Guitar Inspirational Quotes

If she's amazing, she won't be easy. If she's easy, she won't be amazing. If she's worth it, you wont give up. If you give up, you're not worthy. ... Truth is, everybody is going to hurt you; you just gotta find the ones worth suffering for.

I don't think you should wait. I think you should speak now.

Wasn't it beautiful when you believed in everything?

I can remember her singing, the thrill of it," she said. "She was one of my first inspirations.The people around me provided all the inspiration I needed. Everything I wrote (at that time) came from that experience, what I observed happening around me.

Well, all I need is the air I breathe and a place to rest my head.

A penny for my thoughts, oh no, I'll sell them for a dollar They're worth so much more after I'm a goner And maybe then you'll hear the words I been singin' Funny when you're dead how people start listenin

After a hurricane comes a rainbow.

Music shouldn't be just a tune, it should be a touch.

Don't Stop Believing

Your amazing. Just the way you are.

When all you wanted was to be wanted, you wish you could go back and tell yourself what you know now.

the best people in life are free

With you I'd dance in the rain in my best dress, fearless

Music is the fastest motivator in the world.

You take a deep breath and you walk through the doors. It's the morning of your very first day. You say hi to your friends you ain't seen in a while, try and stay out of everybody's way. It's your freshman year and your gonna be here for the next four years in this town. Hopin' one of those senior boys will wink at you and say, "You know I haven't seen you around before." 'Cause when you're fifteen and somebody tells you they love you, you're gonna believe them. And when you're fifteen, feelin' like there's nothin' to figure out, but, count to ten, take it in. This is life before you know who you're gonna be. Fifteen.

Fight and push harder for what you believe in, you’d be surprised, you are much stronger than you think.

You don't have to be a professional to play music. Close your eyes, take a deep breath.. And let it out. Let the violin dance, the guitar fascinate, the flute sing, the piano composes. Just. Let. It. Go.

Lights flash and we'll run for the fences Let them say what they want we won't hear it

There are few things truer in life than... you can not play a guitar after doing the dishes and you can't get anywhere in life with a negative mind.

There are songs that you play that you have to restart, and songs that you play that you never get right. But when a song is complete, there is no more you can do.

Unless you're a true prodigy, you're going to have to practice for a while being bad before you get any good. And it will seem like a waste of time. I remember that feeling well. But don't worry about wasting time, because it'll be so worth it. It's my experience that in the end, life lessons and guitar lessons begin to blur in all sorts of interesting ways.

Joan was not only an actual human being but a most important one. A FEMINIST ICON WHO PROVED TO THE WORLD THAT WOMEN CAN ROCK EVEN HARDER THAN MEN. An innovator, an architect, a punk rock pioneer so powerful, she inspired generations of young women to pick up guitars and do the same.

There’s a huge difference between the writers, the musicians, the composers, the chefs, the dance choreographers and to a certain extent the tradesmen and the rest of society in that no one understands us. It’s a wretched dream to hope that our creativity gets recognised while our family thinks we’re wasting our time when the lawn needs mowing, the deck needs painting and the bedroom needs decorating. It’s acceptable to go into the garage to tinker about with a motorbike, but it’s a waste of a good Sunday afternoon if you go into the garage and practice your guitar, or sit in your study attempting to capture words that have been floating around your brain forever. No one understands us

If you can strike the cord of consistency on the guitar of life, the world will dance to your music of greatness

We don't have a word for the opposite of loneliness, but if we did, I could say that's what I want in life. What I'm grateful and thankful to have found at Yale, and what I'm scared of losing when we wake up tomorrow after Commencement and leave this place. “It's not quite love and it's not quite community; it's just this feeling that there are people, an abundance of people, who are in this together. Who are on your team. When the check is paid and you stay at the table. When it's four A.M. and no one goes to bed. That night with the guitar. That night we can't remember. That time we did, we went , we saw, we laughed, we felt. The hats.

So, I'm gonna choose to reach out, Choose to lay down All of the fear that I've been hiding. Choose to be brave Though my heart's afraid To be a part of your kingdom rising. Oh, God, I'm done runnin' from The reason that You sent Your Son, So I will choose to Love! Maybe I'll hurt Maybe I'll bruise Maybe I'll cry Maybe I'll lose Still, I will choose to love.

Theophilus Crowe wrote bad free-verse poetry and played a jimbai drum while sitting on a rock by the ocean. He could play sixteen chords on the guitar and knew five Bob Dylan songs all the way through, allowing for a dampening buzz any time he had to play a bar chord. He had tried his hand at painting, sculpture, and pottery and had even played a minor part in the Pine Cove Little Theater’s revival of Arsenic and Old Lace. In all of these endeavors, he had experienced a meteoric rise to mediocrity and quit before total embarrassment and self-loathing set in. Theo was cursed with an artist’s soul but no talent. He possessed the angst and the inspiration, but not the means to create.

