Epic The Musical Quotes

I'm a little bit naked, but that's okay.

Perhaps Mozart’s Requiem would be fitting music for the end of the world. She began to hum Dies Irae, recalling its first performance in Vienna.

I cursed myself not only for forgetting to turn my phone off but for ever thinking that having a rock music ringtone was cool.

whether they'll write the story of my life as a tragedy or an epic fantasy... I was wondering if it was going to be a kiss at the end, or sad music and a sweeping camera shot over the fields I once roamed freely. I'm hoping for the kiss, but expecting the sweeping camera shot.

My mascara a mess, harsh words for your princess Boy, you and your promises If your goal was to love, you scored an epic miss Now you'll just have memories

Irony is the kid who steals music and is stolen by the music.

I could try composing wonderful musical works, or day-long entertainment epics, but what would that do? Give people pleasure? My wiping this table gives me pleasure. And people come to a clean table, which gives them pleasure. And anyway" - the man laughed - "people die; stars die; universes die. What is any achievement, however great it was, once time itself is dead? Of course, if all I did was wipe tables, then of course it would seem a mean and despicable waste of my huge intellectual potential. But because I choose to do it, it gives me pleasure. And," the man said with a smile, "it's a good way of meeting people. So where are you from, anyway?

What is the world? What is it for? It is an art. It is the best of all possible art, a finite picture of the infinite. Assess it like prose, like poetry, like architecture, sculpture, painting, dance, delta blues, opera, tragedy, comedy, romance, epic. Assess it like you would a Faberge egg, like a gunfight, like a musical, like a snowflake, like a death, a birth, a triumph, a love story, a tornado, a smile, a heartbreak, a sweater, a hunger pain, a desire, a fufillment, a desert, a waterfall, a song, a race, a frog, a play, a song, a marriage, a consummation, a thirst quenched. Assess it like that. And when you're done, find an ant and have him assess the cathedrals of Europe.

It’s taboo to admit that you’re lonely. You can make jokes about it, of course. You can tell people that you spend most of your time with Netflix or that you haven’t left the house today and you might not even go outside tomorrow. Ha ha, funny. But rarely do you ever tell people about the true depths of your loneliness, about how you feel more and more alienated from your friends each passing day and you’re not sure how to fix it. It seems like everyone is just better at living than you are. A part of you knew this was going to happen. Growing up, you just had this feeling that you wouldn’t transition well to adult life, that you’d fall right through the cracks. And look at you now. La di da, it’s happening. Your mother, your father, your grandparents: they all look at you like you’re some prized jewel and they tell you over and over again just how lucky you are to be young and have your whole life ahead of you. “Getting old ain’t for sissies,” your father tells you wearily. You wish they’d stop saying these things to you because all it does is fill you with guilt and panic. All it does is remind you of how much you’re not taking advantage of your youth. You want to kiss all kinds of different people, you want to wake up in a stranger’s bed maybe once or twice just to see if it feels good to feel nothing, you want to have a group of friends that feels like a tribe, a bonafide family. You want to go from one place to the next constantly and have your weekends feel like one long epic day. You want to dance to stupid music in your stupid room and have a nice job that doesn’t get in the way of living your life too much. You want to be less scared, less anxious, and more willing. Because if you’re closed off now, you can only imagine what you’ll be like later. Every day you vow to change some aspect of your life and every day you fail. At this point, you’re starting to question your own power as a human being. As of right now, your fears have you beat. They’re the ones that are holding your twenties hostage. Stop thinking that everyone is having more sex than you, that everyone has more friends than you, that everyone out is having more fun than you. Not because it’s not true (it might be!) but because that kind of thinking leaves you frozen. You’ve already spent enough time feeling like you’re stuck, like you’re watching your life fall through you like a fast dissolve and you’re unable to hold on to anything. I don’t know if you ever get better. I don’t know if a person can just wake up one day and decide to be an active participant in their life. I’d like to think so. I’d like to think that people get better each and every day but that’s not really true. People get worse and it’s their stories that end up getting forgotten because we can’t stand an unhappy ending. The sick have to get better. Our normalcy depends upon it. You have to value yourself. You have to want great things for your life. This sort of shit doesn’t happen overnight but it can and will happen if you want it. Do you want it bad enough? Does the fear of being filled with regret in your thirties trump your fear of living today? We shall see.

Love is the melody that transcends time, a symphony composed by two hearts in harmony.

[L]et us not overlook the further great fact, that not only does science underlie sculpture, painting, music, poetry, but that science is itself poetic. The current opinion that science and poetry are opposed is a delusion. ... On the contrary science opens up realms of poetry where to the unscientific all is a blank. Those engaged in scientific researches constantly show us that they realize not less vividly, but more vividly, than others, the poetry of their subjects. Whoever will dip into Hugh Miller's works on geology, or read Mr. Lewes's “Seaside Studies,” will perceive that science excites poetry rather than extinguishes it. And whoever will contemplate the life of Goethe will see that the poet and the man of science can co-exist in equal activity. Is it not, indeed, an absurd and almost a sacrilegious belief that the more a man studies Nature the less he reveres it? Think you that a drop of water, which to the vulgar eye is but a drop of water, loses anything in the eye of the physicist who knows that its elements are held together by a force which, if suddenly liberated, would produce a flash of lightning? Think you that what is carelessly looked upon by the uninitiated as a mere snow-flake, does not suggest higher associations to one who has seen through a microscope the wondrously varied and elegant forms of snow-crystals? Think you that the rounded rock marked with parallel scratches calls up as much poetry in an ignorant mind as in the mind of a geologist, who knows that over this rock a glacier slid a million years ago? The truth is, that those who have never entered upon scientific pursuits know not a tithe of the poetry by which they are surrounded. Whoever has not in youth collected plants and insects, knows not half the halo of interest which lanes and hedge-rows can assume. Whoever has not sought for fossils, has little idea of the poetical associations that surround the places where imbedded treasures were found. Whoever at the seaside has not had a microscope and aquarium, has yet to learn what the highest pleasures of the seaside are. Sad, indeed, is it to see how men occupy themselves with trivialities, and are indifferent to the grandest phenomena—care not to understand the architecture of the universe, but are deeply interested in some contemptible controversy about the intrigues of Mary Queen of Scots!—are learnedly critical over a Greek ode, and pass by without a glance that grand epic... upon the strata of the Earth!

