Music Speaks Quotes

One ought, every day at least, to hear a little song, read a good poem, see a fine picture, and, if it were possible, to speak a few reasonable words.

Where words fail, music speaks.

It's no good pretending that any relationship has a future if your record collections disagree violently or if your favorite films wouldn't even speak to each other if they met at a party.

He accused me of being Dumbledore's man through and through." "How very rude of him." "I told him I was." Dumbledore opened his mouth to speak and then closed it again. Fawkes the phoenix let out a low, soft, musical cry. To Harry's intense embarrassment, he suddenly realized that Dumbledore's bright blue eyes looked rather watery, and stared hastily at his own knee. When Dumbledore spoke, however, his voice was quite steady. "I am very touched, Harry.

He took his pain and turned it into something beautiful. Into something that people connect to. And that's what good music does. It speaks to you. It changes you.

Walk tall, kick ass, learn to speak Arabic, love music and never forget you come from a long line of truth seekers, lovers and warriors.

Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from - it’s where you take them to." [MovieMaker Magazine #53 - Winter, January 22, 2004 ]

Studies show: Intelligent girls are more depressed Because they know What the world is really like Don't think for a beat it makes it better When you sit her down and tell her Everything gonna be all right She knows in society she either is A devil or an angel with no in between She speaks in the third person So she can forget that she's me

Let the music speak to us of tonight, in a happier language than our own.

I’m the kind of person who likes to be by himself. To put a finer point on it, I’m the type of person who doesn’t find it painful to be alone. I find spending an hour or two every day running alone, not speaking to anyone, as well as four or five hours alone at my desk, to be neither difficult nor boring. I’ve had this tendency ever since I was young, when, given a choice, I much preferred reading books on my own or concentrating on listening to music over being with someone else. I could always think of things to do by myself.

Here's to the kids. The kids who would rather spend their night with a bottle of coke & Patrick or Sonny playing on their headphones than go to some vomit-stained high school party. Here's to the kids whose 11:11 wish was wasted on one person who will never be there for them. Here's to the kids whose idea of a good night is sitting on the hood of a car, watching the stars. Here's to the kids who never were too good at life, but still were wicked cool. Here's to the kids who listened to Fall Out boy and Hawthorne Heights before they were on MTV...and blame MTV for ruining their life. Here's to the kids who care more about the music than the haircuts. Here's to the kids who have crushes on a stupid lush. Here's to the kids who hum "A Little Less 16 Candles, A Little More Touch Me" when they're stuck home, dateless, on a Saturday night. Here's to the kids who have ever had a broken heart from someone who didn't even know they existed. Here's to the kids who have read The Perks of Being a Wallflower & didn't feel so alone after doing so. Here's to the kids who spend their days in photobooths with their best friend(s). Here's to the kids who are straight up smartasses & just don't care. Here's to the kids who speak their mind. Here's to the kids who consider screamo their lullaby for going to sleep. Here's to the kids who second guess themselves on everything they do. Here's to the kids who will never have 100 percent confidence in anything they do, and to the kids who are okay with that. Here's to the kids. This one's not for the kids, who always get what they want, But for the ones who never had it at all. It's not for the ones who never got caught, But for the ones who always try and fall. This one's for the kids who didnt make it, We were the kids who never made it. The Overcast girls and the Underdog Boys. Not for the kids who had all their joys. This one's for the kids who never faked it. We're the kids who didn't make it. They say "Breaking hearts is what we do best," And, "We'll make your heart be ripped of your chest" The only heart that I broke was mine, When I got My Hopes up too too high. We were the kids who didnt make it. We are the kids who never made it.

My friends joke that I’m dead until I get onstage. I’m dead right now as you’re speaking to me.

Music is a language that doesn’t speak in particular words. It speaks in emotions, and if it’s in the bones, it’s in the bones.

If we communicated with something like music, we would never be misunderstood, because there is nothing in music to understand...... But until we find this new way of speaking, until we can find a nonapproximate vocabulary, nonsense words are the best thing we've got. Ifactifice is one such word.

The artist must forget the audience, forget the critics, forget the technique, forget everything but love for the music. Then, the music speaks through the performance, and the performer and the listener will walk together with the soul of the composer, and with God.

When I find myself in times of trouble, mother Mary comes to me, speaking words of wisdom, let it be. And in my hour of darkness she is standing right in front of me, speaking words of wisdom, let it be. Let it be, let it be, let it be, let it be. Whisper words of wisdom, let it be. And when the broken hearted people living in the world agree, there will be an answer, let it be. For though they may be parted there is still a chance that they will see, there will be an answer. let it be. Let it be, let it be, ..... And when the night is cloudy, there is still a light, that shines on me, shine until tomorrow, let it be. I wake up to the sound of music, mother Mary comes to me, speaking words of wisdom, let it be. Let it be, let it be, .....

Instead of things I'm good at, it might be faster to list the things I can't do. I can't cook or clean the house. My room's a mess, and I'm always losing things. I love music, but I can't sing a note. I'm clumsy and can barely sew a stitch. My sense of direction is the pits, and I can't tell left from right half the time. When I get angry, I tend to break things. Plates and pencils, alarm clocks. Later on I regret it, but at the time I can't help myself. I have no money in the bank. I'm bashful for no reason, and I have hardly any friends to speak of.

Music is what feelings sound like out loud. I sing songs that speak from my heart. They tell my story, how I feel.

Music isn't just a pleasure, a transient satisfaction. It's a need, a deep hunger; and when the music is right, it's joy. Love. A foretaste of heaven. A comfort in grief. Is it too much to think that perhaps God speaks to us sometimes through music? How, then, could I be so ungrateful as to refuse the message?

A choir is made up of many voices, including yours and mine. If one by one all go silent then all that will be left are the soloists. Don’t let a loud few determine the nature of the sound. It makes for poor harmony and diminishes the song.

My mistress' eyes are nothing like the sun; Coral is far more red than her lips' red; If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head. I have seen roses damask'd, red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight Than in the breath that from my mistress reeks. I love to hear her speak, yet well I know That music hath a far more pleasing sound; I grant I never saw a goddess go; My mistress, when she walks, treads on the ground: And yet, by heaven, I think my love as rare As any she belied with false compare.

He who becomes the slave of habit, who follows the same routes every day, who never changes pace, who does not risk and change the color of his clothes, who does not speak and does not experience, dies slowly. He or she who shuns passion, who prefers black on white, dotting ones "it’s" rather than a bundle of emotions, the kind that make your eyes glimmer, that turn a yawn into a smile, that make the heart pound in the face of mistakes and feelings, dies slowly. He or she who does not turn things topsy-turvy, who is unhappy at work, who does not risk certainty for uncertainty, to thus follow a dream, those who do not forego sound advice at least once in their lives, die slowly. He who does not travel, who does not read, who does not listen to music, who does not find grace in himself, she who does not find grace in herself, dies slowly. He who slowly destroys his own self-esteem, who does not allow himself to be helped, who spends days on end complaining about his own bad luck, about the rain that never stops, dies slowly. He or she who abandon a project before starting it, who fail to ask questions on subjects he doesn't know, he or she who don't reply when they are asked something they do know, die slowly. Let's try and avoid death in small doses, reminding oneself that being alive requires an effort far greater than the simple fact of breathing. Only a burning patience will lead to the attainment of a splendid happiness.

An unalterable and unquestioned law of the musical world required that the German text of French operas sung by Swedish artists should be translated into Italian for the clearer understanding of English-speaking audiences.

When words fail music speaks.

There is music in your soul. A wild and untamed sort of music that speaks to me. It defies all the rules and laws you humans set upon it. It grows from inside you, and I have a wish to set that music free.

Dont speak of tomorrow.Let the music speak to us tonight,in a happier language than ours.

The Monster Ball is by nature a protest: A youth church experience to speak out and celebrate against all forms of discrimination + prejudice.

In response to be asked about Boris Johnson becoming UK Prime Minister... "I'm delighted. As the UK continues to plunge ever faster into a future akin to a dystopian novel I'll never run out of material to write more books. Although now that reality is more bizarre than fiction maybe plot-lines will need to be more ambitious. Perhaps a book where Boris Johnson is really an accidental sentient snafu of Trump's scrotum lint. Kind of a sequel to the Bush-Blair story. I see musical rights being drawn up as we speak.

Tell me something boss. What do you think is the highest form of art? 'Literature," he answered without hesitation. 'Painters and sculptors require elaborate supplies and tools. Dancers must have music. Musicians must have instruments. Literature needs nothing but a voice to speak it or sand to scrawl it in.

My music is the spiritual expression of what I am — my faith, my knowledge, my being...When you begin to see the possibilities of music, you desire to do something really good for people, to help humanity free itself from its hangups...I want to speak to their souls.

