John Sung Quotes

I sung of Chaos and Eternal Night, Taught by the heav'nly Muse to venture down The dark descent, and up to reascend...

There's nothing you can do that can't be done Nothing you can sing that can't be sung. Nothing you can say but you can learn how to play the game. It's easy. Nothing you can make that can't be made. No one you can save that can't be saved. Nothing you can do but you can learn how to be you in time. It's easy. Nothing you can know that isn't known. Nothing you can see that isn't shown. Nowhere you can be that isn't where you're meant to be. It's easy.

I sung of chaos and eternal night, Taught by the heav'nly Muse to venture down the dark decent, and up to reascend...

The Beat Generation, that was a vision that we had, John Clellon Holmes and I, and Allen Ginsberg in an even wilder way, in the late forties, of a generation of crazy, illuminated hipsters suddenly rising and roaming America, serious, bumming and hitchhiking everywhere, ragged, beatific, beautiful in an ugly graceful new way--a vision gleaned from the way we had heard the word 'beat' spoken on streetcorners on Times Square and in the Village, in other cities in the downtown city night of postwar America--beat, meaning down and out but full of intense conviction--We'd even heard old 1910 Daddy Hipsters of the streets speak the word that way, with a melancholy sneer--It never meant juvenile delinquents, it meant characters of a special spirituality who didn't gang up but were solitary Bartlebies staring out the dead wall window of our civilization--the subterraneans heroes who'd finally turned from the 'freedom' machine of the West and were taking drugs, digging bop, having flashes of insight, experiencing the 'derangement of the senses,' talking strange, being poor and glad, prophesying a new style for American culture, a new style (we thought), a new incantation--The same thing was almost going on in the postwar France of Sartre and Genet and what's more we knew about it--But as to the actual existence of a Beat Generation, chances are it was really just an idea in our minds--We'd stay up 24 hours drinking cup after cup of black coffee, playing record after record of Wardell Gray, Lester Young, Dexter Gordon, Willie Jackson, Lennie Tristano and all the rest, talking madly about that holy new feeling out there in the streets- -We'd write stories about some strange beatific Negro hepcat saint with goatee hitchhiking across Iowa with taped up horn bringing the secret message of blowing to other coasts, other cities, like a veritable Walter the Penniless leading an invisible First Crusade- -We had our mystic heroes and wrote, nay sung novels about them, erected long poems celebrating the new 'angels' of the American underground--In actuality there was only a handful of real hip swinging cats and what there was vanished mightily swiftly during the Korean War when (and after) a sinister new kind of efficiency appeared in America, maybe it was the result of the universalization of Television and nothing else (the Polite Total Police Control of Dragnet's 'peace' officers) but the beat characters after 1950 vanished into jails and madhouses, or were shamed into silent conformity, the generation itself was shortlived and small in number.

And daddy won't you take me back to Muhlenberg County Down by the Green River where Paradise lay" "Well, I'm sorry, my son, but you're too late in asking Mister Peabody's coal train has hauled it away.

It is one of the many graveyards which are the Great War's chief heritage. The chronicle of its battles provides the dreariest literature in military history; no brave trumpets sound in memory for the drab millions who plodded to death on the featureless plains of Picardy and Poland; no litanies are sung for the leaders who coaxed them to slaughter.

For so delicious were the words she sung,it seem'd he had loved them a whole summer long.

I am Mrs. Poulteney. I have come to take up residence. Kindly inform your Master." "His Infinitude has been informed of your decease, ma'am. His angels have already sung a Jubilate in celebration of the event." "That is most proper and kind of Him." And the worthy lady, pluming and swelling, made to sweep into the imposing white hall she saw beyond the butler's head. But the man did not move aside. Instead, he rather impertinently jangled some keys he chanced to have in his hand. "My man! Make way. I am she. Mrs. Poulteney of Lyme Regis." "Formerly of Lyme Regis, ma'am. And now of a much more tropical abode." With that, the brutal flunkey slammed the door in her face.

