Future Lyrics Quotes

Well I haven't fucked much with the past, But I've fucked plenty with the future. - Babelogue

The heart may freeze, or it can burn. The pain will ease and I can learn. There is no future, there is no past. I live this moment as, my last.

Even in the far future, never forget the you of right now Wherever you are right now, you’re just taking a break

The past is a life sentence, a blunt instrument aimed at tomorrow.

Creativity is the catalyst to the future.

In the 1950s kids lost their innocence. They were liberated from their parents by well-paying jobs, cars, and lyrics in music that gave rise to a new term ---the generation gap. In the 1960s, kids lost their authority. It was a decade of protest---church, state, and parents were all called into question and found wanting. Their authority was rejected, yet nothing ever replaced it. In the 1970s, kids lost their love. It was the decade of me-ism dominated by hyphenated words beginning with self. Self-image, Self-esteem, Self-assertion....It made for a lonely world. Kids learned everything there was to know about sex and forgot everything there was to know about love, and no one had the nerve to tell them there was a difference. In the 1980s, kids lost their hope. Stripped of innocence, authority and love and plagued by the horror of a nuclear nightmare, large and growing numbers of this generation stopped believing in the future. In the 1990s kids lost their power to reason. Less and less were they taught the very basics of language, truth, and logic and they grew up with the irrationality of a postmodern world. In the new millennium, kids woke up and found out that somewhere in the midst of all this change, they had lost their imagination. Violence and perversion entertained them till none could talk of killing innocents since none was innocent anymore.

Talking about the future, like we had a clue. Never plans that one day, I'd be losing you

In My Daughter's Eyes Lyrics In my daughter's eyes I am a hero I am strong and wise and I know no fear But the truth is plain to see She was sent to rescue me I see who I want to be In my daughter's eyes In my daughter's eyes Everyone is equal Darkness turns to light And the world is at peace This miracle God gave to me Gives me strength when I'm weak I find reason to believe In my daughter's eyes And when she wraps her hand around my finger Oh it puts a smile in my heart Everything becomes a little clearer I realize what life is all about It's hangin' on when your heart Is had enough It's givin' more when you feel like givin' up I've seen the light It's in my daughter's eyes In my daughter's eyes I can see the future A reflection of who I am And what we'll be And though she'll grow and someday leave Maybe raise a family When I'm gone I hope you'll see How happy she made me For I'll be there In my daughter's eyes

If there's a future, we want it now.

History is an angel being blown backwards into the future

Dark night, bright future Like the phoenix from the ashes, I shall rise again

Better take the keys and drive forever. Staying won't put these futures back together. All the perfect drugs and superheroes wouldn't be enough to bring me back to zero.

In the dime stores and bus stations
 People talk of situations
 Read books, repeat quotations
 Draw conclusions on the wall
 Some speak of the future
 My love she speaks softly
 She knows there’s no success like failure
 And that failure’s no success at all -Bob Dylan, “Love Minus Zero / No Limit” (1965)

But I can't confront the doubts I have. I can't admit that maybe the past was bad, and so, for the sake of momentum I'm condemning the future to death so it can match the past.

The future of this nation, with the present generation, You must admit is nothing but a joke

There is no future, there is not past, I live this moment as my last, there's only this, forget regret, no other road, no other way, no day but today

The first five years of a child's life create their future. Teach them about love, about God, and about how special and loved they are. Create a successful and happy future for them. OM

They can take tomorrow and the plans we made They can take the music that we'll never play All the broken dreams, take everything Just take it away but they can never have yesterday They can take the future that we'll never know They can take the places that we said we would go All the broken dreams, take everything Just take it away but they can never have yesterday

You told me ‘bout your past, thinking your future was me - the lyric came at him out of nowhere.

There is a crack, a crack, in everything. That's how the light gets in.

