Nelly Song Quotes

you bet yours on the gray!” Even in songs Ma did not approve of gambling, but her toe could not stop tapping while Pa played such tunes. Then every evening they all sang one round. Mr. Boast’s tenor would begin, “Three blind mice,” and go on while Mrs. Boast’s alto began, “Three blind mice,” then as she went on Pa’s bass would join in, “Three blind mice,” and then Laura’s soprano, and Ma’s contralto, and Mary and Carrie. When Mr. Boast reached the end of the song he began it again without stopping, and they all followed, each behind the other, going round and round with words and music. “Three blind mice! Three blind mice!              They all ran after the farmer’s wife               She cut off their tails with the carving knife, Did you ever hear such a tale in your life Of three blind mice?” They kept on singing until someone laughed and then the song ended ragged and breathless and laughing. And Pa would play some of the old songs, “to go to sleep on,” he said. “Nellie was a lady, last night she died, Oh, toll the bell for lovely Nell, My old—Vir-gin-ia bride.” And, “Oh, do you remember sweet Alice, Ben Bolt?              Sweet Alice with eyes so brown,

A future where disability justice won looks like queer, trans, Black, Indigenous, folks of colour, and women, girls, and nonbinary humans are living in a world where disability is the norm, and where access is no longer a question but a fait accompli. Gone are the days where our disabled bodies and minds are compared to the able-bodied and able-minded. We’ve flipped the script. We still like our non-queer, non–people of colour, non-disabled friends and we’ll have them at our fully accessible dance parties (which include comfy chairs and couches for our aches and pains, subwoofers that make you feel the vibrations, active listeners, and personal support workers, so we can fully enjoy our time out, and plenty of room as well as fully accessible bathrooms for wheelchair-users to dance, dance, and dance as well as pee with ease, and no stairs in sight and clear paths to sway or rest as we please). Because, please, did you really think this could go on, this able-bodied and -minded domination? It’s not that we’ve flipped the script to exert power and replicate oppressions on our able-bodied and able-minded friends, they just over time learned to not take up so much space and not be offended or feel left out if we don’t organize with them in mind. Actually, in our accessible/disabled future, binaries are broken. We fully live on and in the spectrum of possibilities of non-stigmatized minds and bodies. In this spectrum, we are fully connected to one another, which means that decolonization has happened and is still happening and that patriarchy has been toppled and much more. This interconnectedness that we now live daily means that sometimes our able-bodied and able-minded friends are learning every day, including from their mistakes, and are understanding in how many ways our differences and disabilities manifest. This also means that we have collectively built this future and thus have learned and understood differences and disabilities, and all of us are still doing that important work even when it is hard because this future world is ours! -KARINE MYRGIANIE JEAN-FRANÇOIS AND NELLY BASSILY, DAWN (DISABLED WOMEN’S NETWORK) CANADA

Twentieth-century music has brought new complexity into rhythms, studio production, instrumentation, and a variety of other features that were uniform, less varied, or nonexistent in previous music. Modern compositions, even in narrow musicological terms, do not necessarily provide less depth than their predecessors. The songs of Jerome Kern, Duke Ellington, Thelonious Monk, or the Beatles are arguably no less compositionally complex (and perhaps more complex) than the lieder of Schubert. Schubert wrote about 700 songs, most of which no one ever listens to or analyzes. Many of these songs are technically and compositionally undistinguished, and tend to be formulaic in their melodic treatment. Are "Bill," "Take the A Train," "Crepuscule with Nellie," and "A Day in the Life" really inferior or lesser products?

During that brunch, a Nelly song came on and I researched the Nelly Wikipedia page, as one must do anytime Nelly-related questions plague one’s mind.

The handsome Prince Nelly, new gay bar royalty, lip-synced along to his power ballad selections with a crooner’s passion, both his fists at his sternum. He announced the next song into a microphone, imparting copious factoids. In general, the music was eighties pop—Dead or Alive, Bananarama, Belinda Carlisle, the Human League—and stuff irresistible after imbibing cheap beer: ‘Fantasy’ by Mariah Carey. ‘9 to 5.’ Crystal Castles. CSS. Janet Jackson’s ‘When I Think of You.’ ‘Just Can’t Get Enough’ by Depeche Mode. ‘That’s Not My Name.’ MGMT. ‘D.A.N.C.E.’ ‘Last Dance.’ I recognized the Lovely Jonjo from his appearance on the cover of Butt magazine.