A man named Hero washed the press cloths; Meany Hyde told Homer that the man had been a kind of hero, once. ‘That’s all I heard. He’s been comin’ here for years, but he was a hero. Just once,’ Meany added, as if there might be more shame attached to the rarity of the man’s heroism than there was glory to be sung for his moment in the sun.

Now came still evening on, and twilight gray Had in her sober livery all things clad; Silence accompany'd; for beast and bird, They to their grassy couch, these to their nests, Were slunk, all but the wakeful nightingale; She all night long her amorous descant sung; Silence was pleas'd. Now glow'd the firmament With living sapphires; Hesperus, that led The starry host, rode brightest, till the moon, Rising in clouded majesty, at length Apparent queen unveil'd her peerless light, And o'er the dark her silver mantle threw.

Music in the church ought to be much more than an emotional stimulant. In fact, this means music and preaching should have the same aim. Both properly pertain to the proclamation of God's Word. Preaching is properly seen as an aspect of or worship. And conversely, music is properly seen as an aspect of the ministry of the Word, just like preaching. Therefore the songwriter ought to be skilled in Scripture and as concerned for theological precision as the preacher. Even more so, because the songs he writes are likely to be sung again and again (unlike a sermon that is preached only once).

 Hail, Son of the Most High, heir of both Worlds,   Queller of Satan! On thy glorious work   Now enter, and begin to save Mankind."     Thus they the Son of God, our Saviour meek,   Sung victor, and, from heavenly feast refreshed,   Brought on his way with joy. He, unobserved,   Home to his mother's house private returned.

In the light of its recent history and usage, "Amazing Grace" has sometimes been called "the spiritual national anthem of America." It is a description that can be applied even more widely on an international canvas, for the hymn soars above most boundaries as a simple celebration of the experience of grace. In principle it can be, and is, sung with this meaning not only by Christians but by Jews, Muslims, Buddhists, Hindus, and people of no particular faith.

Your Eve was wise, John. She knew that Paradise would make her mad, if she were to live forever with Adam and know no other thing but strawberries and tigers and rivers of milk. She knew they would tire of these things, and each other. They would grow to hate every fruit, every stone, every creature they touched. Yet where could they go to find any new thing? It takes strength to live in Paradise and not collapse under the weight of it. It is every day a trial. And so Eve gave her lover the gift of time, time to the timeless, so that they could grasp at happiness. ... And this is what Queen Abir gave to us, her apple in the garden, her wisdom--without which we might all have leapt into the Rimal in a century. The rite bears her name still. For she knew the alchemy of demarcation far better than any clock, and decreed that every third century husbands and wives should separate, customs should shift and parchmenters become architects, architects farmers of geese and monkeys, Kings should become fishermen, and fishermen become players of scenes. Mothers and fathers should leave their children and go forth to get other sons and daughters, or to get none if that was their wish. On the roads of Pentexore folk might meet who were once famous lovers, or a mother and child of uncommon devotion--and they would laugh, and remember, but call each other by new names, and begin again as friends, or sisters, or lovers, or enemies. And some time hence all things would be tossed up into the air once more and land in some other pattern. If not for this, how fastened, how frozen we would be, bound to one self, forever a mother, forever a child. We anticipate this refurbishing of the world like children at a holiday. We never know what we will be, who we will love in our new, brave life, how deeply we will wish and yearn and hope for who knows what impossible thing! Well, we anticipate it. There is fear too, and grief. There is shaking, and a worry deep in the bone. Only the Oinokha remains herself for all time--that is her sacrifice for us. There is sadness in all this, of course--and poets with long elegant noses have sung ballads full of tears that break at one blow the hearts of a flock of passing crows! But even the most ardent lover or doting father has only two hundred years to wait until he may try again at the wheel of the world, and perhaps the wheel will return his wife or his son to him. Perhaps not. Wheels, and worlds, are cruel. Time to the timeless, apples to those who live without hunger. There is nothing so sweet and so bitter, nothing so fine and so sharp.