Hundreds of young barefoot, long-haired, newly converted believers flocked to the church, and they brought their guitars with them.

The planet you inhabit is a single plane of infinite dimensions, stretched like a guitar string, and standing before you like a concubine waiting for your command.

From the moment I could talk I was ordered to listen.

I love you as a guitar loves those playful nimble hands. Without your touch, the strings of my heart can’t play the amazing songs of my life.

Sus dedos acarician las cuerdas: después, el mundo.

Why do the babies starve When there's enough food to feed the world Why when there're so many of us Are there people still alone

I can’t believe my music isn’t inspiring you. Guys who play guitar are supposed to be hot, right? I know I find hotness inspiring.

Now I was pretty good at playing Rodeo. I'd been doing it for years. But he was a tricky bird to play. You could say that learning to play Rodeo was like learning to play a guitar, if the guitar had thirteen strings instead of six and three of them were out of tune and two of them were yarn and one of them was wired to an electric fence. He's a handful, is what I'm saying.

As I watched the two [Joan Jett and Violet] hand-in upstairs, I prayed that Violet would never forget this moment. That she'd look back on this night someday and know that some superheroes are indeed real. That maybe someday she would become her own type of innovator, an architect, a pioneer, inspiring generations of young women to pick up a guitar, or do whatever she chooses to do to make her mark.

VALENTINE'S DAY POEM: What earth is to sky.. on the horizon.. What moon is to night.. no matter start studded ocean! What Love is to life.. above all give and take.. that you are to me.. a rhythm that soulful music would make! * Let's surrender to each other.. for a dream to be woven together!! You're my weakness and my strength.. wanna live with you till the end!! .. and beyond.. ;)!!! * Even a dent in the universe.. can't express my Love for you! My life is yours forever.. O girl, O girl.. O girl.. you be mine!! Not just for this time.. Everyday beyond.. Valentine, O O my heart, be my.. Valentine!

It was the master stroke, that stutter; for it contrived to make her banalities sound somehow original, and secondly, despite her tallness, her assurance, it served to inspire in male listeners a protective feeling.

TEDDY DAY POEM: A bear hug for you, and I would make you forget your sorrows! I’ll be there with you forever, in your today and all tomorrows!! .. The moment I am not there.. Close your eyes and you'll see me.. You're there in my heart, and yours, I always would be; so just be fine! .. O girl, O girl, O.. O.. girl.. you be mine.. You're my buddy and I am your teddy.. O sweety, you be my.. Valentine. .. Just be mine.. O O.. be my Valentine!!!

It used to seem to me that my life ran on too fast, and I had to take it slowly just to make the good parts last But when you're born to run it's so hard to just slow down, so don't be surprised to see me back in that bright part of town

CHOCOLATE DAY POEM: "Chocolate, dark or light.. Makes me smile bright. Chocolate, whether speak or not.. If it’s love, it conveys a lot. But when you’re.. not there with me.. It’s just a piece.. of sugar candy. It’s you, who makes it sweeter.. I love it with you, even if it’s bitter. So be there always.. stay forever.. I can’t think of life.. without you ever. .. O girl, O girl, O.. O.. girl.. you be mine.. You are my choco-life.. You be my.. Valentine. .. Just be mine.. O O.. Valentine!!!

Lollipops and raindrops Sunflowers and sun-kissed daisies Rolling surf and raging sea Sailing ships and submarines Old Glory and “purple mountain’s majesty” Screaming guitar and lilting rhyme Flight of fancy and high-steppin’ dances Set free my mind to wander… Imagine the ant’s marching journeys. Fly, in my mind’s eye, on butterfly wings. Roam the distant depths of space. Unfurl tall sails and cross the ocean. Pictures made just to enthrall Creating images from my truth Painting hopes and dreams on my canvas Capturing, through my lens, the ephemeral Let me ruminate ‘pon sensual darkness… Tremble o’er Hollywood’s fluttering Gothics… Ride the edge of my seat with the hero… Weep with the heroine’s desperation. Yet… more than all these things… Give me words spun out masterfully… Terms set out in meter and rhyme… Phrases bent to rattle the soul… Prose that always miraculously inspires me! The trill runs up my spine, as I recall… A touch… a caress…a whispered kiss… Ebony eyes embracing my soul… Two souls united in beat of hearts. A butterfly flutter in my womb My lover’s wonder o’er my swelling The testament of our love given life Newly laid in my lover’s arms Luminous, sweet ebony eyes Just so much like his father’s A gaze of wonder and contentment From my babe at mother’s breast Words of the Divine set down for me Faith, Hope, Love, and Charity Grace, Mercy, and undeserved Salvation “My Shepherd will supply my need” These are the things that inspire me.

