Kansas Song Quotes

I close my eyes Only for a moment, then the moment's gone All my dreams Pass before my eyes, a curiosity... Same old song Just a drop of water in an endless sea All we do Crumbles to the ground, though we refuse to see... Now, don't hang on Nothing lasts forever but the earth and sky It slips away And all your money won't another minute buy... Dust in the wind All we are is dust in the wind." (Kansas guitarist Kerry Livgren wrote this after reading a book of Native American poetry. The line that caught his attention was "For All We Are Is Dust In The Wind.")

And she was aware of something else in the eyes of the mask he was wearing, something beyond the cold, lizardlike sheen of evil, something deeper ... and almost human. She remembered seeing the same thing in the eyes of Uncle Tommy the night he’d crushed her flowers, back in the Kansas trailer park seven years ago; it was something wandering and longing, forever locked away from the light and maddened like a tiger in a dark cage. It was dumb arrogance and bastard pride, stupidity and rage stoked to atomic power. But it was something of a little boy, too, wailing and lost.

Did you know that the state song of Kansas is ‘Home on the Range’?

I don’t think we’re in Kansas anymore!” Swan shouted.

11:48 P.M. Central Daylight Time NEAR WICHITA, KANSAS

Thanksgiving List Prairie birds, the whistle of gophers, the wind blowing, the smell of grass and spicy earth, friends like Mad Dog, the cattle down in the river, water washing over their hooves, the sky so big, so full of shifting clouds, the cloud shadows creeping over the fields, Daddy’s smile, and his laugh, and his songs, Louise, food without dust, Daddy seeing to Ma’s piano, newly cleaned and tuned, the days when my hands don’t hurt at all, the thank-you note from Lucille in Moline, Kansas, the sound of rain, Daddy’s hole staying full of water as the windmill turns, the smell of green, of damp earth, of hope returning to our farm.

Author’s Note Caroline is a marriage of fact and Laura Ingalls Wilder’s fiction. I have knowingly departed from Wilder’s version of events only where the historical record stands in contradiction to her stories. Most prominently: Census records, as well as the Ingalls family Bible, demonstrate that Caroline Celestia Ingalls was born in Rutland Township, Montgomery County, Kansas on August 3, 1870. (Wilder, not anticipating writing a sequel to Little House in the Big Woods, set her first novel in 1873 and included her little sister. Consequently, when Wilder decided to continue her family’s saga by doubling back to earlier events, Carrie’s birth was omitted from Little House on the Prairie to avoid confusion.) No events corresponding to Wilder’s descriptions of a “war dance” in the chapter of Little House on the Prairie entitled “Indian War-Cry” are known to have occurred in the vicinity of Rutland Township during the Ingalls family’s residence there. Drum Creek, where Osage leaders met with federal Indian agents in the late summer of 1870 and agreed peaceably to sell their Kansas lands and relocate to present-day Oklahoma, was nearly twenty miles from the Ingalls claim. I have therefore adopted western scholar Frances Kay’s conjecture that Wilder’s family was frightened by the mourning songs sung by Osage women as they grieved the loss of their lands and ancestral graves in the days following the agreement. In this instance, like so many others involving the Osages, the Ingalls family’s reactions were entirely a product of their own deep prejudices and misconceptions.

Dak had a song he didn’t often sing for crowds, but saved for late nights around dying fires, when only the restless and bleary-eyed stuck around to listen. Enid had only heard it a couple of times, but she remembered it and sat up when he played it now. The chorus was about dust in the wind, and how everything would eventually blow away and come to naught. The melody was sad and haunting, a rain of notes plucked on the strings until they faded out, just a lingering vibration through the wood of the guitar. The sound seemed to carry, even after the song ended. “That was really sad,” one of the half dozen left on the patio said, and the words seemed rude somehow. Like after that they should have all just vanished without a word, melting into the night. “I learned it from an old man when I was just a little kid. He said it came from a place called Kansas.” Enid said, “I’ve seen Kansas on a map.” A crinkled atlas in the Haven library had the continent marked up into regions that didn’t mean much these days. “It’s over a thousand miles east of here.