O Come, O Come, Emmanuel “T hey shall call his name Immanuel” (which means, God with us)” (Matthew 1:23 ESV). This is perhaps our oldest Christmas carol. Historians say its roots go back to the 8th century. In its earliest form, it was a “plain song” or a chant and the monks sang it a cappella. It was sung or chanted in Latin during the seven days leading up to Christmas. Translated into English by John Mason Neale in 1851, we sing it to the tune “Veni, Emmanuel,” a 15th-century melody. Many churches sing it early in the Advent season because of its plaintive tone of expectant waiting. Traditionally Advent centers on the Old Testament preparation for the coming of the Messiah who will establish his kingdom on the earth. When the words form a prayer that Christ will come and “ransom captive Israel,” we ought to remember the long years of Babylonian captivity. Each verse of this carol features a different Old Testament name or title of the coming Messiah: “O come, O come, Emmanuel.” “O come, Thou Wisdom from on high.” “O come, Thou Rod of Jesse.” “O come, Thou Day-spring.” “O come, Thou Key of David.” “O come, Thou Lord of Might.” “O come, Desire of Nations.” This carol assumes a high level of biblical literacy. That fact might argue against singing it today because so many churchgoers don’t have any idea what “Day-spring” means or they think Jesse refers to a wrestler or maybe to a reality TV star. But that argument works both ways. We ought to sing this carol and we ought to use it as a teaching tool. Sing it—and explain it! We can see the Jewish roots of this carol in the refrain: Rejoice! Rejoice! Emmanuel Shall come to thee, O Israel. But Israel’s Messiah is also our Savior and Lord. What Israel was waiting for turns out to be the long-expected Jesus. So this carol rightly belongs to us as well. The first verse suggests the longing of the Jewish people waiting for Messiah to come: O come, O come, Emmanuel And ransom captive Israel That mourns in lonely exile here Until the Son of God appears The second verse pictures Christ redeeming us from hell and death: O come, Thou Rod of Jesse, free Thine own from Satan’s tyranny From depths of Hell Thy people save And give them victory o’er the grave This verse reminds us only Christ can take us home to heaven: O come, Thou Key of David, come, And open wide our heavenly home; Make safe the way that leads on high, And close the path to misery. Rejoice! Rejoice! Emmanuel Shall come to thee, O Israel. Let’s listen as Selah captures the Jewish flavor of this carol. Lord, we pray today for all those lost in the darkness of sin. We pray for those who feel there is no hope. May the light of Jesus shine in their hearts today. Amen.

What does a mind that is focused on hope look like? I read recently about a woman who had been diagnosed with cancer and was given three months to live. Her doctor told her to make preparations to die, so she contacted her pastor and told him how she wanted things arranged for her funeral service—which songs she wanted to have sung, what Scriptures should be read, what words should be spoken—and that she wanted to be buried with her favorite Bible. But before he left, she called out to him, “One more thing.” “What?” “This is important. I want to be buried with a fork in my right hand.” The pastor did not know what to say. No one had ever made such a request before. So she explained. “In all my years going to church functions, whenever food was involved, my favorite part was when whoever was cleaning dishes of the main course would lean over and say, You can keep your fork. “It was my favorite part because I knew that it meant something great was coming. It wasn’t Jell-O. It was something with substance—cake or pie—biblical food. “So I just want people to see me there in my casket with a fork in my hand, and I want them to wonder, What’s with the fork? Then I want you to tell them, Something better is coming. Keep your fork.” The pastor hugged the woman good-bye. And soon after, she died. At the funeral service people saw the dress she had chosen, saw the Bible she loved, and heard the songs she loved, but they all asked the same question: “What’s with the fork?” The pastor explained that this woman, their friend, wanted them to know that for her—or for anyone who dies in Christ—this is not a day of defeat. It is a day of celebration. The real party is just starting. Something better is coming.