With a feeling of despondency so intense that it was almost pleasurable, he got out his guitar. So this was to be his condition now.What was he but a fragment of broken churned-up humanity washed up on this faraway shore? This was where his journey had brought him.... There mus be a song in this...

Drawing from the costumed and goth-infused death metal found in the icy Netherlands, doom metal down-tuned all the guitars, drew inspiration from the drones of Tibetan monks and Hindu ragas, and created a new mythology of metal, one that embraced decay and darkness as an essential part of the human condition.

Make for yourself a world you can believe in. It sounds simple, I know. But it’s not. Listen, there are a million worlds you could make for yourself. Everyone you know has a completely different one—the woman in 5G, that cab driver over there, you. Sure, there are overlaps, but only in the details. Some people make their worlds around what they think reality is like. They convince themselves that they had nothing to do with their worlds’ creations or continuations. Some make their worlds without knowing it. Their universes are just sesame seeds and three-day weekends and dial tones and skinned knees and physics and driftwood and emerald earrings and books dropped in bathtubs and holes in guitars and plastic and empathy and hardwood and heavy water and high black stockings and the history of the Vikings and brass and obsolescence and burnt hair and collapsed souffles and the impossibility of not falling in love in an art museum with the person standing next to you looking at the same painting and all the other things that just happen and are. But you want to make for yourself a world that is deliberately and meticulously personalized. A theater for your life, if I could put it like that. Don’t live an accident. Don’t call a knife a knife. Live a life that has never been lived before, in which everything you experience is yours and only yours. Make accidents on purpose. Call a knife a name by which only you will recognize it. Now I’m not a very smart man, but I’m not a dumb one, either. So listen: If you can manage what I’ve told you, as I was never able to, you will give your life meaning.

Not all of us are born with fingers that move like fucking Ferraris, homie,” he rants in good humour. ​“Some of us are just fuck-ups who look normal and wear shitty clothes because we can’t afford good ones, and we’re angry and we just wanna take out our angst and shit with a guitar. I’m not inspired by how good you are, it’s almost like the opposite. I wanna feel you. "...the kids that I went to school with fucking hated me, and I’d worn the same clothes for five days, and I was tall, skinny and didn’t fit in. I was a basement; where the fuck was I going to learn how to play like Steve Vai? I couldn’t! I was broke. No-one gave a fuck about me. Give me three chords, though, and tell me to show you how I feel, and I bet you I will.

Let's talk now about practice and process. You practice technique to get your fingers where you want them to go. You practice theory to understand where they can go and why. You play live and write songs. You practice that to bring the theory and the technique and create art with it. And you seek inspiration to make that art something that's meaningful to you and you can communicate to others.

HUG DAY POEM: Wrap me in your hug.. make me feel happy! Hold me tight and close.. not like a pillow or a teddy!! My heart needs you.. for you touched my soul, believe me things shall go fine. Walk me to my Dreams.. and take me to divine!! My life is yours forever.. O girl, O girl, O.. O.. girl.. you be mine. Let the hearts embrace.. Sugar you be my.. Valentine. Just be mine.. O O.. my Valentine!

ROSE DAY POEM: Rose.. if it is.. for the one whom you miss.. and you want to say a lot.. till now that you have not! - Then just go and dare to say.. for that moment is today.. beyond the earth and sky above.. Give it to the one whom you love!! - And sing your heart out.. to the universe aloud.. - O girl, O girl, O.. O.. girl.. you be mine.. You are more than this rose to me.. You be my.. Valentine. Just be mine.. O O.. Valentine!!!

Y permaneció allí, susurrando los nombres de las estrellas a medida que iban abriendo sus flores en lo alto del cielo. Le gustaban mucho las estrellas, pero aquella noche no le sirvieron de consuelo; no bastaron para recordarle que lo que nos ocurre a los que vivimos en la tierra carece de importancia contemplado desde el eterno fulgor de la eternidad. Mirándolas, volvió a pensar en la guitarra tachonada de brillantes, en su relumbrón mundano.

Left to their own devices, most people don’t want to fail. But Andrew Stanton isn’t most people. As I’ve mentioned, he’s known around Pixar for repeating the phrases “fail early and fail fast” and “be wrong as fast as you can.” He thinks of failure like learning to ride a bike; it isn’t conceivable that you would learn to do this without making mistakes—without toppling over a few times. “Get a bike that’s as low to the ground as you can find, put on elbow and knee pads so you’re not afraid of falling, and go,” he says. If you apply this mindset to everything new you attempt, you can begin to subvert the negative connotation associated with making mistakes. Says Andrew: “You wouldn’t say to somebody who is first learning to play the guitar, ‘You better think really hard about where you put your fingers on the guitar neck before you strum, because you only get to strum once, and that’s it. And if you get that wrong, we’re going to move on.’ That’s no way to learn, is it?” This

PROPOSE DAY POEM: Austerity.. If.. I were to define.. it’s you.. yoo hoo! - Happiness is what.. that makes me feel divine.. smiling you.. yoo hoo!! - What rose is in flowers.. What moon is in stars.. That you are to me.. You and I will be we.. You’re my life.. I.. I.. You’re my life.. I.. I.. I love you.. yoo hoo I love you.. yoo hoo - O girl, O girl, O.. O.. girl.. you be mine.. I love you.. I love you.. I love you.. yoo hoo.. You be my.. Valentine. - Just be mine.. I love you.. O O Valentine!!!