If life is a movie most people would consider themselves the star of their own feature. Guys might imagine they're living some action adventure epic. Chicks maybe are in a rose-colored fantasy romance. And homosexuals are living la vida loca in a fabulous musical. Still others may take the indie approach and think of themselves as an anti-hero in a coming of age flick. Or a retro badass in an exploitation B movie. Or the cable man in a very steamy adult picture. Some people's lives are experimental student art films that don't make any sense. Some are screwball comedies. Others resemble a documentary, all serious and educational. A few lives achieve blockbuster status and are hailed as a tribute to the human spirit. Some gain a small following and enjoy cult status. And some never got off the ground due to insufficient funding. I don't know what my life is but I do know that I'm constantly squabbling with the director over creative control, throwing prima donna tantrums and pouting in my personal trailor when things don't go my way. Much of our lives is spent on marketing. Make-up, exercise, dieting, clothes, hair, money, charm, attitude, the strut, the pose, the Blue Steel look. We're like walking billboards advertising ourselves. A sneak peek of upcoming attractions. Meanwhile our actual production is in disarray--we're over budget, doing poorly at private test screenings and focus groups, creatively stagnant, morale low. So we're endlessly tinkering, touching up, editing, rewriting, tailoring ourselves to best suit a mass audience. There's like this studio executive in our heads telling us to cut certain things out, make it "lighter," give it a happy ending, and put some explosions in there too. Kids love explosions. And the uncompromising artist within protests: "But that's not life!" Thus the inner conflict of our movie life: To be a palatable crowd-pleaser catering to the mainstream... or something true to life no matter what they say?

This seemed to be happening more and more lately out in Greater Los Angeles, among gatherings of carefree youth and happy dopers, where Doc had begun to notice older men, there and not there, rigid, unsmiling, that he knew he'd seen before, not the faces necessarily but a defiant posture, an unwillingness to blur out, like everyone else at the psychedelic events of those days, beyond official envelopes of skin. Like the operatives who'd dragged away Coy Harlingen the other night at that rally at the Century Plaza. Doc Knew these people, he'd seen enough of them in the course of business. They went out to collect cash debts, they broke rib cages, they got people fired, they kept an unforgiving eye on anything that might become a threat. If everything in this dream of prerevolution was in fact doomed to end and the faithless money-driven world to reassert its control over all the lives it felt entitled to touch, fondle, and molest, it would be agents like these, dutiful and silent, out doing the shitwork, who'd make it happen. Was it possible, that at every gathering--concert, peace rally, love-in, be-in, and freak-in, here, up north, back east, wherever--those dark crews had been busy all along, reclaiming the music, the resistance to power, the sexual desire from epic to everyday, all they could sweep up, for the ancient forces of greed and fear? 'Gee,' he said to himself out loud, 'I dunno...

Gilgamesh, where are you roaming? You will never find the eternal life that you seek. When the gods created mankind, they also created death, and they held back eternal life for themselves alone. Humans are born, they live, then they die, this is the order that the gods have decreed. But until the end comes, enjoy your life, spend it in happiness, not despair. Savour your food, make each of your days a delight, bathe and anoint yourself, wear bright clothes that are sparkling clean, let music and dancing fill your house, love the child who holds you by the hand, and give your wife pleasure in your embrace. That is the best way for a man to live.

Two souls in harmony create a symphony that echoes through eternity.

Eurydice Speaks” How will I know you in the underworld? How will we find each other? We lived for so long on the physical earth— Our skies littered with actual stars Practical tides in our bay— What will we do with the loneliness of the mythical? Walking beside ditches brimming with dactyls, By a ferryman whose feet are scanned for him On the shore of a river written and rewritten As elegy, epic, epode. Remember the thin air of our earthly winters? Frost was an iron, underhand descent. Dusk was always in session And no one needed to write down Or restate, or make record of, or ever would, And never will, The plainspoken music of recognition, Nor the way I often stood at the window— The hills growing dark, saying, As a shadow became a stride And a raincoat was woven out of streetlight I would know you anywhere.

Confidence don't mean jack shit in the real world, sis," she once said. I feel myself finding the courage to trust those words more and more with every twist of the knife. Coincidentally, last Tuesday afternoon I was involuntarily exposed to the punch line of an old wise tale that goes something like: "There's beauty that can be found in everything." But why can't the insensitive cunt who said that ever find the courage to look in the mirror? Because poopycock, one might say.

In physics: It’s called simultaneity. In music: rhythm. In your life: epic failure.

this was all evidence of the tradition at work, of Homer being more interested in epic music than its meaning.

Social anthems and protest songs had long been part of the heritage of rock—but not like this. “Earth Song” was something more epic, dramatic, and primal. Its roots were deeper, its vision more panoramic. It was a lamentation torn from the pages of the Old Testament; a “sorrow song” in the tradition of slave spirituals; an apocalyptic prophecy with echoes of Blake, Yeats and Eliot. It conveyed musically what Picasso’s masterful painting, Guernica, conveyed in art. Inside its swirling scenes of destruction and suffering were voices—crying, pleading, shouting to be heard. (“What about us?”)

Could he make a painting as emotional and epic as a Wagner opera? Not with the intention of replicating the maestro’s music, but to produce a parallel experience where colors were the notes and their composition the tonality.

Finding patterns and structure in information is how our brains extract meaning from the world, and putting words to music and rhyme are a way of adding extra levels of pattern and structure to language. It’s the reason Homeric bards sang their epic oral poems, the reason that the Torah is marked up with little musical notations, and the reason we teach kids the alphabet in a song and not as twenty-six individual letters. Song is the ultimate structuring device for language.

After we hung up, I took the joint. If I was going to die here, in the creepy basement out of a horror movie, in an epic snowstorm that was like an icy prison, with a wife unwilling to pretend-like Bananarama to maybe save her husband's life, I should at least go out with a smile on my face.

Poetry was the wrong art for people who love justice. It was not like dance music. Painting is the wrong art for people who love justice. It is not like science fiction. Epics are the dance music of the people who love war. Movies are the justice of the people who love war. Information is the poetry of the people who love war. You should know this: that feed is your poem.

Our home villages with the hills, mountains and forests, the lakes and ponds, rivers and streams, waterfall and fjords. The smell of new hay in summer, of birches in spring, of the sea, and the big forest, and even the biting winter cold. Everything . . . Norwegian songs and music and so much, much more. That’s our Fatherland and that’s what we have to struggle to get back.