Nero, the sixth emperor of Rome. This monarch reigned for the space of five years, with tolerable credit to himself, but then gave way to the greatest extravagancy of temper, and to the most atrocious barbarities. Among other diabolical whims, he ordered that the city of Rome should be set on fire, which order was executed by his officers, guards, and servants. While the imperial city was in flames, he went up to the tower of Macaenas, played upon his harp, sung the song of the burning of Troy, and openly declared that 'he wished the ruin of all things before his death.

relieved. “That’s good,’’ she said. “That’s what I needed. Somebody close enough—to pray.’’ He shook his head as though to awaken himself. “I don’ understan’ this here,’’ he said. And she replied, “Yes—you know, don’t you?’’ “I know,’’ he said, “I know, but I don’t understan’. Maybe you’ll res’ a few days an’ then come on.’’ She shook her head slowly from side to side. “I’m jus’ pain covered with skin. I know what it is, but I won’t tell him. He’d be too sad. He wouldn’ know what to do anyways. Maybe in the night, when he’s a-sleepin’—when he waked up, it won’t be so bad.’’ “You want I should stay with you an’ not go on?’’ “No,’’ she said. “No. When I was a little girl I use’ ta sing. Folks roun’ about use’ ta say I sung as nice as Jenny Lind.2 Folks use’ ta come an’ listen when I sung. An’—when they stood—an’ me a-singin’, why, me an’ them was together more’n you could ever know. I was thankful. There ain’t so many folks can feel so full up, so close, an’ them folks standin’ there an’ me a-singin’. Thought maybe I’d sing in theaters, but I never done it. An’ I’m glad. They wasn’t nothin’ got in between me an’ them. An’—that’s why I wanted you to pray. I wanted to feel that clost-ness, oncet more. It’s the same thing, singin’ an’ prayin’, jus’ the same thing. I wisht you could a-heerd me sing.’’ He looked down at her, into her eyes. “Good-by,’’ he said. She shook her head slowly back and forth and closed her lips tight. And the preacher went out of the dusky tent into the blinding light.

Astaire had been told by the studio brass that he could have all the time he needed, so he planned for six weeks of rehearsal on the more difficult numbers (“Night and Day” and “The Table Dance”) that he imported from the stage production. Even though Astaire had played the role of Guy Holden, the man mistaken for Mimi’s (Ginger Rogers) divorce correspondent, on Broadway and in London, he was too much of a perfectionist to assume that he could reprise the dances on film without sufficient rehearsal. In addition, the Cole Porter score that he had sung in the theatre was, with the exception of “Night and Day,” completely scrapped and replaced with songs by Mack Gordon and Harry Revel, and Con Conrad and Herb Magidson (after Porter refused producer Pandro Berman’s request to write new ones). Astaire wanted, and was given, the time to master the new material.

Man’s works do not even come close to the works of the Holy Spirit. If the Holy Spirit does not work, all the efforts of man will come to naught.

dlaurent The Ballad of Johnny Jihad (Down Desert Storm Way). © c. 2001 During the Gulf War (1990-1991), American Pro-Taliban Jihadist John Philip Walker Lindh was captured while serving with the enemy forces. Here is his tale in song and legend. My nowex at the time did not want me to run to the radio station with this, thought I’d look singularly ridiculii. The following, 'The Ballad of Johnny Jihad' is sung to the tune of 'The Ballad of Jed Clampett' (1962), commonly known as 'The Beverly Hillbillies' song, the theme tune for the TV show series starring Buddy Ebsen. (Lyrics, Paul Henning, vocals Jerry Scoggins, Lester Flatt; master musicians of the art of the ballad and bluegrass ways, Lester Flatt and Earl Scruggs). The Ballad of Johnny Jihad (Sung) Come and listen to the story of Johnny Jihad, Who left home and country to study his Islam, And then one day he was shooting at our troops, So down through the camp did the government swoop. (Voice Over): ‘Al Que-da that is, Af-ghani Tali-ban, Terror-ist . . .’ (Sung) Well, the first thing you know ol’ John from ’Frisco roamed, The lawman said ‘he’s a lad misunderstood very far from home.’ Said, ‘Californee is the place he oughta be,’ So they request his trial be moved to Berkeley . . . (Voice Over): ‘Liberals that is, group-ies, peace-activists . . .’ Announcer: The Johnny Jihad Show! (Intense bluegrass banjo pickin’ music) . . . (Sung) Now its time to say goodbye to John and all his kin, Hope ya don’t think of him as a fightin’ Taliban, You’re all invited back again to this insanity, To get yourself a heapin’ helpin’ of this travesty . . . Johnny Jihad, that’s what they call ’im now Nice guy; don’t get fooled now, y’hear? (Voice Over): ‘Lawyerin’ that is, O.J.ism, media-circus . . .’ (Music) . . . end

I’d love people to see it, it’s better seen than read—plays are like sheet music, meant to be sung & we’ve a cast & crew of pure Beyoncé.