PROMISE DAY POEM: I don't promise that I will bring the moon for you, but.. I shall stand by you in sun! I don't promise that I will not fight with you ever, but.. We shall be together, forever; and distances or differences shall be none!! I don't promise that life will be so easy, and cheesy, but.. when you are with me, I'll make sure it's always fun!!! I just promise one thing; I'll never make you cry, I'll never let you go, so all I need is you to be with me.. Let's make it happen.. and let our destiny shine. My life is yours forever.. .. O girl, O girl, O.. O.. girl.. you be mine.. Love is more than just promises.. Hey honey you be my.. Valentine. Just be mine.. O O.. my Valentine!

Jolly Marchers by Maisie Aletha Smikle Dam Dam Didley Doe Dee Daw Didley Doe Dee Dam Doe Fa So La Ti Doe Animals in a row Prancing as they go Jiggling and Wiggling Tails and head bobbing Mice on drums Elephants on flute Zebras blare the trumpets Squirrels blow trombones Skunks get funky on clarinets Bees on violins Hogs on guitar Parrots and crickets sing Aha Aha Vultures cheer Mosquitoes twirl Wings clapping and flapping Heads go up and down bobbing Marching and skanking Rocking and bobbing Wiggling and singing Dee Daw Didley Doe This is not a circus There are no clowns There is not a palace There are no crowns On and on they go Monkeys in tow Tigers in bow Onlookers stare and glow Donkey takes the podium As conductor of the band Waving his marching wand The band comes to a stand Mule takes a stool And sits in the cool They have reached the bend Where the march ends The ants were nesting So they missed the fest Some got on tambourines And insist they must join in The ants jiggle and wiggle Some play the fiddle Dancing and singing Didley Dam Didley Doe

The pièce de résistance, put into the can on the very first day, owed its inspiration to Little Richard, who would whip audiences to further frenzy between numbers by self-congratulatory cries of “Well...all right!” Buddy turned the phrase into a gentle love song infused with all his special quality of patience and optimism and his developing ability to make personal sentiments into universal ones. “Well, All Right” is a riposte to all the criticism and condescension that teenagers faced from their elders in the rock 'n' roll fifties—and have in every decade since. The setting is as adventurously simple as that of “Everyday”: Buddy plays flamenco-accented acoustic guitar, with only a plashing cymbal for company. The mood is not one of youthful anger and defiance but of maturity before its time: calm, stoical, steadfast in affirming its “dreams and wishes.” The intimacy in the voice could equally be that of lover or elder brother. Girl or boy, you can imagine you and he are alone together, gazing into the fire and imagining a bright future when the young will “live and love with all our might,” which could almost be a prophecy of the sixties' hippie culture.

There’s more mystical nonsense written about the process of writing than almost anything. Inspiration, genius, “the muse.” So I want to lay out one huge, comforting, wonderful fact: the more you write, the better you get at it. Writing is like a forehand or driving a car or playing guitar. Practice makes you better. That’s not to say inspiration and genius don’t exist. Not everyone can become Tolstoy through hard work. What it means is that, wherever you start, you can improve. And the way to do it is to write a lot. I mentioned at the start of this piece that I’ve published eight books. When I flip through the first one now, I can’t believe it ever made it onto shelves. I see so many flaws and problems in it that I’m amazed. The reason is that I’ve written hundreds of thousands of words between since then. As long as you produce a little something every day, every week, in time, invisibly, you’ll get better. Trailing behind every successful writer are a million words that never saw the light of day. Sometimes it takes five million words. The most important piece of writing advice anyone can give or get is simple, and therefore can seem uninteresting, but it’s true: just keep writing.