Well my ship’s been split to splinters and it’s sinkin' fast
 I’m drownin’ in the poison, got no future, got no past
 But my heart is not weary, it’s light and it’s free
 I’ve got nothin’ but affection for all those who’ve sailed with me Everybody movin’ if they ain’t already there
 Everybody got to move somewhere
 Stick with me baby, stick with me anyhow
 Things should start to get interestin' right about now My clothes are wet, tight on my skin
 Not as tight as the corner that I painted myself in
 I know that fortune is waitin’ to be kind
 So give me your hand and say you’ll be mine Well, the emptiness is endless, cold as the clay
 You can always come back, but you can’t come back all the way
 Only one thing I did wrong
 Stayed in Mississippi a day too long -Bob Dylan, “Mississippi

The song was the late Ishihara Yujiro’s “Rusty Knife,” and Sakaguchi’s singing was so bad that it gave the lyric a strange new pathos and poignancy. Listening to his version, Suzuki Midori was reminded that no one ever said it would be easy to go on living in this world; Takeuchi Midori pondered the noble truth that nobody’s life consists exclusively of happy times; Henmi Midori vowed to remember that it’s best to keep an open heart and forgive even those who’ve trespassed against us; and Tomiyama Midori had to keep telling herself that hitting rock bottom is in fact the first step to a hopeful new future.

I could be anything but for the faults that I've acquired on my way.

Apollo, your voice hymned a justice I could not see clear, but all too clear the anguish you caused, the bloodhaunted, homeless future you've doled out.

This place…” He pointed to the city, then lapsed into song lyrics, a habit that bubbled up when he was nervous. “‘Is this the real life? Is this just fantasy?

Humans have always exalted dreams. Pindar of Thebes, the Greek lyric poet, suggested that the soul is more active while dreaming than while awake. He believed that during a dream, the awakened soul may see the future, “an award of joy or sorrow drawing near.” So it’s no wonder that humans were quick to reserve dreams for people alone; researchers for many years claimed dreams were a property of “higher” minds. But any pet owner who has heard her dog woof or seen his cat twitch during sleep knows that is not true. MIT researchers now know not only that rats dream, but what they dream about. Neurons in the brain fire in distinctive patterns while a rat in a maze performs particular tasks. The researchers repeatedly saw the exact same patterns reproduced while the rats slept—so clearly that they could tell what point in the maze the rat was dreaming about, and whether the animal was running or walking in the dream. The rats’ dreams took place in an area of the brain known to be involved with memory, further supporting a notion that one function of dreams is to help an animal remember what it has learned.

Keep an eye to the future, and ear to the past, and after thinking it over notice nothing much lasts.

And so we say We ain't digging no grave We're digging a foundation For a future to be made

. . Whatever our future may hold: We still want to say “yes” to life, Because one day the time will come— Then we will be free! If the prisoners of Buchenwald, tortured and worked and starved nearly to death, could find some hope in those lyrics despite their unending suffering, Frankl asks us, shouldn’t we, living far more comfortably, be able to say “Yes” to life in spite of everything life brings us?

Will and Lake, Love is the most beautiful thing in the world. Unfortunately, it's also one of the hardest things in the world to hold on to, and one of the easiest to throw away. Neither of you has a mother or a father to go to for relationship advice anymore. Neither of you has anyone to go to for a shoulder to cry on when things get touch, and they will get touch. Neither of you has someone to go to when you just want to share the funny, or the happy, or the heartache. You are both at a disadvantage when it comes to this aspect of love. You both only have each other, and because of this, you will have to work harder at building a strong foundation for your future together. You are not only each other's love; you are also one another's sole confidant. I hand wrote some things onto strips of paper and folded them into stars. It might be an inspirational quote, an inspiring lyric, or just some downright good parental advice. I don't want you to open one and read it until you truly feel you need it. If you have a bad day, if the two of you fight, or if you just need something to lift your spirits...that's what these are for. You can open one together; you can open one alone. I just want there to be something both of you can go to, if and when you ever need it. Will...thank you. Thank you for coming into our lives. So much of the pain and worry I've been feeling has been alleviated by the mere fact that I know my daughter is loved by you....You are a wonderful man, and you've been a wonderful friend to me. I thank you from the bottom of my heart for loving my daughter like you do. You respect her, you don't need to change for her, and you inspire her. You can never know how grateful I have been for you, and how much peace you have brought my soul. And Lake; this is me-nudging your shoulder, giving you my approval. You couldn't have picked anyone better to love if I would have hand-picked him myself. Also, thank you for being so determined to keep our family together. You were right about Kel needing to be with you. Thank you for helping me see that. And remember when things get touch for him, please teach him how to stop caring pumpkins... I love you both and with you a lifetime of happiness together. -Julia "And all around my memories, you dance..." ~The Avett Brothers