Humans are born, they live, then they die, this is the order that the gods have decreed. But until the end comes, enjoy your life, spend it in happiness, not despair. Savor your food, make each of your days a delight, bathe and anoint yourself, wear bright clothes that are sparkling clean, let music and dancing fill your house, love the child who holds you by the hand, and give your wife pleasure in your embrace. That is the best way for a man to live.

Humans are born, they live, then they die, this is the order that the gods have decreed. But until the end comes, enjoy your life, spend it in happiness, not despair. Savor your food, make each of your days a delight, bathe and anoint yourself, wear bright clothes that are sparkling clean, let music and dancing fill your house, love the child who holds you by the hand, and give your wide pleasure in your embrace. That is the best way for a man to live.

Arin glanced up as she approached. One tree shadowed the knoll, a laran tree, leaves broad and glossy. Their shadows dappled Arin’s face, made it a patchwork of sun and dark. It was hard to read his expression. She noticed for the first time the way he kept the scarred side of his face out of her line of sight. Or rather, what she noticed for the first time was how common this habit was for him in her presence--and what that meant. She stepped deliberately around him and sat so that he had to face her fully or shift into an awkward, neck-craned position. He faced her. His brow lifted, not so much in amusement as in his awareness of being studied and translated. “Just a habit,” he said, knowing what she’d seen. “You have that habit only with me.” He didn’t deny it. “Your scar doesn’t matter to me, Arin.” His expression turned sardonic and interior, as if he were listening to an unheard voice. She groped for the right words, worried that she’d get this wrong. She remembered mocking him in the music room of the imperial palace (I wonder what you believe could compel me to go to such epic lengths for your sake. Is it your charm? Your breeding? Not your looks, surely.). “It matters because it hurts you,” she said. “It doesn’t change how I see you. You’re beautiful. You always have been to me.” Even when she hadn’t realized it, even in the market nearly a year ago. Then later, when she understood his beauty. Again, when she saw his face torn, stitched, fevered. On the tundra, when his beauty terrified her. Now. Now, too. Her throat closed. The line of his jaw hardened. He didn’t believe her. “Arin--” “I’m sorry for what happened in the village.” She dropped her hand to her lap. She hadn’t been conscious of lifting it.

Bill Prady: By the way, I have a friend named Howard Wolowitz. When I was in the computer business, Howie was my partner. He’s in his seventies now, living in Connecticut, and nothing like Wolowitz; I just liked his name because there was this musicality to it. I asked him at one point if that was okay if we used his name and he thought it was fun and wouldn’t really affect his life much. Of course, he then spent years putting down a credit card or a driver’s license and people going, “Really? No, really, that’s your name?” [Laughs] Howie and Simon got to meet, actually, and he was also an extra in an episode.

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.

Invisible Touch (Atlantic; 1986) is the group’s undisputed masterpiece. It’s an epic meditation on intangibility, at the same time it deepens and enriches the meaning of the preceding three albums. It has a resonance that keeps coming back at the listener, and the music is so beautiful that it’s almost impossible to shake off because every song makes some connection about the unknown or the spaces between people (“Invisible Touch”), questioning authoritative control whether by domineering lovers or by government (“Land of Confusion”) or by meaningless repetition (“Tonight Tonight Tonight”). All in all it ranks with the finest rock ’n’ roll achievements of the decade and the mastermind behind this album, along of course with the brilliant ensemble playing of Banks, Collins and Rutherford, is Hugh Padgham, who has never found as clear and crisp and modern a sound as this. You can practically hear every nuance of every instrument.

The law isn’t supposed to be about unspoken excuses and behind-the-scenes calculations. The beauty of the system is that judges and juries are allowed to consider only what is seen and heard in open court. In between the white lines of this arena, it’s all supposed to make sense. This is where we all get to be equal again. In the defendant’s chair, rich and poor ride the same roller coaster, face the same music. Case has to match case. Sentence should match sentence. But they don’t match anymore. They probably never did, and probably it was never even close. But at least there was the illusion of it. What’s happened now, in this new era of settlements and non prosecutions is that the state has formally surrendered to its own excuses. It has decided just to punt from the start and take the money which doesn’t become really wrong until it turns around the next day and decides to double down on the less-defended, flooring it all the way to trial against a welfare mom or some joker who sold a brick of dope in the projects. Repeat the same process a few million times, and that’s how the jails in American get the population they have. Even if every single person they sent to jail were guilty, the system would still be an epic fail—it’s the jurisprudential version of Pravda, where the facts int he paper might have all been true on any given day, but the lie was all in what was not said. That’s what nobody gets, that the two approaches to justice may individually make a kind of sense. but side by side they’re a dystopia, here common city courts become factories for turning poor people into prisoners, while federal prosecutors on the white-collar beat turn into overpriced garbage men, who behind closed doors quietly dispose of the sins of the rich for a fee. And it’s evolved this way over time and for a thousand reasons, so that almost nobody is aware of the whole picture, the two worlds so separate that they’re barely visible to each other. The usual political descriptors like “unfairness” and “injustice” don’t really apply. it’s more like a breakdown into madness.

A musical laugh sprang free, her happy smile trailing behind, and I was in heaven. “Until you,” she agreed. She squinted one eye and added, “Though you should know, I’m probably gonna be really, really bad at it.” The expression on her face said she honestly believed it, and I couldn’t wait to prove her wrong. I leaned close to her ear and whispered across her skin, “That’s impossible.” Peyton’s breath caught in a gasp, and I angled back to see her face. That’s when the moment changed. Sounds of the emptying baseball field fell away. The cool air around us kindled. The soft smile on her face faded as she looked into my eyes, shifting her gaze between them to see what I’d do next. Part of me wondered the same thing. I’d kissed dozens of girls before. Some I wanted, others purely because I was bored. But I’d never felt anything like this. Anticipation. Want. Fear. Unlike any other kiss I’d ever shared, this one needed to be epic. Girls remembered their first kiss for the rest of their lives, and I had to leave Peyton with something good to cling to later… when I inevitably screwed everything up. Gauging her reaction, I slowly lowered my head and watched her soft lips part. Adrenaline surged through my veins at the swipe of her tongue. She nodded once, silently giving me permission, then closed her eyes. Inhaling the scent of sunflowers, I kissed her.