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

The heart of rock will always remain a primal world of action. The music revives itself over and over again in that form, primitive rockabilly, punk, hard soul and early rap. Integrating the world of thought and reflection with the world of primitive action is *not* a necessary skill for making great rock 'n' roll. Many of the music's most glorious moments feel as though they were birthed in an explosion of raw talent and creative instinct (some of them even were!). But ... if you want to burn bright, hard *and* long, you will need to depend on more than your initial instincts. You will need to develop some craft and a creative intelligence that will lead you *farther* when things get dicey. That's what'll help you make crucial sense and powerful music as time passes, giving you the skills that may also keep you alive, creatively and physically. The failure of so many of rock's artists to outlive their expiration date of a few years, make more than a few great albums and avoid treading water, or worse, I felt was due to the misfit nature of those drawn to the profession. These were strong, addictive personalities, fired by compulsion, narcissism, license, passion and an inbred entitlement, all slammed over a world of fear, hunger and insecurity. That's a Molotov cocktail of confusion that can leave you unable to make, or resistant to making, the lead of consciousness a life in the field demands. After first contact knocks you on your ass, you'd better have a plan, for some preparedness and personal development will be required if you expect to hang around any longer than your fifteen minutes. Now, some guys' five minutes are worth other guys' fifty years, and while burning out in one brilliant supernova will send record sales through the roof, leave you living fast, dying young, leaving a beautiful corpse, there *is* something to be said for living. Personally, I like my gods old, grizzled and *here*. I'll take Dylan; the pirate raiding party of the Stones; the hope-I-get-very-old-before-I-die, present live power of the Who; a fat, still-mesmerizing-until-his-death Brando—they all suit me over the alternative. I would've liked to have seen that last Michael Jackson show, a seventy-year-old Elvis reinventing and relishing in his talents, where Jimi Hendrix might've next taken the electric guitar, Keith Moon, Janis Joplin, Kurt Cobain and all the others whose untimely deaths and lost talents stole something from the music I love, living on, enjoying the blessings of their gifts and their audience's regard. Aging is scary but fascinating, and great talent morphs in strange and often enlightening ways. Plus, to those you've received so much from, so much joy, knowledge and inspiration, you wish life, happiness and peace. These aren't easy to come by.

While I am so afraid to fail so I won't even try, Well how can I say I'm alive.

Byron Howard, one of our directors at Disney, told me that when he was learning to play the guitar, a teacher taught him the phrase, “If you think, you stink.” The idea resonated with him—and it informs his work as a director to this day. “The goal is to get so comfortable and relaxed with your instrument, or process, that you can just get Zen with it and let the music flow without thinking,” he told me. “I notice the same thing when I storyboard. I do my best work when I’m zipping through the scene, not overthinking, not worrying if every drawing is perfect, but just flowing with and connecting to the scene—sort of doing it by the seat of my pants.

Those who love you the most, let yo bend your notes

Those who love you the most, let you bend your notes

I want to be practical now: how are you going to accomplish this? The answer is simple: keep a journal. It amazes me how often people call themselves writers and yet fail to write. Runners run everyday, and they know that not every run is a race. Musicians play music perpetually, but not every time they pick up the guitar is a concert. Writers, meanwhile, like to wait around for inspiration to strike. Don't wait; write! Describe, describe, describe, and find the pleasure in pinning the right words to life's incessant stream of sensations.

The heart is like a guitar string. If it's strung too loose, it won't make a sound. But if it's strung tight, almost to the breaking point, to the point of pain... Then... It can create a sound that crashes over you like a giant wave.

Summer is for music, and it’s time to turn up the volume! Whether you're strumming a guitar by the campfire, dancing to your favorite tunes at a festival, or learning a new instrument at music school, the season’s rhythm is calling. Embrace the endless melodies, the sun-soaked jam sessions, and the vibrant beats that make summer unforgettable. Let the music move you, inspire you, and bring people together. So, grab your instrument, hit play on your summer playlist, and let the good vibes roll.

I love you like a guitar loves hands. The strings of my heart will never sing without your touch.

The union and enlightenment experienced in Guitar Yoga will find natural expression in the music. Such music will be in accord with the Music of the Spheres, the fruit and flower and fragrance of the divine harmony of existence. The music will come from the heart, the soul, the very core of one's being. It will be the creative and sublime sound of the Gods, something from the beautiful Beyond, illuminating and inspiring, majestic and mystical.

KISS DAY POEM: To start with a kiss.. I'll mark first .. on the top of your head.. just to say that.. I'll be with you.. forever! * Next two on the eyes.. just to say that.. the world is so beautiful.. as I see with you.. whatever!! * Then three.. on the nose and cheek.. just to say that.. I am myself.. As I walk with you wherever!!! * Then a peck on the neck.. just to say that.. you are perfect. and then.. Final one on the lips.. just to say that.. just to say that.. just to say nothing. Because our love is beyond the skyline! My life is yours forever.. O girl, O girl.. O you be my.. Valentine!!!!