A morning song that can shiver quiet backwaters of the future and fill their waves and silt with hope. A luminous and tranquil song full of thought. . . A song skinned of lyric. . . A song to go to the soul of things." Excerpts from "Se ha puesto el sol" (The Sun Has Set, 1920)

THE ANTHEM OF HOPE Tiny footprints in mud, metal scraps among thistles Child who ambles barefooted through humanity’s war An Elderflower in mud, landmines hidden in bristles Blood clings to your feet, your wee hands stiff and sore You who walk among trenches, midst our filth and our gore Box of crayons in hand, your tears tumble like crystals Gentle, scared little boy, at the heel of Hope Valley, The grassy heel of Hope Valley. And the bombs fall-fall-fall Down the slopes of Hope Valley Bayonets cut-cut-cut Through the ranks of Hope Valley Napalm clouds burn-burn-burn All who fight in Hope Valley, All who fall in Hope Valley. Bullets fly past your shoulder, fireflies light the sky Child who digs through the trenches for his long sleeping father You plant a kiss on his forehead, and you whisper goodbye Vain corpses, brave soldiers, offered as cannon fodder Nothing is left but a wall; near its pallor you gather Crayon ready, you draw: the memory of a lie Kind, sad little boy, sketching your dream of Hope Valley Your little dream of Hope Valley. Missiles fly-fly-fly Over the fields of Hope Valley Carabines shoot-shoot-shoot The brave souls of Hope Valley And the tanks shell-shell-shell Those who toiled for Hope Valley, Those who died for Hope Valley. In the light of gunfire, the little child draws the valley Every trench is a creek; every bloodstain a flower No battlefield, but a garden with large fields ripe with barley Ideations of peace in his dark, final hour And so the child drew his future, on the wall of that tower Memories of times past; your tiny village lush alley Great, brave little boy, the future hope of Hope Valley The only hope of Hope Valley. And the grass grows-grows-grows On the knolls of Hope Valley Daffodils bloom-bloom-bloom Across the hills of Hope Valley The midday sun shines-shines-shines On the folk of Hope Valley On the dead of Hope Valley From his Aerodyne fleet The soldier faces the carnage Uttering words to the fallen He commends their great courage Across a wrecked, tower wall A child’s hand limns the valley And this drawing speaks volumes Words of hope, not of bally He wipes his tears and marvels The miracle of Hope Valley The only miracle of Hope Valley And the grass grows-grows-grows Midst all the dead of Hope Valley Daffodils bloom-bloom-bloom For all the dead of Hope Valley The evening sun sets-sets-sets On the miracle of Hope Valley The only miracle of Hope Valley (lyrics to "the Anthem of Hope", a fictional song featured in Louise Blackwick's Neon Science-Fiction novel "5 Stars".

A place for the newly weds and nearly deads I'm counting the stones I hope you know I love you. Got a lot of friends 6 feet under us. Counting down the days till we join the party. Thoughts of your nightmare projected through mine... Breathing in these lies is no surprise These evil things are all we know Lets take these lives where we want to go. The future is our prize, when the stars align. Ghouls and ghosts will haunt my soul but they will never take me. Before I go, I want to show that we can make a difference. We've got some dumb perceptions. But I've got the death connection... All the hate that you have... Just throw it away Life is meant for more, But we're too distracted.. Too caught up in the anger and judgment.. Caught up in the web of lies I've heard these things keep our blood boiling, Keeps us alive, and moving forward... If that's the case I was born a dead man. And I'm forever a ghost. Hatred is something that we're brought up to see. Now everybody's looking at me I hope they know... They won't get their satisfaction.

