Lyric Graduation Quotes

talk about how reading Paulo Coelho’s The Alchemist recalibrated my thinking about what it means to be a self-actualized adult—and what it takes to become one. In the speech, I tell the graduates that the only way to successfully make the journey (from adolescence to adulthood) is to learn how to “get quiet”—that is, to quiet down the noise of other people’s opinions and to take instruction instead from one’s own heart.

For Dylan, this electric assault threatened to suck the air out of everything else, only there was too much radio oxygen to suck. “Like a Rolling Stone” was the giant, all-consuming anthem of the new “generation gap” disguised as a dandy’s riddle, a dealer’s come-on. As a two-sided single, it dwarfed all comers, disarmed and rejuvenated listeners at each hearing, and created vast new imaginative spaces for groups to explore both sonically and conceptually. It came out just after Dylan’s final acoustic tour of Britain, where his lyrical profusion made him a bard, whose tabloid accolade took the form of political epithet: “anarchist.” As caught on film by D. A. Pennebaker’s documentary Don’t Look Back, the young folkie had already graduated to rock star in everything but instrumentation. “Satisfaction” held Dylan back at number two during its four-week July hold on Billboard’s summit, giving way to Herman’s Hermits’ “I’m Henry the Eighth, I Am” and Sonny and Cher’s “I Got You Babe” come August, novelty capstones to Dylan’s unending riddle. (In Britain, Dylan stalled at number four.) The ratio of classics to typical pop schlock, like Freddie and the Dreamers’ “I’m Telling You Now” or Tom Jones’s “It’s Not Unusual,” suddenly got inverted. For cosmic perspective, yesterday’s fireball, Elvis Presley, sang “Do the Clam.” Most critics have noted the Dylan influence on Lennon’s narratives. Less space gets devoted to Lennon’s effect on Dylan, which was overt: think of how Dylan rewires Chuck Berry (“Subterranean Homesick Blues”) or revels in inanity (“Rainy Day Women #12 & 35”). Even more telling, Lennon’s keening vocal harmonies in “Nowhere Man,” “And Your Bird Can Sing,” and “Dr. Robert” owed as much to the Byrds and the Beach Boys, high-production turf Dylan simply abjured. Lennon also had more stylistic stretch, both in his Beatle context and within his own sensibility, as in the pagan balalaikas in “Girl” or the deliberate amplifier feedback tripping “I Feel Fine.” Where Dylan skewed R&B to suit his psychological bent, Lennon pursued radical feats of integration wearing a hipster’s arty façade, the moptop teaching the quiet con. Building up toward Rubber Soul throughout 1965, Beatle gravity exerted subtle yet inexorable force in all directions.

I too was very busy. Thinking. I had decided to write a novel. It would be a big book, Tolstoyan in scale, Joycean in its ambition, Shakespearean in its lyricism. Twenty years hence, the book would be the subject of graduate seminars and doctoral dissertations. The book would join the Canon of Literature. Students would speak reverentially of the text, my text, in hushed, wondrous tones. Magazine profiles would begin with The reclusive literary giant J. Maarten Troost . . . I had already decided to be enigmatic, a mystery. People would speak of Salinger, Pynchon, and Troost. I wondered if I could arrange my citizenship so that I would win both the Booker and the Pulitzer for the same book. To get in the right state of mind, I read big books—Midnight’s Children by Salman Rushdie, Infinite Jest by David Foster Wallace, Ulysses by James Joyce (okay, I skimmed parts of that one). I read King Lear. Inexplicably, Sylvia thought I was procrastinating. And

Alien Mind Parasites are attacking children! Alien Parasites attack children through violent video games, music videos with lyrics and images of adult sexuality, drug use, denigration of and violence toward women! Horribly, even children’s cartoons are now filled with the above images. Our children are being bombarded with electrical and chemical contamination in food, beverages, cell phones and microwave transmitters. The Alien Parasites are turning our children into materialistic, violent, Godless puppets. By the time a teenager graduates from high school, they have seen 8,000 real or simulated murders in movies, the Internet, video games and television. This negative imagery is the perfect insertion vehicle for Alien Parasites to enter the child's brain. If you care about your children - protect them from Alien Parasite attacks. Prevent your child from becoming addicted to media that is full of torture, murder, blood, bullets and violence. Beware of anything that generates negative emotions!