Perhaps because the Beatles commanded enormous space across the country’s newspaper real estate, Bob Dylan seemed the far more likely music figure to assume the mantle of bard, or at the very least start issuing volumes of poetry. Already, Dylan attracted British esteem as a “poet,” long before this debate started up in America, and allowed skeptics to disdain Lennon as a mere pop star while Dylan still wore his acoustic folkie halo. Many writers gloss over how Dylan’s leap to rock ’n’ roll during the coming season came as a far greater shock to British sensibilities than it did to American ears. For Lennon to issue verse in book form ahead of Dylan had a kind of weird British advance revenge to it, as though they could not just conquer American music but best them at the word game as well, and who better to do so than the giant pop star whose brains were obviously way too advanced for this rock stuff he would surely grow out of? Lennon and Dylan began to spar in the British imagination, the antic Scouser who always threatened to go round the bend against the oddly prolific American whose epic abstractions quite nearly absolved him of being Jewish. Since In His Own Write’s release on April 7, 1964, reviewers had gone overboard to praise Lennon’s unlikely literary success while conservative scribblers—like that old man on A Hard Day’s Night’s train—lambasted yet another example of youth’s ingratitude. In His Own Write became another Beatlemania sideshow that gave Lennon’s pop stature heft.

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.

What is the meaning of the antithetical concepts Apollonian and Dionysian which I have introduced into the vocabulary of Aesthetic, as representing two distinct modes of ecstasy? — Apollonian ecstasy acts above all as a force stimulating the eye, so that it acquires the power of vision. The painter, the sculptor, the epic poet are essentially visionaries. In the Dionysian state, on the other hand, the whole system of passions is stimulated and intensified, so that it discharges itself by all the means of expression at once, and vents all its power of representation, of imitation, of transfiguration, of transformation, together with every kind of mimicry and histrionic display at the same time. The essential feature remains the facility in transforming, the inability to refrain from reaction (—a similar state to that of certain hysterical patients, who at the slightest hint assume any role). It is impossible for the Dionysian artist not to understand any suggestion; no outward sign of emotion escapes him, he possesses the instinct of comprehension and of divination in the highest degree, just as he is capable of the most perfect art of communication. He enters into every skin, into every passion: he is continually changing himself. Music as we understand it today is likewise a general excitation and discharge of the emotions; but, notwithstanding this, it is only the remnant of a much richer world of emotional expression, a mere residuum of Dionysian histrionism. For music to be made possible as a special art, quite a number of senses, and particularly the muscular sense, had to be paralysed (at least relatively: for all rhythm still appeals to our muscles to a certain extent): and thus man no longer imitates and represents physically everything he feels, as soon as he feels it. Nevertheless that is the normal Dionysian state, and in any case its primitive state. Music is the slowly attained specialisation of this state at the cost of kindred capacities.

On a break from the tour, I went south to Bali, a place the choreographer Toni Basil, whom Eno and I had met during the Bush Of Ghosts sessions, had recommended as being transporting and all about performance. I rented a small motorcycle and headed up into the hills, away from the beach resort. I soon discovered that if one saw offerings of flowers and fruit being brought to a village temple compound in the afternoon, one could be pretty certain that some sort of ritual performance would follow there at night. Sure enough, night after night I would catch dances accompanied by gamelan orchestras and shadow-puppet excerpts from the Hindu Ramayana--epic and sometimes ritual performances that blended religious and theatrical elements. (A gamelan is a small orchestra made up mainly of tuned metallic gongs and xylophone-like instruments--the interplay between the parts is beautiful and intricate.) In these latter events some participants would often fall into a trance, but even in trance there were prescribed procedures. It wasn't all thrashing chaos, as a Westerner might expect, but a deeper kind of dance. As In Japanese theater, the performers often wore masks and extreme makeup; their movements, too, were stylized and "unnatural." It began to sink in that this kind of "presentational" theater has more in common with certain kinds of pop-music performance that traditional Western theater did. I was struck by other peripheral aspects of these performances. The audiences, mostly local villagers of all ages, weren't paying attention half the time. People would wander in and out, go get a snack from a cart or leave to smoke a bidi cigarette, and then return to watch some more. This was more like the behavior of audiences in music clubs than in Western theaters, where they were expected to sit quietly and only leave or converse once the show was over. The Balinese "shows" were completely integrated into people's daily lives, or so it seemed to me. There was no attempt to formally separate the ritual and the show from the audience. Everything seemed to flow into everything else. The food, the music, and the dance were all just another part of daily activity. I remembered a story about John Cage, who, when in Japan, asked someone what their religion was. The reply was that they didn't have a strict religion--they danced. Japanese do, of course, have Buddhist and Shinto rituals for weddings, funerals, and marriages, but a weekly thing like going to church or temple doesn't exist. The "religion" is so integrated into the culture that it appears in daily gestures and routines, unsegregated for ordinary life. I was beginning to see that theatricality wasn't necessarily a bad thing. It was part of life in much of the world, and not necessarily phony either.

But we are the same, yes, but were not. We are three completely different people, we play three completely different instruments and all epically fail when trying to play each other’s" he said as Daniel and I nodded slowly. That was far to true. "I wrote this piece because I love that these three instruments that make three different sounds, are played three different ways and look different, can create such a beautiful harmony if they're played correctly" he swallowed again then looked at Daniel and I "And I think although we are three different people, who - usually - look different, and who come out with three different kinds of ridiculous-ness" he said and we both laughed "If we come together we work perfectly with each other and can in some senses create a beautiful harmony

Wanita Young vs. Free Cookies Cookies will brighten up anybody’s day—especially if they’re being given away for free. At least, that’s what two teenage girls thought when they surprised their neighbor with a plate of homemade cookies. But they were in for a surprise. The two girls, Lindsey Zellitti and Taylor Ostergaard, wanted to do something nice for their neighbors. So they went around their neighborhood, knocking on doors and leaving a small package of cookies in front of every door. When they got to 49-year-old Wanita Young’s house, the sound of the girls knocking on the door apparently drove her into an anxiety attack, causing her to call the police who eventually took her to the hospital. After the girls apologized, and after they offered to pay her hospital bills, Young still decided to take them to court and sue them for $900—and she actually won the case.

Epic, adult and widescreen in its ambitions, the beefed-up Comeback version of 'Let Yourself Go' sounded almost violent in its execution, with Elvis's raw and desperate vocals every match for the gargantuan, aggressive horns and percussion that dominated the mix. A big, sweaty, dusty monster of a take towered over the Culver City version, and perfectly captured the tumultuous social and political strife of its era in dissonant musical form. This new version of 'Let Yourself Go' was unfailingly magnificent in its vision.