Have you ever heard the Hungarian national anthem? No? Good for you! I wouldn’t recommend it at all. Unless you are looking for inspiration for your suicide attempt. If it is not just an attempt but you are deadly serious about your suicide then I strongly recommend you not only read the lyrics but listen to the music too. The most mournful funeral song sounds jolly compared to it. Other nations have inspiring anthems like ‘God Save the Queen’ or the ‘La Marseillaise’ or ‘The StarSpangled Banner’, and their lyrics are about victory and proudness like ‘Russia – our sacred homeland, Russia – our beloved country’ or ‘Germany, Germany above everything, Above everything in the world!’ But what about the Hungarian anthem? It starts with ‘O Lord, bless the Hungarian’ and then follow eight long and painful stanzas about our ‘slave yoke’ and ‘funeral urn’ and ‘the corpses of our defeated army’ and ‘groans of death, weeping’ and finally it finishes with ‘Pity, O Lord, the Hungarians they who have suffered for all sins of the past and of the future!’ Yes, of the future too.

Euripides thought he observed that during these first scenes the spectator was in a strange state of anxiety to make out the problem of the previous history, so that the poetic beauties and pathos of the exposition were lost to him. Accordingly he placed the prologue even before the exposition, and put it in the mouth of a person who could be trusted: some deity had often[Pg 100] as it were to guarantee the particulars of the tragedy to the public and remove every doubt as to the reality of the myth: as in the case of Descartes, who could only prove the reality of the empiric world by an appeal to the truthfulness of God and His inability to utter falsehood. Euripides makes use of the same divine truthfulness once more at the close of his drama, in order to ensure to the public the future of his heroes; this is the task of the notorious deus ex machina. Between the preliminary and the additional epic spectacle there is the dramatico-lyric present, the "drama" proper.

In the 1950s kids lost their innocence.They were liberated from their parents by well-paying jobs, cars, and lyrics in music that gave rise to a new term—the generation gap. In the 1960s, kids lost their authority. It was the decade of protest—church, state, and parents were all called into question and found wanting.Their authority was rejected, yet nothing ever replaced it. In the 1970s, kids lost their love. It was the decade of me-ism dominated by hyphenated words beginning with self. Self-image, Self-esteem, Self-assertion . . . It made for a lonely world. Kids learned everything there was to know about sex and forgot everything there was to know about love, and no one had the nerve to tell them there was a difference. In the 1980s, kids lost their hope. Stripped of innocence, authority, and love and plagued by the horror of a nuclear nightmare, large and growing numbers of this generation stopped believing in the future. To bring it up to date, I have added two more paragraphs: In the 1990s kids lost their power to reason. Less and less were they taught the very basics of language, truth, and logic and they grew up with the irrationality of a postmodern world. In the new millennium, kids woke up and found out that somewhere in the midst of all this change, they had lost their imagination. Violence and perversion entertained them till none could talk of killing innocents since none was innocent anymore.

We permit a new future to enter the room with these startling encounters. A young boy from Austin, Texas, Charles Black Jr., stood and knew it when he was just sixteen years old, thinking he was going to a coed social at the Driskill Hotel in his hometown in 1931. It was a dance, the first in a session of four, yet he remained transfixed by an image that he had never seen before. The trumpet player, a jazz musician whom he had not heard of, performed largely with his eyes closed, sounding out notes, ideas, laments, sonnets, “that had never before existed,” he said. His music sounded like an “utter transcendence of all else created.” He was with a friend, a “ ‘good old boy’ from Austin High,” who sensed it too, and was troubled. It rumbled the ground underneath them. His friend stood a while longer, “shook his head as if clearing it,” as if prying himself out of the trance. But Charles Black Jr. was sure even then. The trumpeter, “Louis Armstrong, King of the Trumpet” as it turned out, “was the first genius I had ever seen,” Black said, and that genius was housed in the body of a man whom Black’s childhood world had denigrated. The moment was “solemn.” Black had been staring at “genius,” yes, “fine control over total power, all height and depth, forever and ever,” and also staring at the gulf created by “the failure to recognize kinship.” He felt that Armstrong, who played as if “guided by a Daemon,” all “power” and lyricism, “opened my eyes wide, and put to me a choice”—to keep to a small view of humanity or to embrace a more expanded vision—and once Black made that choice, he never turned back. This is what aesthetic force can do—create a clear line forward, and an alternate route to choose.