Music is a wonderful example of something that’s in this world but not of this world. Great works of music speak to us from another realm even though they speak to us in ordinary physical sounds.

The unhappiest people I know, romantically speaking, are the ones who like pop music the most; and I don't know whether pop music has caused this unhappiness, but I do know that they've been listening to the sad songs longer than they've been living the unhappy lives.

I've tried to get the angel to watch MTV so I can learn the vocabulary of your music, but even with the gift of tongues, I'm having trouble learning to speak hip-hop. Why is it that one can busta rhyme or busta move anywhere but you must busta cap in someone's ass? Is "ho" always feminine, and "muthafucka" always masculine, while "bitch" can be either? How many peeps in a posse, how much booty before baby got back, do you have to be all that to get all up in that, and do I need to be dope and phat to be da bomb or can I just be "stupid"? I'll not be singing over any dead mothers until I understand.

The world in books seemed so much more alive to me than anything outside. I could see things I'd never seen before. Books and music were my best friends. I had a couple of good friends at school, but never met anyone I could really speak my heart to. We'd just make small talk, play soccer together. When something bothered me, I didn't talk with anyone about it. I thought it over all by myself, came to a conclusion, and took action alone. Not that I really felt lonely. I thought that's just the way things are. Human beings, in the final analysis, have to survive on their own.

She sang, of course, "M'ama!" and not "he loves me," since an unalterable and unquestioned law of the musical world required that the German text of French operas sung by Swedish artists should be translated into Italian for the clearer understanding of English-speaking audiences.

These are not books, lumps of lifeless paper, but minds alive on the shelves. From each of them goes out its own voice... and just as the touch of a button on our set will fill the room with music, so by taking down one of these volumes and opening it, one can call into range the voice of a man far distant in time and space, and hear him speaking to us, mind to mind, heart to heart.

The job of feets is walking, but their hobby is dancing.

Why love the woman who is your wife? Her nose breathes in the air of a world that I know; therefore I love that nose. Her ears hear music I might sing half the night through; therefore I love her ears. Her eyes delight in seasons of the land; and so I love those eyes. Her tongue knows quince, peach, chokeberry, mint and lime; I love to hear it speaking. Because her flesh knows heat, cold, affliction, I know fire, snow, and pain. Shared and once again shared experience.

In speaking of this desire for our own far off country, which we find in ourselves even now, I feel a certain shyness. I am almost committing an indecency. I am trying to rip open the inconsolable secret in each one of you—the secret which hurts so much that you take your revenge on it by calling it names like Nostalgia and Romanticism and Adolescence; the secret also which pierces with such sweetness that when, in very intimate conversation, the mention of it becomes imminent, we grow awkward and affect to laugh at ourselves; the secret we cannot hide and cannot tell, though we desire to do both. We cannot tell it because it is a desire for something that has never actually appeared in our experience. We cannot hide it because our experience is constantly suggesting it, and we betray ourselves like lovers at the mention of a name. Our commonest expedient is to call it beauty and behave as if that had settled the matter. Wordsworth’s expedient was to identify it with certain moments in his own past. But all this is a cheat. If Wordsworth had gone back to those moments in the past, he would not have found the thing itself, but only the reminder of it; what he remembered would turn out to be itself a remembering. The books or the music in which we thought the beauty was located will betray us if we trust to them; it was not in them, it only came through them, and what came through them was longing. These things—the beauty, the memory of our own past—are good images of what we really desire; but if they are mistaken for the thing itself they turn into dumb idols, breaking the hearts of their worshipers. For they are not the thing itself; they are only the scent of a flower we have not found, the echo of a tune we have not heard, news from a country we have never yet visited.

Party lights hang over the street, yellow and red and green. Sadie stumbles over someone’s chair, but I’m ready for this and I catch her easily by the arm. “Sorry, clumsy,” she says. “You always were, Sadie. One of your more endearing traits.” Before she can ask about that I slip my arm around her waist. She slips hers around mine, still looking up at me. The lights skate across her cheeks and shine in her eyes. We clasp hands, fingers folding together naturally, and for me the years fall away like a coat that’s too heavy and too tight. In that moment, I hope on thing above all others: that she was not too busy to find at least one good man … She speaks in a voice almost too low to be heard over the music. But I hear her – I always did. “Who are you, George?” “Someone you knew in another life, honey.

I should like to see any power of the world destroy this race, this small tribe of unimportant people, whose history is ended, whose wars have all been fought and lost, whose structures have crumbled, whose literature is unread, whose music is unheard, whose prayers are no longer uttered. Go ahead, destroy this race. Let us say that it is again 1915. There is war in the world. Destroy Armenia. See if you can do it. Send them from their homes into the desert. Let them have neither bread nor water. Burn their houses and their churches. See if they will not live again. See if they will not laugh again. See if the race will not live again when two of them meet in a beer parlor, twenty years after, and laugh, and speak in their tongue. Go ahead, see if you can do anything about it. See if you can stop them from mocking the big ideas of the world, you sons of bitches, a couple of Armenians talking in the world, go ahead and try to destroy them.

Moonlight streamed in, sending loving beams over his face. He closed his eyes and basked in it, and I could tell it was calling to him, even though the moon was not full. She didn't speak to me, but Samuel had once described her song to me in the words of a poet. The expression of bliss on his face while he listened to her music made him beautiful.

Language is texture of images and music. We speak in images and rhythm, by taking help of words

The world in books seemed so much more alive to me than anything outside. I could see things I'd never seen before. Books and music were my best friends. I had a couple of good friends at school, but never met anyone I could really speak my heart to.

Music does bring people together. It allows us to experience the same emotions. People everywhere are the same in heart and spirit. No matter what language we speak, what color we are, the form of our politics or the expression of our love and our faith, music proves: We are the same.

Music is the heart of life." She speaks love; "without it, there is no possible good and with it everything is beautiful.

The muffled syllables that Nature speaks Fill us with deeper longing for her word; She hides a meaning that the spirit seeks, She makes a sweeter music than is heard.

And if there's anyone out here tonight that doesn't feel beautiful enough, or doesn't feel worthy enought... You're wrong. Because you guys are all so incredible. And if you're dealing with any of the issues that I've dealt with, don't be afraid to speak up, because someone will be there for you. And if you think, you're alone, put on my music, because I'm going to be there for you

I’m proud of you, son,” he said. “I guess it has finally sunk in that it’s important to stand up for yourself in this world.” Rocky shook his head. “It’s more important to stand up for someone who can’t stand up for herself,” he had answered. Rocky Ryan speaking with his father.

Die slowly He who becomes the slave of habit, who follows the same routes every day, who never changes pace, who does not risk and change the color of his clothes, who does not speak and does not experience, dies slowly. He or she who shuns passion, who prefers black on white, dotting ones "it’s" rather than a bundle of emotions, the kind that make your eyes glimmer, that turn a yawn into a smile, that make the heart pound in the face of mistakes and feelings, dies slowly. He or she who does not turn things topsy-turvy, who is unhappy at work, who does not risk certainty for uncertainty, to thus follow a dream, those who do not forego sound advice at least once in their lives, die slowly. He who does not travel, who does not read, who does not listen to music, who does not find grace in himself, she who does not find grace in herself, dies slowly. He who slowly destroys his own self-esteem, who does not allow himself to be helped, who spends days on end complaining about his own bad luck, about the rain that never stops, dies slowly. He or she who abandon a project before starting it, who fail to ask questions on subjects he doesn't know, he or she who don't reply when they are asked something they do know, die slowly. Let's try and avoid death in small doses, reminding oneself that being alive requires an effort far greater than the simple fact of breathing. Only a burning patience will lead to the attainment of a splendid happiness.

SEPTEMBER 1, 1939 I sit in one of the dives On Fifty-second Street Uncertain and afraid As the clever hopes expire Of a low dishonest decade: Waves of anger and fear Circulate over the bright And darkened lands of the earth, Obsessing our private lives; The unmentionable odour of death Offends the September night. Accurate scholarship can Unearth the whole offence From Luther until now That has driven a culture mad, Find what occurred at Linz, What huge imago made A psychopathic god: I and the public know What all schoolchildren learn, Those to whom evil is done Do evil in return. Exiled Thucydides knew All that a speech can say About Democracy, And what dictators do, The elderly rubbish they talk To an apathetic grave; Analysed all in his book, The enlightenment driven away, The habit-forming pain, Mismanagement and grief: We must suffer them all again. Into this neutral air Where blind skyscrapers use Their full height to proclaim The strength of Collective Man, Each language pours its vain Competitive excuse: But who can live for long In an euphoric dream; Out of the mirror they stare, Imperialism's face And the international wrong. Faces along the bar Cling to their average day: The lights must never go out, The music must always play, All the conventions conspire To make this fort assume The furniture of home; Lest we should see where we are, Lost in a haunted wood, Children afraid of the night Who have never been happy or good. The windiest militant trash Important Persons shout Is not so crude as our wish: What mad Nijinsky wrote About Diaghilev Is true of the normal heart; For the error bred in the bone Of each woman and each man Craves what it cannot have, Not universal love But to be loved alone. From the conservative dark Into the ethical life The dense commuters come, Repeating their morning vow; 'I will be true to the wife, I'll concentrate more on my work,' And helpless governors wake To resume their compulsory game: Who can release them now, Who can reach the dead, Who can speak for the dumb? All I have is a voice To undo the folded lie, The romantic lie in the brain Of the sensual man-in-the-street And the lie of Authority Whose buildings grope the sky: There is no such thing as the State And no one exists alone; Hunger allows no choice To the citizen or the police; We must love one another or die. Defenseless under the night Our world in stupor lies; Yet, dotted everywhere, Ironic points of light Flash out wherever the Just Exchange their messages: May I, composed like them Of Eros and of dust, Beleaguered by the same Negation and despair, Show an affirming flame.