Kimbanguism is an extremely peace-loving religion, yet brimming with military allusions. Those symbols were not originally part of the religion, but were copied in the 1930s from the Salvation Army, a Christian denomination that, unlike theirs, was not banned at that time. The faithful believed that the S on the Christian soldiers’ uniform stood not for “Salvation” but for “Simon,” and became enamored of the army’s military liturgy. Today, green is still the color of Kimbanguism, and the hours of prayer are brightened up several times a day by military brass bands. Those bands, by the way, are truly impressive. It is a quiet Monday evening when I find myself on the square. While the martial music rolls on and on, played first by the brass section, then by flutes, the faithful shuffle forward to be blessed by the spiritual leader. In groups of four or five, they kneel before the throne. The spiritual leader himself is standing. He wears a gray, short-sleeved suit and gray socks. He is not wearing shoes. In his hand he holds a plastic bottle filled with holy water from the “Jordan,” a local stream. The believers kneel and let themselves be anointed by the Holy Spirit. Children open their mouths to catch a spurt of holy water. A young deaf man asks for water to be splashed on his ears. And old woman who can hardly see has her eyes sprinkled. The crippled display their aching ankles. Fathers come by with pieces of clothing belonging to their sick children. Mothers show pictures of their family, so the leader can brush them with his fingers. The line goes on and on. Nkamba has an average population of two to three thousand, plus a great many pilgrims and believers on retreat. People come from Kinshasa and Brazzaville, as well as from Brussels or London. Thousands of people come pouring in, each evening anew. For an outsider this may seem like a bizarre ceremony, but in essence it is no different from the long procession of believers who have been filing past a cave at Lourdes in the French Pyrenees for more than a century. There too, people come from far and near to a spot where tradition says unique events took place, there too people long for healing and for miracles, there too people place all their hope in a bottle of spring water. This is about mass devotion and that usually says more about the despair of the masses than about the mercy of the divine. After the ceremony, during a simple meal, I talk to an extremely dignified woman who once fled Congo as a refugee and has been working for years as a psychiatric nurse in Sweden. She loves Sweden, but she also loves her faith. If at all possible, she comes to Nkamba each year on retreat, especially now that she is having problems with her adolescent son. She has brought him along. “I always return to Sweden feeling renewed,” she says.

But in the end, it’s still just cleaning a table.” “And therefore does not really signify on the cosmic scale of events?” the man suggested. He smiled in response to the man’s grin, “Well, yes.” “But then, what does signify? My other work? Is that really important, either? I could try composing wonderful musical works, or day-long entertainment epics, but what would that do? Give people pleasure? My wiping this table gives me pleasure. And people come to a clean table, which gives them pleasure. And anyway” — the man laughed — “people die; stars die; universes die. What is any achievement, however great it was, once time itself is dead? Of course, if all I did was wipe tables, then of course it would seem a mean and despicable waste of my huge intellectual potential. But because I choose to do it, it gives me pleasure. And,” the man said with a smile, “it’s a good way of meeting people. So where are you from, anyway?

A 2010 Los Angeles Opera production of Wagner’s Ring Cycle cost $31 million to produce.24 Broadway shows don’t usually cost that much, unless you’re talking about the recent Spider-Man debacle. U2’s last concert-tour budget might be in that range, but those were stadium shows attracting huge numbers of people. And in those latter two instances, the people who wrote the music are still alive, and presumably they get paid a piece out of every ticket sold, which is part of what keeps those production costs up. Wagner has been dead for a long time, so one assumes it’s not his agent who is charging the moon and driving up the cost of these Ring productions. (Granted, it is a four-part epic.) The Los Angeles Opera ended up with a $6 million deficit due to “slack demand for expensive tickets.

Love, like music, transcends time and echoes in eternity.

The music of Stevie Wonder joins forces with a receptive heart to transform your delicate ennui into a wind-graced moment of relaxation. Exceeding the recommended girth of your mirth, his voice seems to stem from the open-mouthed gargoyles above churches of a village reclining on the gradient of eternal bliss. His epic song I JUST CALLED TO SAY I LOVE YOU leaves me with the desire to romp among the Eurus of distant clouds.

The Advent of Karna Now the feats of arm are ended, and the closing hour draws nigh, Music's voice is hushed in silence, and dispersing crowds pass by, Hark! Like welkin-shaking thunder wakes a deep and deadly sound, Clank and din of warlike weapons burst upon the tented ground! Are the solid mountains splitting, is it bursting of the earth, Is it tempest's pealing accent whence the lightning takes its birth? Thoughts like these alarm the people for the sound is dread and high, To the gate of the arena turns the crowd with anxious eye! Gathered round preceptor Drona, Pandu's sons in armour bright, Like the five-starred constellation round the radiant Queen of Night, Gathered round the proud Duryodhan, dreaded for his exploits done, All his brave and warlike brothers and preceptor Drona's son, So the gods encircled Indra, thunder-wielding, fierce and bold, When he scattered Danu's children in the misty days of old! Pale, before the unknown warrior, gathered nations part in twain, Conqueror of hostile cities, lofty Karna treads the plain! In his golden mail accoutred and his rings of yellow gold, Like a moving cliff in stature, arméd comes the chieftain bold! Pritha, yet unwedded, bore him, peerless archer on the earth, Portion of the solar radiance, for the Sun inspired his birth! Like a tusker in his fury, like a lion in his ire, Like the sun in noontide radiance, like the all-consuming fire! Lion-like in build and muscle, stately as a golden palm, Blessed with every very manly virtue, peerless warrior proud and calm! With his looks serene and lofty field of war the chief surveyed, Scarce to Kripa or to Drona honour and obeisance made! Still the panic-stricken people viewed him with unmoving gaze, Who may be this unknown warrior, questioned they in hushed amaze! Then in voice of pealing thunder spake fair Pritha's eldest son Unto Arjun, Pritha's youngest, each, alas! to each unknown! “All thy feats of weapons, Arjun, done with vain and needless boast, These and greater I accomplish—witness be this mighty host!” Thus spake proud and peerless Karna in his accents deep and loud, And as moved by sudden impulse leaped in joy the listening crowd! And a gleam of mighty transport glows in proud Duryodhan's heart, Flames of wrath and jealous anger from the eyes of Arjun start! Drona gave the word, and Karna, Pritha's war-beloving son, With his sword and with his arrows did the feats by Arjun done!