The Present Vocabulary certain obligations blocks my perception another dimension a vision without alteration without wall of illusion blocking my perception forget the presentations no prescription or medication in the creation phase I but all my emotions no intention to tell you about my mistakes pass I represent the present vocabulary be indulgent learn from your mistakes of your misfortune and obliterate your fear be indulgent to guard what is being dissipated is impossible if you do not want to sink you must learn to swim and take strength because his world and become far too fierce I have no intention of being for you a recreation attention to any division of concentration as a vision of illusion the exclusion of all perceptions of emotions without any understanding of good and bad intentions concentration mode, watch out for reverberation, bad reaction, a pawn you want action, go back do your preparation without any interaction no need for explanation no need for presentations no prescription or medication in the creation phase I but all my emotions all these voices a place of disarray in the middle of all these voices the fights are without faith or law in the middle of all these voices no odds to escape and auctanperer you can forget my mind and there to create prisoner never I'm here to show you with the thinking of passing moments and the vocabulary of the present moment for a decent future absent not writing insistent on days much more clement for my present and the mind filled with writing he is not stupid by technology Develop my thoughts often full of words store no time to rest I will not give up no prescription or medication in the creation phase I but all my emotions enclose between two dimensions no need for presentation or tell you about my intentions errors are passed and now I represent the vocabulary present.

le vocabulaire présent certaines obligations bloque ma perception une autre dimension une vision sans altération sans mur d'illusion bloquant ma perception oublier les présentations aucune prescription ni medication en phase création j'y mais toutes mes émotions aucune intention de vous parler de mes erreurs passer je représente le vocabulaire présent soyez indulgent ne regarder pas devant ne regarder pas derrière regarder sur place ne soyer pas vorace fait vous une place as la chaleur de votre sueur apprenez de vos erreurs de votre malheur et oblitérer votre peur soyer indulgent guarder ce qui est amené à se dissiper est impossible si tu ne veux pas couler tu dois apprendre à nager et prenez de la force car se monde et devenu bien trop féroce je n'ai aucunement l'intention d'être pour toi une recréation attention a toute division de la concentration comme une vision d'illusion l'exclusion de toutes perceptions des émotions sans aucune compréhension des bonnes et des mauvaises intentions mode concentration, attention à la reverberation, de mauvaise réaction, un pion tu veux de l'action, retourne faire ta preparation sans aucune interaction aucun besoin d'explication pas besoin de présentations aucune prescription ni medication en phase création j'y mais toutes mes émotions toutes ces voix un endroit empreint au désarroi au milieu de toutes ces voix les combats sont sans foi, ni loi au milieu de toutes ces voix aucun cote pour s'échapper se coucher et auctanperer tu peux oublier mon esprit et là pour cree prisonnier jamais je suis là pour te montrer avec les penser des moments passer et le vocabulaire de l'instant présent pour un futur décent absent non écrivant insistant sur des jours bien plus clement pour mon présent et l'esprit rempli d'écrit il n'est pas abruti par de la technologie Élaborer de ma penser souvent plein de mots entreposer pas le temps de me reposer je ne vais pas abandonner où me dérober aucune prescription ni medication en phase création j'y mais toutes mes émotions enfermer entre deux dimensions aucun besoin de présentation ou de te parler de mes intentions des erreurs sont passé et maintenant je représente le vocabulaire présent.

Lyric: "The keywords you have entered are 'I' and 'damaged', question mark. " Do you want to ask, Am I damaged? "Do you want to ask, Have I damaged? 'Damaged', adjective: defaced mutilated, mangled, impaired, injured, disfigured. Latin damnum, meaning loss or hurt.