Nature, --.... Her song of gratitude is sung by spring's awakening hours, Her summer offers at Thy shrine its earliest, loveliest flowers; Her autumn brings its ripened fruits, in glorious luxury given, While winter's silver heights reflect Thy brightness back to heaven!

think that’s a difficult question to answer. On the day before the play opened, I wrote a tweet which said “I’d love people to see it, it’s better seen than read—plays are like sheet music, meant to be sung & we’ve a cast & crew of pure Beyoncé.” So maybe that’s the answer: that they imagine the Beyoncés of the acting world—emotional and empathetic titans—killing

Franzmann, a Bible interpreter and theologian, was also a hymn writer. In a hymn on the Reformation, he concludes with a beautiful, unforgettable prayer. He asks that the Holy Spirit would breathe on his “cloven church once more, That in these gray and latter days, There may be men whose life is praise, Each life a high doxology, to Father, Son, and unto Thee.”3 When our theology becomes doxology, it not only is sung but creates lives of “high doxology”—lives in which we truly no longer live, but having been crucified with Christ, we live in and through him (cf. Gal. 2:20). As Jesus prayed, “that they may all be one, just as you, Father, are in me, and I in you, that they also may be in us. . . . I in them and you in me, that they may become perfectly one” (John 17:21, 23).

Ga’n git ‘em, marras! Remember Arroyo!” “Booger Arroyo!” roared Grandarse, and the corporal pulled himself up into a sitting position, and as we swung past he was trying to sing, in a harsh unmusical croak. Aye, Ah ken John Peel an’ Ruby too, Ranter an’ Ringwood, Bellman an’ True From a find to a check, from a check to a view From a view to a death in the morning! He was a romantic, that one, but whoever he was I’m grateful to him, for I can say I have heard the regimental march sung, and the regimental war cry shouted, as we went in under Japanese fire. I don’t know how many casualties we took at that point – seven dead and thirty-three wounded was the count at the end of the day – but I do know that the companies never stopped or even broke stride; they “kept ga’n”, and I must be a bit of a romantic, too, I suppose, for whenever I think back on those few minutes when the whizz-bangs caught us, and see again those unfaltering green lines swinging steadily on, one word comes into my Scottish head: Englishmen.

Poetry for me is a result of lyrical meditation, pre-verbal in origin, and much of the craft has to do with finding a contemporary diction that embodies, at times subverts but never betrays that pre-verbal lyrical source: the presence of song before it is sung.

In the Sweet By and By," "When We All Get to Heaven," "Oh, Come, Angel Band," the magnificent "Glory Song" sung around the world in the Torrey-Alexander meetings, had their tremendous hold on people, no doubt because of the happy hope they expressed for Heaven. The human heart longs for an assurance of a blessed, immortal place where those made righteous, the forgiven, the blessed are at home with God; when sin, disappointment, human failure, heartache, disease and death are forever ended!

Caleb and Camille liked two kinds of music—esoteric, impenetrable things like John Cage and the apocalyptic folk of Current 93, and then the dumbest, loudest music possible, punk rock. When they were little children, their parents had sung Black Flag’s “Six Pack” to them before bed as if it were a lullaby. “I was born with a bottle in my mouth,” their mother would sing, and then their father would chime in, “Six Pack!” At the end, before kissing Annie and Buster on their foreheads, Caleb and Camille would whisper, “Six Pack! Six Pack! Six Pack!” and then turn off the light.

Professor Sung-bae Park taught Buddhism to primarily Judeo-Christian kids who needed one course in a world religion and could fit him in their schedules.

The Sabbath is a party, and what is a good party without a drinking song? Almost all the early John Wesley hymns were sung to what at the time was wild pub music.

