that whispers clear On this lonely road of faith, her love's the one I hold dear [Bridge] The rebel in me fights, for the freedom of my soul But her love's a gentle tether, keeping me whole Every mile that I travel, it's her face that I see On this lonely road of faith, her love will set me free [Chorus] Oh, this heart might wander, but it knows where it belongs A wandering outlaw, but her love keeps me strong Lonely road of faith, where I'm tempted every night But I got one at home who loves me, and she's my guiding light

Perfectly Imperfect country melodic acoustic August 2, 2024 at 11:34 AM [Verse] I'm not perfect, I stumble and fall, Sometimes I say things that don't make sense at all. Laughing when I shouldn't, a little wild and free, This is who I am, it's just me being me. [Verse 2] Might seem crazy, might seem strange, But I promise you, I probably won't change. Small-town roots run deep in my mind, Love it or leave it, the choice is yours to find. [Chorus] Love me or leave me, take me as I am, With all my flaws, I'm still giving all I can. If I love you, it's with a heart that's true, Full of passion, through and through. [Verse 3] On those backroads, under the moon's light, Singing songs 'bout the wrongs and rights. Got a heart that's tender, but strong as steel, Feelings so real, that’s how I heal. [Verse 4] When the storms come rolling, and the skies aren't clear, Just hold my hand, and I'll be right here. We can face the thunder, take it head-on, With a love so strong, we'll ride 'til dawn. [Chorus] Love me or leave me, take me as I am, With all my flaws, I'm still giving all I can. If I love you, it's with a heart that's true, Full of passion, through and through.

Whiskey Truths and Lies" (Verse 1) In this dimly lit honky tonk, where the jukebox plays my life, I've heard a thousand stories, felt a million eyes. But the one thing I know, under these neon skies, Hurt me with the truth, but never comfort me with a lie. (Chorus) 'Cause lies are like whiskey, they burn going down, Leaving you empty, spinning round and round. But truth is like sunrise, clears the darkest night, Hurt me with the truth, but never comfort me with a lie. (Verse 2) I've danced with shadows, I've sung with the band, Worn my heart on my sleeve, got blood on my hands. In the echo of the steel guitar, I've let out my cries, Hurt me with the truth, but never comfort me with a lie. (Bridge) I'll take the pain, the bitter and the sweet, Over a sugar-coated poison, that's no treat. So pour me another, bartender, keep it neat, And tell me something real, make this heart beat. (Chorus) 'Cause lies are like whiskey, they burn going down, Leaving you empty, spinning round and round. But truth is like sunrise, clears the darkest night, Hurt me with the truth, but never comfort me with a lie. (Outro) So here's to the truth, it's the song I'll sing, In this honky tonk palace, let the truth bell ring. For every broken heart, for every goodbye, Hurt me with the truth, but never comfort me with a lie.

Spammers and Scammers [Verse] Woke up this mornin' with an email surprise, "Congrats, you’ve won!” Oh, ain't that a prize, Click the link, give your info, they say, But I smelled a rat from a mile away. [Verse 2] Scammers in shadows, lurkin' online, Promisin' riches and love so divine, But I'm not foolin', I know their game, One click away from financial shame. [Chorus] Spammers and scammers, they're all over the net, They’ll steal your money and break your heart, you bet, So if you get a message, remember this song, We're callin' out the tricksters, they ain't winning, they’re wrong. [Verse 3] Got a DM from a prince in despair, Send him cash and he’ll show you he cares, But I ain't buyin' his sob story plot, Keep your jewels, buddy, and your royal yacht. [Chorus] Spammers and scammers, they're all over the net, They’ll steal your money and break your heart, you bet, So if you get a message, remember this song, We're callin' out the tricksters, they ain't winning, they’re wrong. [Bridge] Ain't no free lunch or sudden windfalls, If it sounds too good, you know what’s the call, We’re savvy folks in this digital age, Not a fool to fall for another fake page.

[Verse] Hello shitty day my friend Blues are knockin' once again Life dealt me a lousy hand Standing tall I'll make my stand [Verse 2] Storms are raging in my heart Fighting through I'll play my part Trials bend me but I'm strong In the fight is where I belong [Chorus] It's alright to not be alright Feel lost in the brightness of light I'll find my way through the night It's okay I'll be alright [Verse 3] Resilience is my chosen path Facing every storm's rough wrath With each trial I refuse defeat Strength within me can't be beat [Bridge] Through the chaos hear my song Even shadows can't stay long In the darkness shines a light Guiding me towards what's right [Chorus] It's alright to not be alright Feel lost in the brightness of light I'll find my way through the night It's okay I'll be alright

The lights on the bridge flickered and a strange crackling noise came through the speakers, followed by the chorus of Billy Ray Cyrus’s Achy Breaky Heart which, mercifully, stopped quickly. Not only because it was terrible but also because it was one of the few songs from Earth that had been banned under the 2156 Treaty of the Rights of Sentient Beings due to the detrimental effect it had on the brain chemistry of a number of species. Any longer and Iridius may well have been up for a lofty fine.

If you can identify the species in your local woods by their song, you can put together a very personal bird clock based on their dawn chorus.

I showed her the Mobb Deep song “Shook Ones Part II” in the first days or weeks when we got together. Now, all of a sudden, she was excited, showing me a video of some pool party where the crowd was puzzled when the DJ played a little childlike tune with very few notes and sounds. Until they recognized the sampled song being played with the original piano tune of Herbie Hancock underneath, called “Jessica”, she was acting like she was teaching me something or something I didn't know beforehand. She was acting like she was smarter than me, or as if I didn't know anything about music, hip hop, or rap. It was very odd. Who could have shown her that track, that video, and Herbie Hancock? I wondered. So, I played the next song myself - Bob Marley's “Forever Loving Jah”. Then, she played Jonathan Richmann's “Something about Mary”. So, I played the song “Jah is One” from Mosh Ben Ari and certain members of Shotei Hanevua to see her reaction to Israeli reggae music. So she played Notorious BIG and the Junior Mafia’s song: “Get money.” She was singing the chorus shaking her boot. Then I played Tupac Shakur's “Hit 'Em Up.” She played Notorious BIG’s song “Juicy.” So I played his song called “Somebody Gotta Die.” She then played the Moldy Peaches, „We are not those kids, sitting on the couch” So I played Mad Child's “Night Vision” to see if she knew it.

Hearts Are Made To Be Broken [Verse] Hearts are made to be broken yeah we know Feel that ache deep down where the shadows grow They walked away left a scar don’t you see But that pain ain't holdin' me down no I’m free [Verse 2] Told myself I'd be alright through the storm Rain falls hard but it ain't my norm Your love was a fire burned too bright But now I'm gonna heal in the moonlight [Chorus] Hearts are made to be broken they say But I’ll rise from the ashes anyway If they left your love don’t give 'em your pain Find strength in yourself let go of the chain [Verse 3] Saw the dreams crumble like old dry leaves Singin’ songs of sorrow left to the breeze Bathed in regret but I won't stay Gonna keep movin’ yeah find my way [Verse 4] Dust on my boots felt dirt on my soul Walkin' through valleys where shadows roll But the sun’s gonna shine yeah I can tell Breakin' through dark like a saved soul yell [Chorus] Hearts are made to be broken they say But I’ll rise from the ashes anyway If they left your love don’t give 'em your pain Find strength in yourself let go of the chain