Left to their own devices, most people don’t want to fail. But Andrew Stanton isn’t most people. As I’ve mentioned, he’s known around Pixar for repeating the phrases “fail early and fail fast” and “be wrong as fast as you can.” He thinks of failure like learning to ride a bike; it isn’t conceivable that you would learn to do this without making mistakes—without toppling over a few times. “Get a bike that’s as low to the ground as you can find, put on elbow and knee pads so you’re not afraid of falling, and go,” he says. If you apply this mindset to everything new you attempt, you can begin to subvert the negative connotation associated with making mistakes. Says Andrew: “You wouldn’t say to somebody who is first learning to play the guitar, ‘You better think really hard about where you put your fingers on the guitar neck before you strum, because you only get to strum once, and that’s it. And if you get that wrong, we’re going to move on.’ That’s no way to learn, is it?

I watched him play every perfect chord as if it were an entire song, every song as if it were a grand sonata. The old man was lost in the captivating music and I was lost too—in his commanding presence, in his seamless movement, in his unmatched talent. His fingers floated effortlessly over the worn strings of the acoustic guitar, each one crossing over the other with calming ease. I found it hard to distinguish where one part ended and another began, inspiring and stirring my soul like a miracle. Elsie watched him with great intent, with great wonder, as did I. Then she got up from her leather armchair in the corner, walked over to the parlor grand piano, and joined in just as the song began to swell to its airy peak. They played together flawlessly, a man and a woman, for what could have been the thousandth time. Yet as I watched them, as the music filled me like the warmth of coming home, I could see it was new to them too, though ancestral and old. I was swept away, amazed at how each part was so distinct, so solitary in and of itself, and how yet it could only capture its full potential, its full beauty, as a part of something greater. I thought of how we are all pieces of music, of how one person would cease to swell without the other, of how the part that moves us the most freely in ourselves might not exist at all. I watched Johnny as he continued to strum, then Elsie as her fingers darted from place to place on the keys of the piano. The music swept over me like a memory of summertime, and I closed my eyes, letting it take me where it would, to a place so strikingly beautiful that everything else was silently perfect, letting the melody lead the moment. The hopeful sound filled my expectant ears and my emotions felt new again, as if I were a child, the moment peacefully pure, like rocking a newborn back to sleep. Wet streams of tears escaped my soft, emotional eyes as I let the notes take their full effect. To Johnny and Elsie, music was a language that didn't require words. In fact, it exceeded them. For what was flowing from the withered hands of the couple before me now was in itself perfection. Words could only ruin a moment this pure. As I watched them, I realized I wanted to care about anything as much as they did about music. A tear ran down my cheek as the last note hung softly, like a butterfly might hang on air. I decided right then that some things in life were much too beautiful not to cry about. This, I now knew, was one of them.

If you kill the Ravana in you, it's like killing the healthy cells along with cancer cells. Guru with Guitar. Happy Dussehra.

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

The Horned Master governs the generative powers of the kingdom of the beasts, the raw forces of life, death and renewal which sustains the natural world.” Nigel A Jackson. The Call of the Horned Piper: 38 The Art and Craft of the Witches is found at the crossroad, where this world and the other side meets and all possibility become reality. This simple fact is often forgotten as one rushes to the Sabbath or occupies oneself with formalities of ritual. The cross marks the four quarters, the four elements, the path of Sun, Moon and Stars. The cross was fused or confused with the Greek staurus, meaning ‘rod’, ‘rood’ or ‘pole’. Various forms of phallic worship are simply, veneration for the cosmic point of possibility and becoming. It is at the crossroads we will gain all or lose all and it is natural that it is at the crossroads we gain perspective. The crossroad is a place of choice, the spirit-denizens of the crossroads are said to be tricky and unreliable and it is of course where we find the Devil. One of the most famous legends of recent times concerns the blues-man Robert Johnson (1911– 1938). He claimed that, one night, just before midnight he had gone to the crossroads. He took out his guitar and played, whereupon a big black guy appeared, tuned his guitar, played a song backwards and handed it back.2 This incident altered Johnson’s playing and his finest and most everlasting compositions were the fruit of the few years of life left to him. This legend tells us how he needed to bury himself at the crossroads, offering himself to the powers dwelling there. Business done with the Devil is said to give him the upper hand. The ill omens and malefica associated with such deals is present in Johnson’s story. He got fame and women, but he died less than three years later before he reached thirty. His body was found poisoned at a crossroads, the murderer’s identity a mystery. Around the Mississippi no less than three tombs carry the name of Robert Leroy Johnson. The image of the Devil remains one of threat, blessing, beauty and opportunity. Where we find the Devil we find danger, unpredictability and chaos. If he offers a deal we know we are in for a complicated bargain. The Devil says that change is good, that we need movement in order to progress. His world is about cunning and ordeal entwined like the serpents of past and future on the pole of ascent. It is to the crossroads we go to make decisions. It is at the crossroads we set the course for the journey. It is at the crossroads we confront ourselves and realize our