Do you really like to read that much?” she asked as we ambled our way casually in the dark toward the piazzetta. I looked at her as if she had asked me if I loved music, or bread and salted butter, or ripe fruit in the summertime. “Don’t get me wrong,” she said. “I like to read too. But I don’t tell anyone.” At last, I thought, someone who speaks the truth. I asked her why she didn’t tell anyone. “I don’t know…” This was more her way of asking for time to think or to hedge before answering, “People who read are hiders. They hide who they are. People who hide don’t always like who they are.” “Do you hide who you are?” “Sometimes. Don’t you?” “Do I? I suppose.

I do not well understand that. Will you play upon this pipe? GUILDENSTERN: My lord, I cannot. HAMLET: I pray you. GUILDENSTERN: Believe me, I cannot. HAMLET: I do beseech you. GUILDENSTERN: I know no touch of it, my lord. HAMLET: It is as easy as lying. Govern these ventages with our fingers and thumb, give it breath with your mouth, and it will discourse most eloquent music. Look you, these are the stops. GUILDENSTERN: But these cannot I command to any utterance of harmony. I have not the skill. HAMLET: Why, look you now, how unworthy a thing you make of me! You would play upon me, you would seem to know my stops, you would pluck out the heart of my mystery, you would sound me from my lowest note to the top of my compass, and there is much music, excellent voice, in this little organ, yet cannot you make it speak. 'Sblood, do you think I am easier to be played on than a pipe? Call me what instrument you will, though you can fret me, you cannot play upon me.

Far overhead from beyond the veil of blue sky which hid them the stars sang again; a pure, cold, difficult music. Then there came a swift flash like fire (but it burnt nobody) either from the sky or from the Lion itself, and every drop of blood tingled in the children's bodies, and the deepest, wildest voice they had ever heard was saying: "Narnia, Narnia, Narnia, awake. Love. Think. Speak. Be walking trees. Be talking beasts. Be divine waters.

Music is the one art we all have inside. We may not be able to play an instrument, but we can sing along or clap or tap our feet. Have you ever seen a baby bouncing up and down in the crib in time to some music? When you think of it, some of that baby's first messages from his or her parents may have been lullabies, or at least the music of their speaking voices. All of us have had the experience of hearing a tune from childhood and having that melody evoke a memory or a feeling. The music we hear early on tends to stay with us all our lives.

Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new film, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul.

...boredom speaks the language of time, and it is to teach you the most valuable lesson in your life--...the lesson of your utter insignificance. It is valuable to you, as well as to those you are to rub shoulders with. 'You are finite,' time tells you in a voice of boredom, 'and whatever you do is, from my point of view, futile.' As music to your ears, this, of course, may not count; yet the sense of futility, of limited significance even of your best, most ardent actions is better than the illusion of their consequence and the attendant self-satisfaction.

I need a little language such as lovers use, words of one syllable such as children speak when they come into the room and find their mother sewing and pick up some scrap of bright wool, a feather, or a shred of chintz. I need a howl; a cry. When the storm crosses the marsh and sweeps over me where I lie in the ditch unregarded I need no words. Nothing neat. Nothing that comes down with all its feet on the floor. None of those resonances and lovely echoes that break and chime from nerve to nerve in our breasts making wild music, false phrases. I have done with phrases.

But there was an important and essential truth contained in the idea, and the truth was that these things matter, and it’s no good pretending that any relationship has a future if your record collections disagree violently, or if your favorite films wouldn’t even speak to each other if they met at a party.

White people, who had the political educations of potatoes - lumpy, unseasoned, and biased towards the Irish - were suddenly feeling compelled to speak out about injustice. This happened once every forty years on average, usually after a period when folk music became popular again. When folk music became popular again, it reminded people that they had ancestors, and then, after a considerable delay, that their ancestors had done bad things.

We know from our recent history that English did not come to replace U.S. Indian languages merely because English sounded musical to Indians' ears. Instead, the replacement entailed English-speaking immigrants' killing most Indians by war, murder, and introduced diseases, and the surviving Indians' being pressured into adopting English, the new majority language.

Who are you, Martin Eden? he demanded of himself in the looking- glass, that night when he got back to his room. He gazed at himself long and curiously. Who are you? What are you? Where do you belong? You belong by rights to girls like Lizzie Connolly. You belong with the legions of toil, with all that is low, and vulgar, and unbeautiful. You belong with the oxen and the drudges, in dirty surroundings among smells and stenches. There are the stale vegetables now. Those potatoes are rotting. Smell them, damn you, smell them. And yet you dare to open the books, to listen to beautiful music, to learn to love beautiful paintings, to speak good English, to think thoughts that none of your own kind thinks, to tear yourself away from the oxen and the Lizzie Connollys and to love a pale spirit of a woman who is a million miles beyond you and who lives in the stars! Who are you? and what are you? damn you! And are you going to make good?

The Fourth Sign of The Zodiac (Part 3) by Mary Oliver I know, you never intended to be in this world. But you’re in it all the same. So why not get started immediately. I mean, belonging to it. There is so much to admire, to weep over. And to write music or poems about. Bless the feet that take you to and fro. Bless the eyes and the listening ears. Bless the tongue, the marvel of taste. Bless touching. You could live a hundred years, it’s happened. Or not. I am speaking from the fortunate platform of many years, none of which, I think, I ever wasted. Do you need a prod? Do you need a little darkness to get you going? Let me be as urgent as a knife, then, and remind you of Keats, so single of purpose and thinking, for a while, he had a lifetime. Mary oliver

To fail to experience gratitude when walking through the corridors of the Metropolitan Museum, when listening to the music of Bach or Beethoven, when exercising our freedom to speak, or ... to give, or withhold, our assent, is to fail to recognize how much we have received from the great wellsprings of human talent and concern that gave us Shakespeare, Abraham Lincoln, Mark Twain, our parents, our friends. We need a rebirth of gratitude for those who have cared for us, living and, mostly, dead. The high moments of our way of life are their gifts to us. We must remember them in our thoughts and in our prayers; and in our deeds.

The One remains, the many change and pass; Heaven’s light forever shines, Earth’s shadows fly; Life, like a dome of many-coloured glass, Stains the white radiance of Eternity, Until Death tramples it to fragments.—Die, If thou wouldst be with that which thou dost seek! Follow where all is fled!—Rome’s azure sky, Flowers, ruins, statues, music, words are weak The glory they transfuse with fitting truth to speak.

It's the best kind of devastating there is. He took his pain and he turned it into something beautiful. Into something that people connect to. And that's what good music does. It speaks to you. It changes you. What I'm trying to say is, it's just nice, I guess, knowing that someone else can put into words what I feel. That there are people who have been through things worse than I have, and they came out on the other side okay. Not only that, but they have made some kind of twisted, effed up sense of the completely senseless. They made it mean something. These songs tell me I'm not alone. If you look at it that way, music...music can see you through anything.

Sad Songs Once there was a boy who couldn't speak but owned a music box that held every song in all the world. One day he met a girl who had never heard a single melody in her entire life and so he played her his favorite song. He watched while her face lit up with wonder as the music filled the sky and the poetry of lyrics moved her in a way she had never felt before. He would play his songs for her day after day and she would sit by him quietly—never seeming to mind that he could only speak to her through song. She loved everything he played for her, but of them all—she loved the sad songs best. So he began to play them more and more until eventually, sad songs were all she would hear. One day, he noticed it had been a very long time since her last smile. When he asked her why, she took both his hands in hers and kissed them warmly. She thanked him for his gift of music and poetry but above all else—for showing her sadness because she had known neither of these things before him. But it was now time for her to go away—to find someone who could show her what happiness was. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Do you remember the song that was playing the night we met? No, but I remember every song I have heard since you left.