More sophisticated methods exist, of course. A potentially more powerful method is collaborative filtering. It gathers data about what users have bought in the past and uses AI to predict what people are likely to buy in the future. These methods can use both explicit information, like a customer’s ratings of the options, and implicit information, like whether or not they finished a specific program on Netflix. Most famously, perhaps, collaborative filtering is used by Amazon in generating “People who bought this also bought . . .” listings. Collaborative filtering requires a large set of past user behavior to make predictions. This is the heart of suggestions made by Apple Music, “who to follow” suggestions on Twitter, and matches on Tinder. Yes, Tinder apparently changes the people it will show you based on your swipes. Swiping right will change who you see in the future. It’s important to realize that, in its pure form, collaborative filtering doesn’t use in-depth information about the options themselves. When Apple Music recommends a tune, it knows nothing about the song’s tempo, beat, lyrics, or instrumentation. It simply knows that people who are like you like that song too.

When it was finished, I was free to roam around the White House, admiring the historic portraits and browsing through books in the small library downstairs. My favorite find? A complete anthology of Bob Dylan lyrics. I’m not sure how much time it spent off the shelf, but knowing it was there gave me a little hope for the future.

THE HOLY ALPHABET ! Although things are not perfect Because of trial or pain Continue in thanksgiving Do not begin to blame Even when the times are hard Fierce winds are bound to blow God is forever able Hold on to what you know Imagine life without His love Joy would cease to be Keep thanking Him for all the things Love imparts to thee Move out of "Camp Complaining" No weapon that is known On earth can yield the power Praise can do alone Quit looking at the future Redeem the time at hand Start every day with worship To "thank" is a command Until we see Him coming Victorious in the sky We'll run the race with gratitude Xalting God most high Yes, there'll be good times and yes some will be bad, but... Zion waits in glory...where none are ever sad! Lyric Poems Adapted from Psalm 119

it's closing time

the most farcical case of false genealogy has to be the way Nelson Mandela, the founder of the armed-struggle organization of the ANC, was turned into a global icon of peace. He lays it out himself: “I said that the time for passive resistance had ended, that nonviolence was a useless strategy and could never overturn a white minority regime bent on retaining its power at any cost. At the end of the day, I said, violence was the only weapon that would destroy apartheid and we must be prepared, in the near future, to use that weapon. The crowd was excited; the youth in particular were clapping and cheering. They were ready to act on what I said right then and there. At that point I began to sing a freedom song, the lyrics of which say, ‘There are the enemies, let us take our weapons and attack them. ’ I sang this song and the crowd joined in, and when the song was finished, I pointed to the police and said, ‘There, there are our enemies!

But the fool on the hill sees the sun going down,” I sang along softly, feeling like the lyrics somehow mirrored my life. At nearly forty-five, divorced and unsure where my writing career was headed, I couldn’t help but feel like a fool myself, like I was driving headfirst into an uncertain future.

But rewards and upheavals on the road ahead can and regularly do influence us while we are awake—and in many of the same ways Freud identified as waking manifestations of the unconscious: via uncanny out-of-the-blue feelings, via misperceptions of speech or texts, via slips of the tongue or pen, via songs that get stuck in our head—the lyrics of “earworms,” I find, sometimes relate to something that will happen later that day—and just generally via “random” thoughts and obsessions that end up corresponding to some imminent unpredictable encounter or experience.

The thing is, that most of the people in Congress want us to think that every problem is so unsolvable. They just gloss over them and make us think that sometime in the ‘near’ distant future they will be resolved. So the people just think to themselves, ‘Who knows better than this guy, I guess?