About three-four years ago I was vacationing in Paris and I had a dream one night and in this dream I saw a full song: a guitar being played by this hands, a voice coming out from the ether, singing "baby, baby, I miss you." It led me to the firm belief, it reconfirmed my ideals that music comes from the universe. It doesn't come from us artists, the inspiration is out there. It comes from the ether, from collective consciousness and at best we are skilled presenters and it belongs to all of us. It's this most amazing feeling, this intuitive connection, that connects all beings on this planet

The Ballad of the Lone Cowboy In the heart of the prairie, where the wildflowers bloom, Lived a cowboy named James, with his guitar and tunes. He’d sit by the fire, under stars shining bright, And pen down his thoughts, every day and each night. His page was a canvas, where his stories took flight, “Cowboy’s-just for fun,” in the soft moonlight. With quotes that inspired, and tales that spun, He shared his heart freely, just for fun. One day he wrote of a boy, so young and so brave, Whose mother fought battles, no more could she save. Through the eyes of the child, the world seemed so vast, But James’ tender words, held the readers fast. The cowboy’s creations, like his spirit, roamed free, From grand tales of adventure, to sweet family glee. Each post was a window, to a life rich and full, Of laughter and sorrow, of push and of pull. So here’s to the cowboy, with his hat and his grin, Whose stories keep dancing, on the winds that spin. For in every line, and each word that’s penned, Lies the essence of life, from start to end. I hope this story captures the essence of the “Cowboy’s-just for fun” page and resonates with the themes you enjoy. And if you like this page, please share it with your friends. I hope you enjoy this story and feel inspired to share it with others

The Ballad of the Lone Cowboy In the heart of the prairie, where the wildflowers bloom, Lived a cowboy named James, with his guitar and tunes. He’d sit by the fire, under stars shining bright, And pen down his thoughts, every day and each night. His page was a canvas, where his stories took flight, “Cowboy’s-just for fun,” in the soft moonlight. With quotes that inspired, and tales that spun, He shared his heart freely, just for fun. One day he wrote of a boy, so young and so brave, Whose mother fought battles, no more could she save. Through the eyes of the child, the world seemed so vast, But James’ tender words, held the readers fast. The cowboy’s creations, like his spirit, roamed free, From grand tales of adventure, to sweet family glee. Each post was a window, to a life rich and full, Of laughter and sorrow, of push and of pull. So here’s to the cowboy, with his hat and his grin, Whose stories keep dancing, on the winds that spin. For in every line, and each word that’s penned, Lies the essence of life, from start to end. I hope this story captures the essence of the “Cowboy’s-just for fun” page and resonates with the themes you enjoy. If you have any specific elements or ideas you’d like to include, feel free to let me know, and I can incorporate them into the story.

Through every chord and melody, weaving his passion into the fabric of his music, may his journey inspire others to dance to the rhythm of their dreams.

Thorn In My Pride" Wake me when the day breaks Show me how the sun shines Tell me about your heartaches Who could be so unkind? Do you dream to touch me? And smile down deep inside Or could you just kill me? Hey, it's hard to make up your mind sometimes. My angels, my devils, my thorn in my pride My angels, my devils, my thorn in my pride Are you wanting inspiration? You spill your secrets on me Then you tell me with a whisper Of things that will never be. Do you hear me breathing? Does it make you want to scream? Did you ever like a bad dream? Sometimes life is obscene. My angels, my devils, my thorn in my pride My angels, my devils, my thorn in my pride My angels, my devils, my thorn in my pride Lover, cover me with your sleep Let your love light shine, let it shine Lover, cover me with a good dream Oh, let your love light Oh, let your love light shine Oh, I wanna know, do you ever wanna let it shine? Do you ever wanna let it shine, baby? Your love light, your love light Listen, lover, cover me with your sleep Let your love light shine, let it shine Lover, cover me with your sleep Let your love light shine, let it shine Lover, cover me with your dream Let your love light shine, let it shine Thorn in my pride The Southern Harmony And Musical Companion (1992)

AS I LAY THERE STARING AT THE CEILING, IT DAWNED ON ME THAT MAYBE MY GUITAR WAS THE LOVE OF MY LIFE AFTER ALL. Maybe I didn’t need Sandi. Maybe my Silvertone could help me heal my wounded heart. Maybe I could write my way out of this mess. I was more determined than ever to make this rock and roll dream come true. This is perhaps the impetus behind every song that I have ever written. Not to exact revenge on Sandi, of course, but to guard my most vulnerable corners by using heartbreak as fuel. What could be more inspiring than the exposed nerves of a wounded heart? In a way, I cherish my numerous heartbreaks almost more than the actual love that preceded them, because the heartbreak has always proven to me that I can feel. Trust me, the sweet sting of a love refused is powerful enough to send any scribe scrambling for pen and paper, aching to find beauty in the pain of being eighty-sixed by another. And more often than not, the result is good, because it’s real, and it fucking hurts so bad.