In my opinion, there is a huge lack of imaginative, unconventional music being created by artists today and what little there is, goes widely unappreciated by the masses. 'Port Blue' is my attempt at re-creating the music I want to hear and the emotions I want to feel." "If by chance you ever feel as though you’ve come to know these songs, please consider yourself a friend because in a manner of speaking, you know me. This music is my heart and soul. This is who I am." (Adam R. Young, 2006)

Jerott, for God’s sake! Are you doing this for a wager?’ said Lymond, his patience gone at last. ‘What does anyone want out of life? What kind of freak do you suppose I am? I miss books and good verse and decent talk. I miss women, to speak to, not to rape; and children, and men creating things instead of destroying them. And from the time I wake until the time I find I can’t go to sleep there is the void—the bloody void where there was no music today and none yesterday and no prospect of any tomorrow, or tomorrow, or next God-damned year.

…Then another porpoise broke the water and rolled toward us. A third and fourth porpoise neared. The visitation was something so rare and perfect that we knew by instinct not to speak—and then as quickly as they had come, the porpoises moved away from us…Each of us would remember that all during our lives. It was the purest moment of freedom and headlong exhilaration that I had ever felt. A wordless covenant was set, and I would go back in my imagination, and return to where happiness seemed so easy to touch.

[On Chopin's Preludes:] "His genius was filled with the mysterious sounds of nature, but transformed into sublime equivalents in musical thought, and not through slavish imitation of the actual external sounds. His composition of that night was surely filled with raindrops, resounding clearly on the tiles of the Charterhouse, but it had been transformed in his imagination and in his song into tears falling upon his heart from the sky. ... The gift of Chopin is [the expression of] the deepest and fullest feelings and emotions that have ever existed. He made a single instrument speak a language of infinity. He could often sum up, in ten lines that a child could play, poems of a boundless exaltation, dramas of unequalled power.

My name...my name is Mary. I'm here with a friend.' Rhage stopped breathing. His heart skipped a beat and then slowed. "Say that again,' he whispered. 'Ah, my name is Mary Luce. I'm a friend of Bella's...We came here with a boy, with John Matthew. We were invited.' Rhage shivered, a balmy rush blooming out all over his skin. The musical lilt of her voice, the rhythm of her speech, the sound of her words, it all spread through him, calming him, comforting him. Chaining him sweetly. He closed his eyes. 'Say something else.' 'What?' she asked, baffled. 'Talk. Talk to me. I want to hear your voice.' She was silent, and he was about to demand that she speak when she said, 'You don't look well. Do you need a doctor?' He found himself swaying. The words didn't matter. It was her sound: low, soft, a quiet brushing in his ears. He felt as if here being stroked on the inside of his skin. 'More,' he said, twisting his palm around to the front of her neck so he could feel the vibrations in her throat better. 'Could you... could you please let go of me?' 'No.' He brought his other arm up. She was wearing some kind of fleece, and he moved the collar aside, putting his hand on her shoulder so she couldn't get away from him. 'Talk.' She started to struggle. 'You're crowding me.' 'I know. Talk.' 'Oh for God's sake, what do you want me to say?' Even exasperated, her voice was beautiful. 'Anything.' 'Fine. Get your hand off my throat and let me go or I'm going to knee you where it counts.' He laughed. Then sank his lower body into her, trapping her with his thighs and hips. She stiffened against him, but he got an ample feel of her. She was built lean, though there was no doubt she was female. Her breasts hit his chest, her hips cushioned his, her stomach was soft. 'Keep talking,' he said in her ear. God, she smelled good. Clean. Fresh. Like lemon. When she pushed against him, he leaned his full weight into her. Her breath came out in a rush. 'Please,' he murmured. Her chest moved against his as if she were inhaling. 'I... er, I have nothing to say. Except get off of me.' He smiled, careful to keep his mouth closed. There was no sense showing off his fangs, especially if she didn't know what he was. 'So say that.' 'What?' 'Nothing. Say nothing. Over and over and over again. Do it.' She bristled, the scent of fear replaced by a sharp spice, like fresh, pungent mint from a garden. She was annoyed now. 'Say it.' "Fine. Nothing. Nothing.' Abruptly she laughed, and the sound shot right through to his spine, burning him. 'Nothing, nothing. No-thing. No-thing. Noooooothing. There, is that good enought for you? Will you let me go now?

Why love the boy in a March field with his kite braving the sky? Because our fingers burn with the hot string singeing our hands. Why love some girl viewed from a train bent to a country well? The tongue remembers iron water cool on some long lost noon. Why weep at strangers dead by the road? They resemble friends unseen in forty years. Why laugh when clowns are hot by pies? We taste custard we taste life. Why love the woman who is your wife? Her nose breathes the air of a world that I know; therefore I love that nose. Her ears hear music I might sing half the night through; therefore I love her ears. Her eyes delight in seasons of the land; and so I love those eyes. Her tongue knows quince, peach, chokeberry, mint and lime; I love to hear it speaking. Because her flesh knows heat, cold, affliction, I know fire, snow, and pain. Shared and once again shared experience. Billions of prickling textures. Cut one sense away, cut part of life away. Cut two senses; life halves itself on the instant. We love what we know, we love what we are. Common cause, common cause, common cause of mouth, eye, ear, tongue, hand, nose, flesh, heart, and soul.

Author's Prayer If I speak for the dead, I must leave this animal of my body, I must write the same poem over and over for the empty page is a white flag of their surrender. If I speak of them, I must walk on the edge of myself, I must live as a blind man who runs through the rooms without touching the furniture. Yes, I live. I can cross the streets asking "What year is it?" I can dance in my sleep and laugh in front of the mirror. Even sleep is a prayer, Lord, I will praise your madness, and in a language not mine, speak of music that wakes us, music in which we move. For whatever I say is a kind of petition and the darkest days must I praise.

to become aware of the ineffable is to part company with words...the tangent to the curve of human experience lies beyond the limits of language. the world of things we perceive is but a veil. It’s flutter is music, its ornament science, but what it conceals is inscrutable. It’s silence remains unbroken; no words can carry it away. Sometimes we wish the world could cry and tell us about that which made it pregnant with fear--filling grandeur. Sometimes we wish our own heart would speak of that which made it heavy with wonder.

I see a bird carrying me and carrying you, with us as its wings, beyond the dream, to a journey that has no end and no beginning, no purpose and no goal. I do not speak to you, and you do not speak to me; we listen only to the music of silence. Silence is the friend's trust of friend, imagination's self-confidence between rain and rainbow. A rainbow is inspiration provoking the poet, uninvited, the infatuation of the poet with the prose of the Quran. Which of your Lord's blessings do you disown? We are absent, you and I; we are present, you and I. And absent. Which of your Lord's blessings do you disown?

I think you just complimented me," said Jane. "You should take better care next time." The music had started, the couples had begun a promenade, but Mr. Nobley paused to hold Jane's arm and whisper, "Jane Erstwhile, if I never had to speak with another human being but you, I would die a happy man. I would that these people, the music, the food and foolishness all disappeared and left us alone. I would never tire of looking at you or listening to you." He took a breath. "There. That compliment was on purpose. I swear I will never idly compliment you again." Jane's mouth was dry. All she could think to say was, "But... but surely you wouldn't banish all the food." He considered, then nodded once. "Right. We will keep the food. We will have a picnic." And he spun her into the middle of the dance.

The suffering or the bad memories are as important as the good memories, and the good experiences. If you sort of, can imagine life as being 99% of the time quite linear, and most of the time you're in a state of neither happiness nor sadness. And then that 1% of the time you experience moments of very crystalised happiness, or crystalised sadness, or loneliness or depression. And I believe all of those moments are very pertinant. It's like I said to you, that for me it's mostly those crystalised moments of melancholy which are more inspirational to me. And in a strange way they become quite beautiful in their own way. Music that is sad, melancholic, depressing, is in a kind of perverse way more uplifting. I find happy music extremely depressing, mostly - mostly quite depressing. It's particularly this happy music that has no spirituality behind it - if it's just sort of mindless party music, it'd be quite depressing. But largely speaking, I was the kind of person that responds more to melancholia, and it makes me feel good. And I think the reason for this is, I think if you respond strongly to that kind of art, it's because in a way it makes you feel like you're not alone. So when we hear a very sad song, it makes us realise that we do share this kind of common human experience, and we're all kind of bonded in sadness and melancholia and depression.

And now the measure of my song is done: The work has reached its end; the book is mine, None shall unwrite these words: nor angry Jove, Nor war, nor fire, nor flood, Nor venomous time that eats our lives away. Then let that morning come, as come it will, When this disguise I carry shall be no more, And all the treacherous years of life undone, And yet my name shall rise to heavenly music, The deathless music of the circling stars. As long as Rome is the Eternal City These lines shall echo from the lips of men, As long as poetry speaks truth on earth, That immortality is mine to wear.