I take a sip of my soda and glance up at the front of the bus, knowing Derek will be doing much the same within a few hours of touching down in Illinois. For all the pomp and ceremony and the big money in the balance, we’re both minstrels, always on the road, always moving. Which would be fine if we were doing it together. But not like this. I press Terry’s speed dial number, and she answers on the third ring. I clear my throat, and when I speak it’s an adult’s voice, not an adolescent asking for permission. “Terry? We need to talk.” Chapter 39 The week’s dragged on, every minute feeling like days, but finally it’s time for Derek to arrive – our first show will be tonight, in Kansas City, with seven more shows over the next ten days throughout the Midwest. My second single released two days ago and is the number one song in the country. Derek’s first single is at

My mother was a songwriter and singer. She is William Blake’s “Little lamb, who made thee / Dost thou know who made thee?” and Alfred Lord Tennyson. She is the traditional Cherokee songs sung at her aunt’s funeral. She is the “Burning Ring of Fire” running away to Independence, Kansas, at sixteen. She is “Crazy” sung by Patsy Cline in a wake of heartache. That was my mother, singing, all those years. My mother’s gifts were trampled by economic necessity and emotional imprisonment.

In Rodgers and Hammerstein’s familiar “A Wonderful Guy,” from South Pacific, the hard, alliterative consonants of the opening line, “corny” and “Kansas,” fall precisely on the downbeat of two successive measures. However interesting Rodgers’s waltz and Hammerstein’s simile, the two join in a musical-verbal conjunction that conveys the emphatic joy of the singer at that moment. Hammerstein knew that the anapests (“corny as,” “Kansas in”) were verbal equivalents of the waltz, which he emphasized with the crackling alliteration. Kansas is actually not very corny in August: Kansas is the wheat state and Iowa is the corn state. If you imagine “I’m as corny as Iowa in August,” you can hear the poetic, musical, and dramatic reasons for Hammerstein’s agricultural stretcher. Americans hear and, consequently, understand these verbal-musical bundles automatically; the words and music of the best American film and theater songs fit so snugly that their conjunction seems “natural.” Only by pulling words and music apart does one hear careful art coyly masquerading as simple nature.

Sidney provides the commentary on the DVD, and he tells us that he wanted “a train song.” Warren and Mercer gave him much more than that, for “On the Atchison, Topeka and the Santa Fe” is really an “entire town song.” It starts in the saloon—an important location, as it will be at war with the restaurant the Harvey girls wait table in—then moves to the train’s passengers, engineers, and conductor as it pulls in and the locals look everyone over, especially the newly mustered Harveys themselves. Warren’s music has imitated the train’s chugging locomotion, but now comes a trio section not by Warren and Mercer (at “Hey there, did you ever see such pearly femininity … ”), and the girls give us some individual backstories—one claims to have been the Lillian Russell of a small town in Kansas, and principals Ray Bolger and Virginia O’Brien each get a solo, too. The number is not only thus detailed as a composition but gets the ultimate MGM treatment on a gigantic set with intricate interaction among the many soloists, choristers, and extras. But now it’s Garland’s turn to enter the number, disembark, and mix in with the crowd. According to Sidney, Garland executed everything perfectly on the first try—and it was all done in virtually a single shot. Fred Astaire would have insisted on rehearsing it for a week, but Garland was a natural. Once she understood the spirit of a number, the physics of it simply fell into place for her. In any other film of the era, the saloon would be the place where the music was made. And Angela Lansbury, queen of the plot’s rowdy element, does have a floor number, dressed in malevolent black and shocking pink topped by a matching Hippodrome hat. But every other number is a story number—“The Train Must Be Fed” (as the Harveys learn the art of waitressing); “It’s a Great Big World” for anxious Harveys Garland, O’Brien, and a dubbed Cyd Charisse; O’Brien’s comic lament, “The Wild, Wild West,” a forging song at Ray Bolger’s blacksmith shop; “Swing Your Partner Round and Round” at a social. Marjorie Main cues it up, telling one and all that this new dance is “all the rage way