Twenty-twenty has been a crazy year for all of us. A pandemic crises has taken a toll on children and adults. Uncertainty was troubling our mind. Fear of the future was causing sleepless nights!" Lyrics from the song "80 Million People!" written by Lily Amis

Children’s education is causing sleepless nights. Our children’s future is darker than bright, while refugee children have absolutely no rights. Neither a home, nor schools homeschooling for them is nothing but a dream. A dream and desire for the fools! Lyrics from the song 80 Million People! Written by Lily Amis

Rob Young, in his essential Electric Eden, describes as Barrett being “strangely pushed and pulled between nostalgia for the secret garden of a child’s imagination and the space-age futurism of interstellar overdrive.” Barrett was channeling a spirit that was trying to pierce the veil between these worlds, and while this nostalgia and futurism, as Young puts it, seem opposed, they are actually two ideas at the heart of magic. The practice of magic is one requiring a link to the past and a vision of the future. Barrett added this directly to the lyrics of his songs and his live performances, experimenting with light and sound in an attempt to work the audience into a trance. The method is new, but the intention is ancient.

Only one emotion is possible for this painter--the feeling of strangeness--and only one lyricism--that of the continual rebirth of existence...He speaks as the first man spoke and paints as if no one had ever painted before. What he expresses cannot, therefore, be the translation of a clearly defined thought, since such clear thoughts are those which have already been uttered by ourselves or by others. "Conception" cannot precede "execution." There is nothing but a vague fever before the act of artistic expression, and only the work itself, completed and understood, is proof that there was something rather than nothing to be said. Because he returns to the source of silent and solitary experience on which culture and the exchange of ideas have been built in order to know it, the artist launches his work just as a man once launched the first word, not knowing whether it will be anything more than a shout, whether it can detach itself from the flow of individual life in which it originates and give the independent existence of an identifiable meaning either to the future of that same individual life or to the monads coexisting with it or to the open community of future monads. The meaning of what the artist is going to say does not exist anywhere--not in things, which as yet have no meaning, nor in the artist himself, in his unformulated life. It summons one away from the already constituted reason in which "cultured men" are content to shut themselves, toward a reason which contains its own origins.

When Picasso painted his first cubist picture, he was twenty-six: all over the world several other painters of his generation joined up and followed him. If a sixty-year-old had rushed to imitate him by doing cubism at the time, he would have seemed (and rightly so) grotesque. For a young person's freedom and an old person's freedom are separate continents. "Young, you are strong in company; old, in solitude," wrote Goethe (the old Goethe) in an epigram. Indeed, when young people set about attacking acknowledged ideas, established forms, they like to do it in bands; when Derain and Matisse, at the start of the past century, spent long weeks together on the beaches of Collioure, they were painting pictures that looked alike, were marked by the same Fauve aesthetic; yet neither thought of himself as the epigone of the other—and indeed, neither was. In cheerful solidarity the surrealists saluted the 1924 death of Anatole France with a memorably foolish obituary pamphlet: "Cadaver, we do not like your brethren!" wrote poet Paul Eluard, age twenty-nine. "With Anatole France, a bit of human servility departs the world. Let there be rejoicing the day we bury guile, traditionalism, patriotism, opportunism, skepticism, realism and heartlessness!" wrote André Breton, age twenty-eight. "May he who has just croaked… take his turn going up in smoke! Little is left of any man: it is still revolting to imagine about this one that he ever even existed!" wrote Louis Aragon, age twenty-seven. I think again of Cioran's words about the young and their need for "blood, shouting, turbulence"; but I hasten to add that those young poets pissing on the corpse of a great novelist were nonetheless real poets, admirable poets; their genius and their foolishness sprang from the same source. They were violently (lyrically) aggressive toward the past and with the same (lyrical) violence were devoted to the future, of which they considered themselves the legal executors and which they knew would bless their joyous collective urine. Then comes the moment when Picasso is old. He is alone, abandoned by his crowd, and abandoned as well by the history of painting, which in the meantime had gone in a different direction. With no regrets, with a hedonistic delight (his painting had never brimmed with such good humor), he settles into the house of his art, knowing that the New is to be found not only up ahead on the great highway, but also to the left, the right, above, below, behind, in every possible direction from the inimitable world that is his alone (for no one will imitate him: the young imitate the young; the old do not imitate the old).