When Rosencrantz asks Hamlet, "Good my lord, what is your cause of distemper? You do surely bar the door upon your own liberty, if you deny your grief to your friends"(III, ii, 844-846), Hamlet responds, "Why, look you now, how unworthy a thing you make of me! You would play upon me; you would seem to know my stops; you would pluck from my lowest note to the top of my compass; and there is much music, excellent voice, in this little organ, yet cannot you make it speak. 'Sblood, do you think I am easier to be played on than a pipe? Call me what instrument you will, though you can fret me, you cannot play upon me." (III,ii, 371-380)

There are blondes and blondes and it is almost a joke word nowadays. All blondes have their points, except perhaps the metallic ones who are as blond as a Zulu under the bleach and as to disposition as soft as a sidewalk. There is the small cute blonde who cheeps and twitters, and the big statuesque blonde who straight-arms you with an ice-blue glare. There is the blonde who gives you the up-from-under look and smells lovely and shimmers and hangs on your arm and is always very tired when you take her home. She makes that helpless gesture and has that goddamned headache and you would like to slug her except that you are glad you found out about the headache before you invested too much time and money and hope in her. Because the headache will always be there, a weapon that never wears out and is as deadly as the bravo’s rapier or Lucrezia’s poison vial. There is the soft and willing and alcoholic blonde who doesn’t care what she wears as long as it is mink or where she goes as long as it is the Starlight Roof and there is plenty of dry champagne. There is the small perky blonde who is a little pal and wants to pay her own way and is full of sunshine and common sense and knows judo from the ground up and can toss a truck driver over her shoulder without missing more than one sentence out of the editorial in the Saturday Review. There is the pale, pale blonde with anemia of some non-fatal but incurable type. She is very languid and very shadowy and she speaks softly out of nowhere and you can’t lay a finger on her because in the first place you don’t want to and in the second place she is reading The Waste Land or Dante in the original, or Kafka or Kierkegaard or studying Provençal. She adores music and when the New York Philharmonic is playing Hindemith she can tell you which one of the six bass viols came in a quarter of a beat too late. I hear Toscanini can also. That makes two of them. And lastly there is the gorgeous show piece who will outlast three kingpin racketeers and then marry a couple of millionaires at a million a head and end up with a pale rose villa at Cap Antibes, an Alfa-Romeo town car complete with pilot and co-pilot, and a stable of shopworn aristocrats, all of whom she will treat with the affectionate absent-mindedness of an elderly duke saying goodnight to his butler.

I Hear the sledges with the bells - Silver bells! What a world of merriment their melody foretells! How they tinkle, tinkle, tinkle, In the icy air of night! While the stars that oversprinkle All the heavens, seem to twinkle With a crystalline delight; Keeping time, time, time, In a sort of Runic rhyme, To the tintinnabulation that so musically wells From the bells, bells, bells, bells, Bells, bells, bells - From the jingling and the tinkling of the bells. II Hear the mellow wedding bells - Golden bells! What a world of happiness their harmony foretells! Through the balmy air of night How they ring out their delight! - From the molten - golden notes, And all in tune, What a liquid ditty floats To the turtle - dove that listens, while she gloats On the moon! Oh, from out the sounding cells, What a gush of euphony voluminously wells! How it swells! How it dwells On the Future! - how it tells Of the rapture that impels To the swinging and the ringing Of the bells, bells, bells - Of the bells, bells, bells, bells, Bells, bells, bells - To the rhyming and the chiming of the bells! III Hear the loud alarum bells - Brazen bells! What a tale of terror, now, their turbulency tells! In the startled ear of night How they scream out their affright! Too much horrified to speak, They can only shriek, shriek, Out of tune, In a clamorous appealing to the mercy of the fire, In a mad expostulation with the deaf and frantic fire, Leaping higher, higher, higher, With a desperate desire, And a resolute endeavor Now - now to sit, or never, By the side of the pale - faced moon. Oh, the bells, bells, bells! What a tale their terror tells Of Despair! How they clang, and clash and roar! What a horror they outpour On the bosom of the palpitating air! Yet the ear, it fully knows, By the twanging, And the clanging, How the danger ebbs and flows; Yet the ear distinctly tells, In the jangling, And the wrangling, How the danger sinks and swells, By the sinking or the swelling in the anger of the bells - Of the bells - Of the bells, bells, bells, bells, Bells, bells, bells - In the clamor and the clanging of the bells! IV Hear the tolling of the bells - Iron bells! What a world of solemn thought their monody compels! In the silence of the night, How we shiver with affright At the melancholy menace of their tone! For every sound that floats From the rust within their throats Is a groan. And the people - ah, the people - They that dwell up in the steeple, All alone, And who, tolling, tolling, tolling, In that muffled monotone, Feel a glory in so rolling On the human heart a stone - They are neither man nor woman - They are neither brute nor human - They are Ghouls: - And their king it is who tolls: - And he rolls, rolls, rolls, Rolls A paean from the bells! And his merry bosom swells With the paean of the bells! And he dances, and he yells; Keeping time, time, time, In a sort of Runic rhyme, To the paean of the bells: - Of the bells: Keeping time, time, time In a sort of Runic rhyme, To the throbbing of the bells - Of the bells, bells, bells: - To the sobbing of the bells: - Keeping time, time, time, As he knells, knells, knells, In a happy Runic rhyme, To the rolling of the bells - Of the bells, bells, bells - To the tolling of the bells - Of the bells, bells, bells, bells, Bells, bells, bells, - To the moaning and the groaning of the bells.

I recall one particular sunset. It lent an ember to my bicycle hell. Overhead, above the black music of telegraph wires, a number of long, dark-violet clouds lined with flamingo pink hung motionless in a fan-shaped arrangement; the whole thing was like some prodigious ovation in terms of color and form! It was dying, however, and everything else was darkening, too; but just above the horizon, in a lucid, turquoise space, beneath a black stratus, the eye found a vista that only a fool could mistake for the square parts of this or any other sunset. It occupied a very small sector of the enormous sky and had the peculiar neatness of something seen through the wrong end of a telescope. There it lay in wait, a brilliant convolutions, anachronistic in their creaminess and extremely remote; remote but perfect in every detail; fantastically reduced but faultlessly shaped; my marvelous tomorrow ready to be delivered to me.

Words. Words. I play with words, hoping that some combination, even a chance combination, will say what I want. Perhaps better with music? But music attacks my inner ear like an antagonist, it's not my world. The fact is, the real experience can't be described. I think, bitterly, that a row of asterisks, like an old-fashioned novel, might be better. Or a symbol of some kind, a circle perhaps, or a square. Anything at all, but not words. The people who have been there, in the place in themselves where words, patterns, order, dissolve, will know what I mean and others won't. But once having been there, there's a terrible irony, a terrible shrug of the shoulders, and it's not a question of fighting it, or disowning it, or of right or wrong, but simply knowing it is there, always. It's a question of bowing to it, so to speak, with a kind of courtesy, as to an ancient enemy: All right, I know you are there, but we have to preserve the forms, don't we? And perhaps the condition of your existing at all is precisely that we preserve the forms, create the patterns - have you thought of that?

What came first, the music or the misery? Did I listen to music because I was miserable? Or was I miserable because I listened to music? Do all those records turn you into a melancholy person? People worry about kids playing with guns, and teenagers watching violent videos; we are scared that some sort of culture of violence will take them over. Nobody worries about kids listening to thousands - literally thousands - of songs about broken hearts and pain and misery and loss. The unhappiest people I know, romantically speaking, are the ones who like pop music the most; and I don't know whether pop music has caused this unhappiness, but I do know that they've been listening to the sad songs longer than they've been living the unhappy lives.

I think that if the beast who sleeps in man could be held down by threats - any kind of threat, whether of jail or of retribution after death - then the highest emblem of humanity would be the lion tamer in the circus with his whip, not the prophet who sacrificed himself. But don't you see, this is just the point - what has for centuries raised man above the beast is not the cudgel but an inward music: the irresistible power of unarmed truth, the powerful attraction of its example. It has always been assumed that the most important things in the Gospels are the ethical maxims and commandments. But for me the most important thing is that Christ speaks in parables taken from life, that He explains the truth in terms of everyday reality. The idea that underlies this is that communion between mortals is immortal, and that the whole of life is symbolic because it is meaningful.