Actually, Wilson's art can't fit into these neat categories. My own take is that the best way to think of Wilson is as an outsider musician, but one who actually happens to have a huge amount of talent. Much like, say, Wesley Willis, Wilson is focussed on having huge commercial success, but has little to no idea what actually counts as commercial. He's very easily swayed by people around him, so if he's told he should be doing three-minute pop songs, he does three-minute pop songs, and if he's told he should do epic suites about the American Dream, he does those. But at all times there are two things that remain true about him: he has an unerring ability as an arranger, and a directness that makes his music more communicative than any other music I've ever heard.

Future is turning out to be the crown jewel of Epic,

THE BASTARD STEPCHILD There’s a new kid on the shelves in bookstores these days. Most often he can be found back in the science fiction and fantasy section, walking with a certain swagger among the epic fantasies, the space operas, the sword-and-sorcery yarns and cyberpunk dystopias. Sometimes he wanders up front, to hang out with the bestsellers. They call him “urban fantasy,” and these past few years he’s been the hottest subgenre in publishing. The term “urban fantasy” isn’t new, truth be told. There was another subgenre that went by that name back in the 1980s; it mostly seemed to involve elves playing in folk-rock bands and riding motorcycles through contemporary urban landscapes—usually in Minneapolis or Toronto, both of which are very nice towns. The new urban fantasy may be some kin to that 1980s variety, but if so, the kinship is a distant one, for the new kid is a bastard through and through. He makes his home on streets altogether meaner and dirtier than those his cousin walked, in New York and Chicago and L.A. and nameless cities where blood runs in the gutters and the screams in the night drown out the music. Maybe a few elves are still around, but if so, they’re likely to be hooked on horse or coke or stronger, stranger drugs, or maybe they’re elf hookers being pimped out by a werewolf. Those bloody lycanthropes are everywhere, though it’s the vampires who really run the town . . . And don’t forget the zombies, the ghouls, the demons, the witches and warlocks, the incubi and succubi, and all the other nasty, narsty things that go bump in the night. (And worse, the ones that make no sound at all.)

The woman's experience in the Song of Songs brings out the deep structure of the human soul. The Sehnsucht that C.S. Lewis describes is not an allegory of our need for love and ultimately for God; it is an expression of it. A passing glimpse of glory one may catch when looking at the heavens, or when listening to music, or when reading the words of an epic poem is a breaking out of this deep yearning for that which is good, beautiful, and loving. When people experience love, joy, freedom, and intimacy on any level, they are experiencing something that redeems human nature. Knowing God is therefore the ultimate experience of redemption; every other redemptive experience is real but limited, like a foreshadow.

Blakeborough has never struck me as the kind of man to overlook criminal behavior, even in his brother.” “True. He has a strong moral sense, even if he does hide it beneath an equally strong aversion to people.” He drew back to stare at her. “Forgive me, sweeting, but I cannot imagine you married to him. His melancholy would give you fits within a month.” “Right,” she teased, “because I’m much better off married to a man who follows plans so slavishly that he stays awake half the night for fear of oversleeping and missing the coronation.” He arched an eyebrow. “I couldn’t sleep for watching you nurse Ambrose. It’s been some time since I…well…saw your charms unveiled in any other capacity. I have to take my pleasures where I may.” “Aw, my poor dear,” she said in mock concern. Deciding to put him out of his misery, she added, “I ought to say that’s what you get for being so unfashionable as to share a bedchamber with your wife, but as it happens, Dr. Worth--” The music abruptly ended, and the sound of a gong being struck broke into everyone’s conversations. They fell silent as Max went to stand at the entrance to the room with Victor and Isabella at his side. “Attention, everyone!” Max clapped his cousin on the back. “I am proud and pleased to introduce to you the new owner of Manton’s Investigations.” Cheers and applause ensued. When it died down, Tristan called out, “So the legal machinations are finally done? Dom has actually let go of the thing at last?” “I signed the papers yesterday,” Dom told his brother. He gazed fondly at Jane. “I decided I’d lost enough of my life to finding other people’s families. Now I’d rather spend time with my own.” “I’ll bet that didn’t stop you from writing a contract of epic proportions.” Lisette grinned at her husband. “How many stipulations did Dom make before he agreed to complete the sale?” “Only one, actually,” Max said. Everyone’s jaw dropped, including Jane’s. She gaped at her husband. “Only one? You didn’t dictate how Victor is to run the thing and when and where and--” “As you once said so eloquently, my love, ‘you can set a plan in motion, but as soon as it involves people, it will rarely commence exactly as you wish.’ There didn’t seem much point in setting forth a plan that wouldn’t be followed.” Dom smirked at her. “I do heed your trenchant observations, you know. Sometimes I even act on them.” She was still staring at him incredulously when he shifted his gaze to Victor. “Besides, Victor is a good man. I trust him to uphold the reputation of Manton’s Investigations.” Jane glanced at Victor. “You’re not going to change the name to ‘Cale Investigations’?” Victor snorted. “I’d have to be mad. Who wants to start from scratch to build a company’s reputation? It’s known for excellence as Manton’s, and it will always be known as Manton’s, as long as I have anything to say about it.” “So what was the one stipulation that Dom required?” Tristan asked. Dom scowled. “That it never, in any official capacity, whether in interviews or correspondence or consultation, be referred to as ‘the Duke’s Men.’” As everyone burst into laughter, Jane stretched up to kiss his cheek. “Now, that sounds more like you, my darling.

The people of Hastinapura did not need a certificate of greatness from them. Nevertheless, it irked the elite that these foreigners did not see the inherent spirituality in their music and art or understand the scientific basis of every ritual and superstition. Why did they insist on going about the stinking slums and talking about the Shudras who lived there? Why did they even care?