You must practice the things you wish to do better. A guitarist doesn't become a rockstar by never playing his guitar.

Another loop of influence and inspiration occurred when African musicians imitated the imported Cuban recordings they heard—which were themselves a mutation of African music. The African guitar-based rhumba that resulted was something new and wonderful, and most folks hearing it wouldn’t think it was a poor imitation of Cuban music at all. When I heard some of those African bands, I had no idea that Cuban music had been their inspiration. What they were doing sounded completely original to me, and I was naturally inspired, just as they had been. The process never stops. Contemporary European DJs were blown away when they heard Detroit techno.

By now I was in the zone. I grabbed an acoustic guitar, tuned it to an open D, and sang for the guys my first draft of “Acadian Driftwood.” The song was inspired by a documentary I had seen in Montreal a while back called L’Acadie, l’Acadie, where for the first time I understood that the name “Cajun” was a southern country slurring of the word “Acadian.” The documentary told a very powerful story about the eighteenth-century expulsion by the British of the Acadians: French settlers in eastern Canada. Thousands of homeless Acadians moved to the area around Lafayette, Louisiana. When I finished playing the song through, Levon patted me on the back and said, “Now that’s some songwritin’ right there, son.” I was proud that he felt so strongly about it. “We’ve got to find the sound of Acadian-Canadian-Cajun gumbo on this one,” I told the guys. “We have to pass the vocal around like a story in an opera. There has to be the slightly out-of-tune quality of a French accordion and fiddle, the depth of a washtub bass—all blending around these open tuning chords on my guitar like a primitive symphony.” When we were recording the song, it felt as authentic as anything we’d ever done.

That's what cool about rock. It's as if the songs were more alive than the people. It's as if the drums and the guitars electrified our veins. It makes you want to leave the toccata and go throw stones at La Moneda. But the truth is that the following day we're all walking with our heads hanging down, sleepy, trying to read the history chapter in the last minutes before the quiz.

by refusing to repeat it, much to the despair of their record companies. Both wrote gorgeous sci-fi ballads blatantly inspired by 2001—“Space Oddity” and “After the Gold Rush.” Both did classic songs about imperialism that name-checked Marlon Brando—“China Girl” and “Pocahontas.” Both were prodigiously prolific even when they were trying to eat Peru through their nostrils. They were mutual fans, though they floundered when they tried to copy each other (Trans and Tin Machine). Both sang their fears of losing their youth when they were still basically kids; both aged mysteriously well. Neither ever did anything remotely sane. But there’s a key difference: Bowie liked working with smart people, whereas Young always liked working with . . . well, let’s go ahead and call them “not quite as smart as Neil Young” people. Young made his most famous music with two backing groups—the awesomely inept Crazy Horse and the expensively addled CSN—whose collective IQ barely leaves room temperature. He knows they’re not going to challenge him with ideas of their own, so he knows how to use them—brilliantly in the first case, lucratively in the second. But Bowie never made any of his memorable music that way—he always preferred collaborating with (and stealing from) artists who knew tricks he didn’t know, well educated in musical worlds where he was just a visitor. Just look at the guitarists he worked with: Carlos Alomar from James Brown’s band vs. Robert Fripp from King Crimson. Stevie Ray Vaughan from Texas vs. Mick Ronson from Hull. Adrian Belew from Kentucky vs. Earl Slick from Brooklyn. Nile Rodgers. Peter Frampton. Ricky Gardiner, who played all that fantastic fuzz guitar on Low (and who made the mistake of demanding a raise, which is why he dropped out of the story so fast). Together, Young and Bowie laid claim to a jilted generation left high and dry by the dashed hippie dreams. “The

Music is indeed beautiful for the ears, but don't ignore the effects of vibrations on your eardrums.

As there is no joy for the broken heart, there is also no harmony to a guitar with broken strings.

Mike plays around with a new toy. As he later describes the harsh rhythmic sound he comes up with: “I programmed that with the very first big Linn drum machine. And I did something the Americans would never do: I put it through my guitar amplifier, a small one, and I turned it up so loud that it was jumping up and down on the chair. What the English do well is take a sound and fuck it up. That’s a prime example. It’s just a horrible but great sound.” He’s not wrong. Straight away it works. We all fall in love with it and, inspired, I do my best John Lennon impersonation, and I also take a vocal cue from Grandmaster Flash and the Furious Five’s “The Message,” adding in the maniacal laugh. And that’s “Mama,” the lead single from the Genesis album. Our biggest ever U.K. hit, both of its time and timeless, and an enduring stage classic.

I wanna be defined by the things that I love, Not the things I hate Not the things I'm afraid of, Not the things that haunt me in the middle of the night I just think that You are what you love.

How you gonna win when you ain't right within.