As a rule, we don't like to feel to sad or lonely or depressed. So why do we like music (or books or movies) that evoke in us those same negative emotions? Why do we choose to experience in art the very feelings we avoid in real life? Aristotle deals with a similar question in his analysis of tragedy. Tragedy, after all, is pretty gruesome. […] There's Sophocles's Oedipus, who blinds himself after learning that he has killed his father and slept with his mother. Why would anyone watch this stuff? Wouldn't it be sick to enjoy watching it? […] Tragedy's pleasure doesn't make us feel "good" in any straightforward sense. On the contrary, Aristotle says, the real goal of tragedy is to evoke pity and fear in the audience. Now, to speak of the pleasure of pity and fear is almost oxymoronic. But the point of bringing about these emotions is to achieve catharsis of them - a cleansing, a purification, a purging, or release. Catharsis is at the core of tragedy's appeal.

You will not remember much from school. School is designed to teach you how to respond and listen to authority figures in the event of an emergency. Like if there's a bomb in a mall or a fire in an office. It can, apparently, take you more than a decade to learn this. These are not the best days of your life. They are still ahead of you. You will fall in love and have your heart broken in many different, new and interesting ways in college or university (if you go) and you will actually learn things, as at this point, people will believe you have a good chance of obeying authority and surviving, in the event of an emergency. If, in your chosen career path, there are award shows that give out more than ten awards in one night or you have to pay someone to actually take the award home to put on your mantlepiece, then those awards are more than likely designed to make young people in their 20's work very late, for free, for other people. Those people will do their best to convince you that they have value. They don't. Only the things you do have real, lasting value, not the things you get for the things you do. You will, at some point, realise that no trophy loves you as much as you love it, that it cannot pay your bills (even if it increases your salary slightly) and that it won't hold your hand tightly as you say your last words on your deathbed. Only people who love you can do that. If you make art to feel better, make sure it eventually makes you feel better. If it doesn't, stop making it. You will love someone differently, as time passes. If you always expect to feel the same kind of love you felt when you first met someone, you will always be looking for new people to love. Love doesn't fade. It just changes as it grows. It would be boring if it didn't. There is no truly "right" way of writing, painting, being or thinking, only things which have happened before. People who tell you differently are assholes, petrified of change, who should be violently ignored. No philosophy, mantra or piece of advice will hold true for every conceivable situation. "The early bird catches the worm" does not apply to minefields. Perfection only exists in poetry and movies, everyone fights occasionally and no sane person is ever completely sure of anything. Nothing is wrong with any of this. Wisdom does not come from age, wisdom comes from doing things. Be very, very careful of people who call themselves wise, artists, poets or gurus. If you eat well, exercise often and drink enough water, you have a good chance of living a long and happy life. The only time you can really be happy, is right now. There is no other moment that exists that is more important than this one. Do not sacrifice this moment in the hopes of a better one. It is easy to remember all these things when they are being said, it is much harder to remember them when you are stuck in traffic or lying in bed worrying about the next day. If you want to move people, simply tell them the truth. Today, it is rarer than it's ever been. (People will write things like this on posters (some of the words will be bigger than others) or speak them softly over music as art (pause for effect). The reason this happens is because as a society, we need to self-medicate against apathy and the slow, gradual death that can happen to anyone, should they confuse life with actually living.)

There are people who cannot say good-bye They are born this way/this is how they die They are the keepers of promises/what moves them does not wear out Their loyalty will tear apart your clocks These are the people who can hear the music in songs They are the Vow carriers The grandmothers who always leave the porchlight on No one is lost to the one who sees These are the women widowed by men they never married These are the girls who wait even when you don't come These are the mothers of orphans/They can turn a fake into an original They will hear the prayer in your self-contempt As distance is measured/people do not end It is one of those stories that cannot be written down except across a lifetime of open doors There is a holding on beyond the letting go There is a reunion in everybody's chest This is how we come to make a family from strangers This is how we light candles These are people who will remember you when you meet them These are the people you can always call at night They are humans turned angels by your asking With each separation they go to seed again. These are the men who carried you on their shoulders This is the one your are lonely for the one who begins and ends your hunger This is the man who said "Always" There is something that does not wear out It is the third part of any two people who join It opens and closes There are people who are alone who are not apart This is why we listen to the madman when he speaks People change but they do not stop This is how we learn "Forever" There are people you can count on/They are the keepers of promises They are candles lit from each other They can teach us eternity We can get what we can give/This is the instruction There are people who do not say goodbye As distance is measured You are one of them

Amy turned to Nellie. "Can you create a diversion to draw the clerk outside?" The au pair was wary. "What kind of diversion?" "You could pretend to be lost," Dan proposed. "The guy comes out to give you directions, and we slip inside." "That's the most sexist idea I've ever heard," Nellie said harshly. "I'm female, so I have to be clueless. He's male, so he's got a great sense of direction." "Maybe you're from out of town," Dan suggested. "Wait–you are from out of town." Nellie stashed their bags under a bench and set Saladin on the seat with a stern "You're the watchcat. Anybody touches those bags, unleash your inner tiger." The Egyptian Mau surveyed the street uncertainly. "Mrrp." Nellie sighed. "Lucky for us there's no one around. Okay, I'm going in there. Be ready." The clerk said something to her–probably May I help you? She smiled apologetically. "I don't speak Italian." "Ah–you are American." His accent was heavy, but he seemed eager to please. "I will assist you." He took in her black nail polish and nose ring. "Punk, perhaps, is your enjoyment?" "More like a punk/reggae fusion," Nellie replied thoughtfully. "With a country feel. And operatic vocals." The clerk stared in perplexity. Nellie began to tour the aisles, pulling out CDs left and right. "Ah–Artic Monkeys–that's what I'm talking about. And some Bad Brains–from the eighties. Foo Fighters–I'll need a couple from those guys. And don't forget Linkin Park..." He watched in awe as she stacked up an enormous armload of music. "There," she finished, slapping Frank Zappa's Greatest Hits on top of the pile. "That should do for a start." "You are a music lover," said the wide-eyed cashier. "No, I'm a kleptomaniac." And she dashed out the door.

All their lovers' talk began with the phrase "After the war". After the war, when we're married, shall we live in Italy? There are nice places. My father thinks I wouldn't like it, but I would. As long as I'm with you. After the war, if we have a girl, can we call her Lemoni? After the war, if we've a son, we've got to call him Iannis. After the war, I'll speak to the children in Greek, and you can seak to them in Italian, and that way they'll grow bilingual. After the war, I'm going to write a concerto, and I'll dedicate it to you. After the war, I'm going to train to be a doctor, and I don't care if they don't let women in, I'm still going to do it. After the war I'll get a job in a convent, like Vivaldi, teaching music, and all the little girls will fall in love with me, and you'll be jealous. After the war, let's go to America, I've got relatives in Chicago. After the war we won't bring our children with any religion, they can make their own minds up when they're older. After the war, we'll get our own motorbike, and we'll go all over Europe, and you can give concerts in hotels, and that's how we'll live, and I'll start writing poems. After the war I'll get a mandola so that I can play viola music. After the war I'll love you, after the war, I'll love you, I'll love you forever, after the war.

I have sometimes thought that the mere hearing of those songs would do more to impress some minds with the horrible character of slavery, than the reading of whole volumes of philosophy on the subject could do. I did not, when a slave, understand the deep meaning of those rude and apparently incoherent songs. I was myself within the circle; so that I neither saw nor heard as those without might see and hear. They told a tale of woe which was then altogether beyond my feeble comprehension; they were tones loud, long, and deep; they breathed the prayer and complaint of souls boiling over with bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains. The hearing of those wild notes always depressed my spirit, and filled me with ineffable sadness. I have frequently found myself in tears while hearing them. The mere recurrence to those songs, even now, afflicts me; and while I am writing these lines, an expression of feeling has already found its way down my cheek. To those songs I trace my first glimmering conception of the dehumanizing character of slavery. I can never get rid of that conception. Those songs still follow me, to deepen my hatred of slavery, and quicken my sympathies for my brethren in bonds. If any one wishes to be impressed with the soul-killing effects of slavery, let him go to Colonel Lloyd's plantation, and, on allowance-day, place himself in the deep pine woods, and there let him, in silence, analyze the sounds that shall pass through the chambers of his soul, - and if he is not thus impressed, it will only be because "there is no flesh in his obdurate heart." I have often been utterly astonished, since I came to the north, to find persons who could speak of the singing, among slaves, as evidence of their contentment and happiness. It is impossible to conceive of a greater mistake. Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears. At least, such is my experience. I have often sung to drown my sorrow, but seldom to express my happiness. Crying for joy, and singing for joy, were alike uncommon to me while in the jaws of slavery. The singing of a man cast away upon a desolate island might be as appropriately considered as evidence of contentment and happiness, as the singing of a slave; the songs of the one and of the other are prompted by the same emotion.