Through Thomas, William met John Newton, nearly 70, a well-known Anglican churchman once from Olney. Newton had been a slave runner, his soul redeemed during a violent storm at sea. About God’s saving grace he had written a poem, later set to music and sung widely as a hymn called ‘Amazing Grace’. After being introduced to John Newton, William had a momentary lapse of confidence in his mission. “But what if we are turned back because we have no licenses?” he asked Newton. The crusty Newton seemed surprised at the timidity in the question. “Why, conclude that your Lord has nothing for you to accomplish there.” He gave William a stern look. “But if he has something there for you to do, no power on earth can stop you!” He quickly dismissed William’s worry. “Say, I know you good men surely must oppose the abomination of slavery. I want you to meet the man who will champion its abolition to a conclusion.” So

For anyone with busfare and a harmonica, The Original Amateur Hour was a grab at the brass ring. Some came without busfare, hitching rides across the country. Poor blacks came up from the South; cowboys from the West. Freak acts came from everywhere. Many had sung in choirs back home. Some had played tank towns in the corn belt, with three-piece combos held together by long strings of one-night stands. They were supposed to be “simon pures,” strictly amateur, but who was to know? The common denominator was desperation. The Depression hung over the nation like a shroud. If a man with a smooth baritone singing voice was told by enough friends that he sounded better than Bing Crosby, he began to believe it. Major Bowes gave him a chance to prove it.

As for HAL singing “Daisy Bell (Bicycle Built for Two),” this, too, was Clarke’s contribution, including the song’s gradual devolution to near incomprehensibility at the end. The idea originated in a visit he’d made in 1962 to Bell Laboratories, where he’d heard John Kelly’s voice-synthesizer experiments with an IBM 7094 mainframe, which had coaxed the machine to sing Harry Dacre’s 1892 marriage proposal—the first song ever sung by a computer.

The final format, with Phil Harris and Alice Faye, was virtually identical to and is covered under THE PHIL HARRIS/ALICE FAYE SHOW. The theme throughout the various format changes was zestily sung to the melody Smile for Me: Laugh a-while, Let a song be your style, Use Fitch Sham-poo! Don’t despair, Use your head, save your hair, Use Fitch Sham-poo!

But with the books read, the hymns sung, the prayers recited, and the warm, fleece-thick hugs lingered over, there is peace. A peace that comes when after months of struggle, and darkness, and chill, the sun breaks through the clouds, and reveals a glittering beneath the shadows. A peace that infuses the air when you realize, with the clarity of crystal, the depth to which God loves you (John 3:16), and blesses you richly, even while you're perseverating over your own myopic view of the world. The sky closed up again within twenty-four hours. But for a day, a seldom sun lifted mist from puddles and coaxed jackets from limbs. It brushed back winter's dreary countenance. Across dappled earth it revealed the great mercy God has shown us in guiding us down this path, a path we had never planned, a world of glimmers we would otherwise never have known. Not what if, but even if.

Have you ever heard somebody sing some lyrics that you've never sung before, and you realize you've never sung the right words in that song? You hear them and all of a sudden you say to yourself, 'Life in the Fast Lane?' That's what they're saying right there? You think, 'why have I been singing 'wipe in the vaseline?' how many people have heard me sing 'wipe in the vaseline?' I am an idiot.” ― Ellen DeGeneres, My Point... And I Do Have One

But it was his speaking voice that would be famous, first on The Children’s Hour, later as announcer on the Metropolitan Opera Broadcasts. The show was heavily musical, following Cross’s deep interest in classical music and opera. There might be an opening hymn, sung by Audrey Egan; then a poem; then a song from one of the youngest children. “And who is standing here with her ticket ready to pay for a ride on the White Rabbit Bus?” Cross would ask; and a small voice would chirp, “It’s Jeannie Elkins, Mr. Conductor.” Then came another song, and the members of the Peter Pig Club would clamor for a story, which Cross would narrate and the cast act out. Among the notables to emerge from the show were Metropolitan Opera star Rise Stevens and screen actress Ann Blyth. Vivian Smolen, Jackie Kelk, Walter Tetley, and the Halops had distinguished radio careers as adults.