As for you my ex-pal you know what you can do and also you can sing for the $20 I owe you. I am making a little trip to N.Y. in the near future and we will have a little talk and you can explain your positon, altho the way I feel now if I saw you now your positon would be horizontle. I might as well tell you I am going to the gym 3 or 4 times a week and not that I need it because I always could slap you around when ever I wanted to. You know what you can do. Your Ex-Pal Joey

Make a future dream be ours Through your eyes I swallow flowers And disdain the winter showers Choosing then to bathe in you

Mate, I’ve only been here for a few weeks, but I don’t think anyone even knows my name. I’ve already slipped three spots down the batting order. I’ve got no idea what the lyrics to the club song are. And every time I get a hit at training, I hear the faint sound of blokes whispering that one word under their breath: “Yuck.” What am I doing wrong?’ I began, nervously. Nuggsy paused, took a long swig of his Reschs schooner, and reclined languidly into his seat. He scratched his bald head for a moment, seemingly in deep thought, before embarking on the long-winded response that would indeed shape my cricketing future. ‘Listen, bud. You’re a grade cricketer now. And it’s time you learned a little bit about what that means. This isn’t club cricket, “Shires” cricket, or that stupid school shit that you wasted your time on for all those years. This is grade cricket: the highest level of amateur cricket in the world,’ he said with pride. Just for those who don’t already know, I should quickly provide a bit of background on the grade cricket competition. Grade cricket (or ‘Premier cricket’, as it is known in some states/territories) is the level directly below the state competition.  Despite this close proximity to the professional arena, it is nonetheless an amateur competition. Sure, one or two first graders might get paid a little bit under the table, but everyone else must pay a registration fee in order to play. Normally, each club has four to five grades — first grade being the strongest; fifth grade the weakest. Those in first grade enjoy a status that the fifth graders can only dream about. Being a first grader is like being a celebrity to 50 blokes whose names you’ll never know — or never even need to know — unless you end up playing with them after a severe run of poor form (or a serious disciplinary breach). The rest of the club — seconds, thirds, and fourth grade — is basically an assortment of talented youngsters and ageing desperates. The common denominator between the young and old brigade is that they were all once told they were ‘good enough to play for Australia’. In many cases, it was the first and last compliment they ever received — and the reason why they’re still playing. In all cases, it was the worst thing that could have ever happened to them. The ultimate grade cricketer, therefore, will possess the perfect balance of good and not good enough that will haunt them for all of their playing days. All this of course, is something that can only be learned with experience. At this early stage in my grade cricket career, I considered these young players to be ‘cool’ and the older players worthy of my respect. Nuggsy tilted his head to one side as he lit up a cigarette. He took a deep drag, holding it in for what seemed like hours, before launching his head back to expel a thick plume of smoke towards the ceiling. ‘Listen, great man,’ he began. ‘Success in grade cricket has nothing to do with skill, ability, or even results. It’s all about the social ladder, bud. You’ve got the big dogs up top, the peasants down the bottom, and everyone in between is just trying to stay relevant,’ he offered. In many ways, grade cricket social hierarchy bears great similarity to the feudal systems that first appeared in the Middle Ages in Europe — something I’d learned a bit about at high school. As I remembered, kings and monarchs sat at the top, enjoying their pick of the land, women and food. They were the ones who established the rules that everyone had to live under. The barons leased their land from the king; the knights leased their land from the barons; and the knights granted the lowly peasants their land.  The peasants were not allowed to marry, nor could they even leave the manor without permission. Basically, they were the fifth graders of the 8-12th Century.

And so we say We ain't digging no grave We're digging a foundation For a future to be made Joe Strummer, North and South

When I recorded bits and pieces from our days in a journal, my inner critic and mother argued. The critic wanted to choose lyrical details—my daughter getting her little hands covered with wet cherry blossoms—while the mother in me wanted to choose… everything. Wanted not to choose. Meanwhile, a third self—the woman who hadn’t had more than a few hours of sleep in many weeks—wanted to leap twenty years into the future. Not stuck inside these days, but remembering them all.