Mitchell Maxwell’s Maxims • You have to create your own professional path. There’s no longer a roadmap for an artistic career. • Follow your heart and the money will follow. • Create a benchmark of your own progress. If you never look down while you’re climbing the ladder you won’t know how far you’ve come. • Don’t define success by net worth, define it by character. Success, as it’s measured by society, is a fleeting condition. • Affirm your value. Tell the world “I am an artist,” not “I want to be an artist.” • You must actively live your dream. Wishing and hoping for someday doesn’t make it happen. Get out there and get involved. • When you look into the abyss you find your character. • Young people too often let the fear of failure keep them from trying. You have to get bloody, sweaty and rejected in order to succeed. • Get your face out of Facebook and into somebody’s face. Close your e-mail and pick up the phone. Personal contact still speaks loudest. • No one is entitled to act entitled. Be willing to work hard. • If you’re going to buck the norm you’re going to have to embrace the challenges. • You have to love the journey if you’re going to work in the arts. • Only listen to people who agree with your vision. • A little anxiety is good but don’t let it become fear, fear makes you inert. • Find your own unique voice. Leave your individual imprint on the world, not a copy of someone else. • Draw strength from your mistakes; they can be your best teacher.

Friendship is a difficult thing to define. Oscar here is my oldest friend. How would you define friendship, Oscar?" Oscar grunts slightly, as though the answer is obvious. "Friendship is about choice and chemistry. It cannot be defined." "But surely there's something more to it than that." "It is a willingness to overlook faults and to accept them. I would let a friend hurt me without striking back," he says, smiling. "But only once." De Souza laughs. "Bravo, Oscar, I can always rely on you to distill an argument down to its purest form. What do you think, Dayel?" The Indian rocks his head from side to side, proud that he has been asked to speak next. "Friendship is different for each person and it changes throughout our lives. At age six it is about holding hands with your best friend. At sixteen it is about the adventure ahead. At sixty it is about reminiscing." He holds up a finger. "You cannot define it with any one word, although honesty is perhaps the closest word-" "No, not honesty," Farhad interrupts. "On the contrary, we often have to protect our friends from what we truly think. It is like an unspoken agreement. We ignore each other's faults and keep our confidences. Friendship isn't about being honest. The truth is too sharp a weapon to wield around someone we trust and respect. Friendship is about self-awareness. We see ourselves through the eyes of our friends. They are like a mirror that allows us to judge how we are traveling." De Souza clears his throat now. I wonder if he is aware of the awe that he inspires in others. I suspect he is too intelligent and too human to do otherwise. "Friendship cannot be defined," he says sternly. "The moment we begin to give reasons for being friends with someone we begin to undermine the magic of the relationship. Nobody wants to know that they are loved for their money or their generosity or their beauty or their wit. Choose one motive and it allows a person to say, 'is that the only reason?'" The others laugh. De Souza joins in with them. This is a performance. He continues: "Trying to explain why we form particular friendships is like trying to tell someone why we like a certain kind of music or a particular food. We just do.

We have gone sick by following a path of untrammelled rationalism, male dominance, attention to the visible surface of things, practicality, bottom-line-ism. We have gone very, very sick. And the body politic, like any body, when it feels itself to be sick, it begins to produce antibodies, or strategies for overcoming the condition of dis-ease. And the 20th century is an enormous effort at self-healing. Phenomena as diverse as surrealism, body piercing, psychedelic drug use, sexual permissiveness, jazz, experimental dance, rave culture, tattooing, the list is endless. What do all these things have in common? They represent various styles of rejection of linear values. The society is trying to cure itself by an archaic revival, by a reversion to archaic values. So when I see people manifesting sexual ambiguity, or scarifying themselves, or showing a lot of flesh, or dancing to syncopated music, or getting loaded, or violating ordinary canons of sexual behaviour, I applaud all of this; because it's an impulse to return to what is felt by the body -- what is authentic, what is archaic -- and when you tease apart these archaic impulses, at the very centre of all these impulses is the desire to return to a world of magical empowerment of feeling. And at the centre of that impulse is the shaman: stoned, intoxicated on plants, speaking with the spirit helpers, dancing in the moonlight, and vivifying and invoking a world of conscious, living mystery. That's what the world is. The world is not an unsolved problem for scientists or sociologists. The world is a living mystery: our birth, our death, our being in the moment -- these are mysteries. They are doorways opening on to unimaginable vistas of self-exploration, empowerment and hope for the human enterprise. And our culture has killed that, taken it away from us, made us consumers of shoddy products and shoddier ideals. We have to get away from that; and the way to get away from it is by a return to the authentic experience of the body -- and that means sexually empowering ourselves, and it means getting loaded, exploring the mind as a tool for personal and social transformation. The hour is late; the clock is ticking; we will be judged very harshly if we fumble the ball. We are the inheritors of millions and millions of years of successfully lived lives and successful adaptations to changing conditions in the natural world. Now the challenge passes to us, the living, that the yet-to-be-born may have a place to put their feet and a sky to walk under; and that's what the psychedelic experience is about, is caring for, empowering, and building a future that honours the past, honours the planet and honours the power of the human imagination. There is nothing as powerful, as capable of transforming itself and the planet, as the human imagination. Let's not sell it straight. Let's not whore ourselves to nitwit ideologies. Let's not give our control over to the least among us. Rather, you know, claim your place in the sun and go forward into the light. The tools are there; the path is known; you simply have to turn your back on a culture that has gone sterile and dead, and get with the programme of a living world and a re-empowerment of the imagination. Thank you very, very much.

You work that you may keep pace with the earth and the soul of the earth. For to be idle is to become a stranger unto the seasons, and to step out of life's procession, that marches in majesty and proud submission towards the infinite. When you work you are a flute through whose heart the whispering of the hours turns to music. Which of you would be a reed, dumb and silent, when all else sings together in unison? Always you have been told that work is a curse and labour a misfortune. But I say to you that when you work you fulfil a part of earth's furthest dream, assigned to you when that dream was born, And in keeping yourself with labour you are in truth loving life, And to love life through labour is to be intimate with life's inmost secret. But if you in your pain call birth an affliction and the support of the flesh a curse written upon your brow, then I answer that naught but the sweat of your brow shall wash away that which is written. You have been told also that life is darkness, and in your weariness you echo what was said by the weary. And I say that life is indeed darkness save when there is urge, And all urge is blind save when there is knowledge, And all knowledge is vain save when there is work, And all work is empty save when there is love; And when you work with love you bind yourself to yourself, and to one another, and to God. And what is it to work with love? It is to weave the cloth with threads drawn from your heart, even as if your beloved were to wear that cloth. It is to build a house with affection, even as if your beloved were to dwell in that house. It is to sow seeds with tenderness and reap the harvest with joy, even as if your beloved were to eat the fruit. It is to charge all things you fashion with a breath of your own spirit, And to know that all the blessed dead are standing about you and watching. Often have I heard you say, as if speaking in sleep, "He who works in marble, and finds the shape of his own soul in the stone, is nobler than he who ploughs the soil. And he who seizes the rainbow to lay it on a cloth in the likeness of man, is more than he who makes the sandals for our feet." But I say, not in sleep but in the overwakefulness of noontide, that the wind speaks not more sweetly to the giant oaks than to the least of all the blades of grass; And he alone is great who turns the voice of the wind into a song made sweeter by his own loving. Work is love made visible. And if you cannot work with love but only with distaste, it is better that you should leave your work and sit at the gate of the temple and take alms of those who work with joy. For if you bake bread with indifference, you bake a bitter bread that feeds but half man's hunger. And if you grudge the crushing of the grapes, your grudge distils a poison in the wine. And if you sing though as angels, and love not the singing, you muffle man's ears to the voices of the day and the voices of the night.

He was rowed down from the north in a leather skiff manned by a crew of trolls. His fur cape was caked with candle wax, his brow stained blue by wine - though the latter was seldom noticed due to the fox mask he wore at-all times. A quill in his teeth, a solitary teardrop a-squirm in his palm, he was the young poet prince of Montreal, handsome, immaculate, searching for sturdier doors to nail his poignant verses on. In Manhattan, grit drifted into his ink bottle. In Vienna, his spice box exploded. On the Greek island of Hydra, Orpheus came to him at dawn astride a transparent donkey and restrung his cheap guitar. From that moment on, he shamelessly and willingly exposed himself to the contagion of music. To the secretly religious curiosity of the traveler was added the openly foolhardy dignity of the troubadour. By the time he returned to America, songs were working in him like bees in an attic. Connoisseurs developed cravings for his nocturnal honey, despite the fact that hearts were occasionally stung. Now, thirty years later, as society staggers towards the millennium - nailing and screeching at the while, like an orangutan with a steak knife in its side - Leonard Cohen, his vision, his gift, his perseverance, are finally getting their due. It may be because he speaks to this wounded zeitgeist with particular eloquence and accuracy, it may be merely cultural time-lag, another example of the slow-to-catch-on many opening their ears belatedly to what the few have been hearing all along. In any case, the sparkle curtain has shredded, the boogie-woogie gate has rocked loose from its hinges, and here sits L. Cohen at an altar in the garden, solemnly enjoying new-found popularity and expanded respect. From the beginning, his musical peers have recognized Cohen´s ability to establish succinct analogies among life´s realities, his talent for creating intimate relationships between the interior world of longing and language and the exterior world of trains and violins. Even those performers who have neither "covered" his compositions nor been overtly influenced by them have professed to admire their artfulness: the darkly delicious melodies - aural bouquets of gardenia and thistle - that bring to mind an electrified, de-Germanized Kurt Weill; the playfully (and therefore dangerously) mournful lyrics that can peel the apple of love and the peach of lust with a knife that cuts all the way to the mystery, a layer Cole Porter just could`t expose. It is their desire to honor L. Cohen, songwriter, that has prompted a delegation of our brightest artists to climb, one by one, joss sticks smoldering, the steep and salty staircase in the Tower of Song.