He walked for days, stopping at bars and restaurants whenever he felt thirsty, hungry or tired; mostly they were automatic and he was served by little floating trays, though a few were staffed by real people. They seemed less like servants and more like customers who’d taken a notion to help out for a while. “Of course I don’t have to do this,” one middle-aged man said, carefully cleaning the table with a damp cloth. He put the cloth in a little pouch, sat down beside him. “But look, this table’s clean.” He agreed that the table was clean. “Usually,” the man said. “I work on alien — no offense — alien religions; Directional Emphasis In Religious Observance; that’s my speciality . . . like when temples or graves or prayers always have to face in a certain direction; that sort of thing? Well, I catalog, evaluate, compare; I come up with theories and argue with colleagues, here and elsewhere. But . . . the job’s never finished; always new examples, and even the old ones get reevaluated, and new people come along with new ideas about what you thought was settled . . . but” — he slapped the table — “when you clean a table you clean a table. You feel you’ve done something. It’s an achievement.” “But in the end, it’s still just cleaning a table.” “And therefore does not really signify on the cosmic scale of events?” the man suggested. He smiled in response to the man’s grin, “Well, yes.” “But then, what does signify? My other work? Is that really important, either? I could try composing wonderful musical works, or day-long entertainment epics, but what would that do? Give people pleasure? My wiping this table gives me pleasure. And people come to a clean table, which gives them pleasure. And anyway” — the man laughed — “people die; stars die; universes die. What is any achievement, however great it was, once time itself is dead? Of course, if all I did was wipe tables, then of course it would seem a mean and despicable waste of my huge intellectual potential. But because I choose to do it, it gives me pleasure. And,” the man said with a smile, “it’s a good way of meeting people. So where are you from, anyway?

Something about the church being like Star Wars? I was trying to remember it today when I was talking to Father McKenzie, but I clean forgot.’ Buchan downed his drink, then placed the glass firmly on the table. There was nothing for him here, nothing good to come from sitting any longer. ‘They both look great,’ said Buchan. ‘The CGI on Star Wars, the colour palettes, the scope and the scale of the worlds they create, is extraordinary. Just like the Church looks great. So many wonderful buildings, so much jaw-dropping architecture and art. And the music too. Star Wars music, it’s epic. Some of the best, most iconic film music there is. And there’s tonnes, I mean, tonnes of great religious music, from, I don’t know, God Rest Ye Merry Gentlemen to Arvo Pärt’s Deer’s Cry, and Bach’s Christmas Oratorio. Everything in between. But then we get to the message, the dialogue, the script, the story... And they’re both shit.

Listen to epic music and you want to do epic shit.

His notebooks are filled with lists of books he acquired and passages he copied. In the late 1480s he itemized five books he owned: the Pliny, a Latin grammar book, a text on minerals and precious stones, an arithmetic text, and a humorous epic poem, Luigi Pulci’s Morgante, about the adventures of a knight and the giant he converted to Christianity, which was often performed at the Medici court. By 1492 Leonardo had close to forty volumes. A testament to his universal interests, they included books on military machinery, agriculture, music, surgery, health, Aristotelian science, Arabian physics, palmistry, and the lives of famous philosophers, as well as the poetry of Ovid and Petrarch, the fables of Aesop, some collections of bawdy doggerels and burlesques, and a fourteenth-century operetta from which he drew part of his bestiary.

History, when told as epic, often has the thrilling grandeur of Dvorak or Smetana, Borodin or Mussorgsky, but historical fiction must also find the intimacies and dissonances of the delicate little piano pieces of Satie and Debussy. For it is in the millions of small melodies that the truth of history is always found, for history only matters because of the effects we see or imagine in the lives of the ordinary people who are caught up in, or give shape to, the great events. Tchaikowsky can carry me away, but I tire quickly of the large effect, which feels so hollow and false on the second hearing. Of Satie I never tire, for his music is endlessly surprising and yet perfectly satisfying. If I can bring off this novel in Tchaikowsky’s terms, that is well and good; but if I can also give you moments of Satie, I am far happier, for that is the harder and, ultimately, more rewarding task.

So, too, rose the language and music of urban America that sprang from the blues that came with the migrants and dominates our airwaves to this day. So, too, came the people who might not have existed, or become who they did, had there been no Great Migration. People as diverse as James Baldwin and Michelle Obama, Miles Davis and Toni Morrison, Spike Lee and Denzel Washington, and anonymous teachers, store clerks, steelworkers, and physicians, were all products of the Great Migration. They were all children whose life chances were altered because a parent or grandparent had made the hard decision to leave.

The Young Tradition’s third and final album, Galleries (1968), was an epic of time-banditry, whizzing through the seven ages of English folk song, from field to ballad to seventeenth-century Puritan hymns. It boldly juxtaposed music by Renaissance poet Thomas Campion and Methodist preacher Charles Wesley, making one daring leap forward to blues singer Robert Johnson’s complaint of stones in his passway, and with a pastiche ‘Medieval Mystery Tour’ copped from Bert Jansch and John Renbourn. A staple diet of English folk was also included in the shape of ‘John Barleycorn’, ‘The Husband and the Servingman’ and ‘The Bitter Withy’. But the most eyebrow-raising element was the instrumental ensemble that made its guest appearance on two songs, Campion’s ‘What If a Day’ and the traditional ‘Agincourt Carol’. The Early Music Consort’s David Munrow, Christopher Hogwood and Roddy and Adam Skeaping were among the first of a new breed of authentic instrumentalists, avid collectors of medieval rebecs, shawms and hurdy-gurdies, reviving a medieval Gothic and Renaissance repertoire all but lost to the classical mainstream. Their approach was at once scholarly and populist; in what was to prove a short life, Munrow managed to raise the profile of Early Music significantly, with around fifty recordings and plentiful appearances on TV and radio. Munrow and Bellamy had this in common: neither was afraid to tilt quixotically at a canon.

Love is a very powerful thing. It’s a catalyst. It can inspire an epic poem, or a creation of a moving music that speaks to your soul, or a classic work of art and It can even entice someone to overcome boundaries and reach their greatest potential.

Those who see Show Boat as the progenitor of the form mistake its epic grandeur for its essence. No: most of Show Boat inheres in the zany frivolity of musical comedy, though revisions have been stamping out much of the fun since 1946. Still, the comic nature of Captain Andy and other leads and the use of dance as decoration rather than interpretation place Show Boat in a category of its own.

In their need to cope with the human heart in conflict, in their desire to reconcile the contradictions posed by suffering, fear, anger, and the pursuit of well-being, humans turned to wonder and awe and discovered music making, dancing, painting, and literature. They continued their efforts by creating the often beautiful and sometimes frayed epics that go by such names as religious belief, philosophical inquiry, and political governance. From cradle to grave, these were some of the ways in which the cultural mind addressed the human drama.