My little brother's greatest fear was that the one person who meant so much to him would go away. He loved Lindsey and Grandma Lynn and Samuel and Hal, but my father kept him stepping lightly, son gingerly monitoring father every morning and every evening as if, without such vigilance, he would lose him. We stood- the dead child and the living- on either side of my father, both wanting the same thing. To have him to ourselves forver. To please us both was an impossibility. ... 'Please don't let Daddy die, Susie,' he whispered. 'I need him.' When I left my brother, I walked out past the gazebo and under the lights hanging down like berries, and I saw the brick paths branching out as I advanced. I walked until the bricks turned to flat stones and then to small, sharp rocks and then to nothing but churned earth for miles adn miles around me. I stood there. I had been in heaven long enough to know that something would be revealed. And as the light began to fade and the sky to turn a dark, sweet blue as it had on the night of my death, I saw something walking into view, so far away I could not at first make out if it was man or woman, child or adult. But as moonlight reached this figure I could make out a man and, frightened now, my breathing shallow, I raced just far enough to see. Was it my father? Was it what I had wanted all this time so deperately? 'Susie,' the man said as I approached and then stopped a few feet from where he stood. He raised his arms up toward me. 'Remember?' he said. I found myself small again, age six and in a living room in Illinois. Now, as I had done then, I placed my feet on top of his feet. 'Granddaddy,' I said. And because we were all alone and both in heaven, I was light enough to move as I had moved when I was six and in a living room in Illinois. Now, as I had done then, I placed my feet on top of his feet. 'Granddaddy,' I said. And because we were all alone and both in heaven, I was light enough to move as I had moved when I was six and he was fifty-six and my father had taken us to visit. We danced so slowly to a song that on Earth had always made my grandfather cry. 'Do you remember?' he asked. 'Barber!' 'Adagio for Strings,' he said. But as we danced and spun- none of the herky-jerky awkwardness of Earth- what I remembered was how I'd found him crying to this music and asked him why. 'Sometimes you cry,' Susie, even when someone you love has been gone a long time.' He had held me against him then, just briefly, and then I had run outside to play again with Lindsey in what seemed like my grandfather's huge backyard. We didn't speak any more that night, but we danced for hours in that timeless blue light. I knew as we danced that something was happening on Earth and in heaven. A shifting. The sort of slow-to-sudden movement that we'd read about in science class one year. Seismic, impossible, a rending and tearing of time and space. I pressed myself into my grandfather's chest and smelled the old-man smell of him, the mothball version of my own father, the blood on Earth, the sky in heaven. The kumquat, skunk, grade-A tobacco. When the music stopped, it cold have been forever since we'd begun. My grandfateher took a step back, and the light grew yellow at his back. 'I'm going,' he said. 'Where?' I asked. 'Don't worry, sweetheart. You're so close.' He turned and walked away, disappearing rapidly into spots and dust. Infinity.

Instructions for Dad. I don't want to go into a fridge at an undertaker's. I want you to keep me at home until the funeral. Please can someone sit with me in case I got lonely? I promise not to scare you. I want to be buried in my butterfly dress, my lilac bra and knicker set and my black zip boots (all still in the suitcase that I packed for Sicily). I also want to wear the bracelet Adam gave me. Don't put make-up on me. It looks stupid on dead people. I do NOT want to be cremated. Cremations pollute the atmosphere with dioxins,k hydrochloric acid, hydrofluoric acid, sulphur dioxide and carbon dioxide. They also have those spooky curtains in crematoriums. I want a biodegradable willow coffin and a woodland burial. The people at the Natural Death Centre helped me pick a site not for from where we live, and they'll help you with all the arrangements. I want a native tree planted on or near my grave. I'd like an oak, but I don't mind a sweet chestnut or even a willow. I want a wooden plaque with my name on. I want wild plants and flowers growing on my grave. I want the service to be simple. Tell Zoey to bring Lauren (if she's born by then). Invite Philippa and her husband Andy (if he wants to come), also James from the hospital (though he might be busy). I don't want anyone who doesn't know my saying anything about me. THe Natural Death Centre people will stay with you, but should also stay out of it. I want the people I love to get up and speak about me, and even if you cry it'll be OK. I want you to say honest things. Say I was a monster if you like, say how I made you all run around after me. If you can think of anything good, say that too! Write it down first, because apparently people often forget what they mean to say at funerals. Don't under any circumstances read that poem by Auden. It's been done to death (ha, ha) and it's too sad. Get someone to read Sonnet 12 by Shakespeare. Music- "Blackbird" by the Beatles. "Plainsong" by The Cure. "Live Like You Were Dying" by Tim McGraw. "All the Trees of the Field Will Clap Their Hands" by Sufian Stevens. There may not be time for all of them, but make sure you play the last one. Zoey helped me choose them and she's got them all on her iPod (it's got speakers if you need to borrow it). Afterwards, go to a pub for lunch. I've got £260 in my savings account and I really want you to use it for that. Really, I mean it-lunch is on me. Make sure you have pudding-sticky toffee, chocolate fudge cake, ice-cream sundae, something really bad for you. Get drunk too if you like (but don't scare Cal). Spend all the money. And after that, when days have gone by, keep an eye out for me. I might write on the steam in the mirror when you're having a bath, or play with the leaves on the apple tree when you're out in the garden. I might slip into a dream. Visit my grave when you can, but don't kick yourself if you can't, or if you move house and it's suddenly too far away. It looks pretty there in the summer (check out the website). You could bring a picnic and sit with me. I'd like that. OK. That's it. I love you. Tessa xxx

I will take you down my own avenue of remembrance, which winds among the hazards and shadows of my single year as a plebe. I cannot come to this story in full voice. I want to speak for the boys who were violated by this school, the ones who left ashamed and broken and dishonored, who departed from the Institute with wounds and bitter grievances. I want also to speak for the triumphant boys who took everything the system could throw at them, endured every torment and excess, and survived the ordeal of the freshman year with a feeling of transformation and achievement that they never had felt before and would never know again with such clarity and elation. I will speak from my memory- my memory- a memory that is all refracting light slanting through prisms and dreams, a shifting, troubled riot of electrons charged with pain and wonder. My memory often seems like a city of exiled poets afire with the astonishment of language, each believing in the integrity of his own witness, each with a separate version of culture and history, and the divine essentional fire that is poetry itself. But i will try to isolate that one lonely singer who gathered the fragments of my plebe year and set the screams to music. For many years, I have refused to listen as his obsessive voice narrated the malignant litany of crimes against my boyhood. We isolate those poets who cause us the greatest pain; we silence them in any way we can. I have never allowed this furious dissident the courtesy of my full attention. His poems are songs for the dead to me. Something dies in me every time I hear his low, courageous voice calling to me from the solitude of his exile. He has always known that someday I would have to listen to his story, that I would have to deal with the truth or falsity of his witness. He has always known that someday I must take full responsibility for his creation and that, in finally listening to him, I would be sounding the darkest fathoms of myself. I will write his stories now as he shouts them to me. I will listen to him and listen to myself. I will get it all down. Yet the laws of recall are subject to distortion and alienation. Memory is a trick, and I have lied so often to myself about my own role and the role of others that I am not sure I can recognize the truth about those days. But I have come to believe in the unconscious integrity of lies. I want to record even them. Somewhere in the immensity of the lie the truth gleams like the pure, light-glazed bones of an extinct angel. Hidden in the enormous falsity of my story is the truth for all of us who began at the Institute in 1963, and for all who survived to become her sons. I write my own truth, in my own time, in my own way, and take full responsibility for its mistakes and slanders. Even the lies are part of my truth. I return to the city of memory, to the city of exiled poets. I approach the one whose back is turned to me. He is frail and timorous and angry. His head is shaved and he fears the judgment of regiments. He will always be a victim, always a plebe. I tap him on the shoulder. "Begin," I command. "It was the beginning of 1963," he begins, and I know he will not stop until the story has ended.