Pound firmly dismissed the ragbag reaction in an interview with Pier Paolo Pasolini in 1968, and at the same time he raised the possibility of an unprosaic approach. ‘They say they are chosen at random, but that’s not the way it is’, he said, ‘It’s music. Musical themes that find each other out.’ He had evidently attempted to explain this to Yeats, but without much success. ‘Can impressions that are in part visual, in part metrical, be related like the notes of a symphony,’ Yeats had queried sceptically in the introduction to his Oxford Book of Modern Verse (1936), or ‘has the author been carried beyond reason by a theoretical conception?

Later, he had wandered off. The huge ship was an enchanted ocean in which you could never drown, and he threw himself into it to try to understand if not it, then the people who had built it. He walked for days, stopping at bars and restaurants whenever he felt thirsty, hungry or tired; mostly they were automatic and he was served by little floating trays, though a few were staffed by real people. They seemed less like servants and more like customers who’d taken a notion to help out for a while. “Of course I don’t have to do this,” one middle-aged man said, carefully cleaning the table with a damp cloth. He put the cloth in a little pouch, sat down beside him. “But look, this table’s clean.” He agreed that the table was clean. “Usually,” the man said. “I work on alien — no offense — alien religions; Directional Emphasis In Religious Observance; that’s my speciality . . . like when temples or graves or prayers always have to face in a certain direction; that sort of thing? Well, I catalog, evaluate, compare; I come up with theories and argue with colleagues, here and elsewhere. But . . . the job’s never finished; always new examples, and even the old ones get reevaluated, and new people come along with new ideas about what you thought was settled . . . but” — he slapped the table — “when you clean a table you clean a table. You feel you’ve done something. It’s an achievement.” “But in the end, it’s still just cleaning a table.” “And therefore does not really signify on the cosmic scale of events?” the man suggested. He smiled in response to the man’s grin, “Well, yes.” “But then, what does signify? My other work? Is that really important, either? I could try composing wonderful musical works, or day-long entertainment epics, but what would that do? Give people pleasure? My wiping this table gives me pleasure. And people come to a clean table, which gives them pleasure. And anyway” — the man laughed — “people die; stars die; universes die. What is any achievement, however great it was, once time itself is dead? Of course, if all I did was wipe tables, then of course it would seem a mean and despicable waste of my huge intellectual potential. But because I choose to do it, it gives me pleasure. And,” the man said with a smile, “it’s a good way of meeting people. So where are you from, anyway?

As Adam and Masa drove away from WeWork’s headquarters, Masa pulled out an iPad and began sketching the terms of a deal: SoftBank and the Vision Fund would invest more than $4 billion into WeWork. The investment would be the Vision Fund’s biggest to date, and many times larger than any funding round Adam had managed thus far. Masa signed his name, drew another line next to it, and handed Neumann the stylus. Adam had gotten WeWork this far in large part by making shrewd deals—acting coy when it suited him and playing hardball when necessary. But that morning, Adam had met with a spiritual adviser, as he often did before making big decisions, and received some advice: in life, it was sometimes necessary to do “the opposite of our nature.” Adam also knew a good deal when he saw one. After Masa dropped him off, Neumann got into his white Maybach, which had been trailing Masa’s car, turned up some rap music, and drove back to WeWork headquarters. A photo of the digital napkin, with Masa’s signature in red and Adam’s in blue, was soon circulating among WeWork executives. The entire exchange, from Masa’s twelve-minute tour to signatures sealing one of the largest venture capital investments of all time, had taken less than half an hour.

Michelangelo, however, stood apart from these musical parties. It sounds as though, even as an adolescent, he was already antisocial, reclusive and driven: constantly drawing and carving. Only such dedication could explain the rapidity of the progress he made. Within two years, he had become as skilful a sculptor in marble as any alive.

I felt like a pilgrim upon a rare and spiritual planet landing the soil of Mykonos,I ensured it could give me a high inspiration for a next new epic,which was machining inside my inner brains.

Compelling and poetic, Four Letters of Love spirits the reader away to a magical, mist-clad coastline, inhabited by a passionate people, and unfurls like some epic poem which has been handed down in song, generation to generation. Half fable, half tragic realism, its musical rhythm is unforgettable

Whoever feels low about the depressing times of our crises-torn world should find solace in SELA, Lionel Richie’s 1986 epic song. So pertinent are the lyrics, bounded by soothing rhythms from fading taps of bongos, which plainly help to whittle the towering scabs of melancholy. Beautiful music! Touching! Replete with important and strong message. Lionel sings with the nerve of a frisking lark, rejoicing unceasingly with the formality of a dewy dawn.

Mr Hobbes, in the preface to his own bald translation of the "Ilias," (studying poetry as he did mathematics, when it was too late,) Mr Hobbes, I say, begins the praise of Homer where he should have ended it. He tells us, that the first beauty of an epic poem consists in diction; that is, in the choice of words, and harmony of numbers. Now the words are the colouring of the work, which, in the order of nature, is last to be considered; the design, the disposition, the manners, and the thoughts, are all before it: where any of those are wanting or imperfect, so much wants or is imperfect in the imitation of human life, which is in the very definition of a poem. Words, indeed, like glaring colours, are the first beauties that arise, and strike the sight; but, if the draught be false or lame, the figures ill disposed, the manners obscure or inconsistent, or the thoughts unnatural, then the finest colours are but daubing, and the piece is a beautiful monster at the best. Neither Virgil nor Homer were deficient in any of the former beauties; but in this last, which is expression, the Roman poet is at least equal to the Grecian, as I have said elsewhere: supplying the poverty of his language by his musical ear, and by his diligence.

Sami Abouzid – A Legendary Composer & Visionary Artist

Sami Abouzid – A Musical Visionary Sami Abouzid is a legendary composer, producer, and multi-instrumentalist known for crafting a unique genre of music that blends electronic symphonies, cinematic soundtracks, EDM, and instrumental masterpieces. His music is a journey of magical moods, emotional depth, and breathtaking melodies, featuring iconic piano and guitar solos that touch the soul. With a career spanning 667+ soundtracks, 54 albums, and 50 singles, Sami Abouzid has shaped a timeless musical legacy, inspired by his eternal love for Scarlett Johansson since 2005. His music is more than sound—it’s an emotion, a story, and a healing force. From epic orchestral compositions to high-energy EDM and New Age cinematic soundscapes, Sami Abouzid’s work transcends genres, offering listeners a legendary musical experience. “Let’s make music great again.”