Nostalgia Lyrics Quotes

I'd trade all my tomorrows for one single yesterday.

There are benefits to being without nostalgia. Certainly nostalgia and being without nostalgia relieve the past.

You feel like a leaf at the mercy of the wind, don’t you?” he finally said, staring at me. That was exactly the way I felt. He seemed to empathize with me. He said that my mood reminded him of a song and began to sing in a low tone; his singing voice was very pleasing and the lyrics carried me away: “I’m so far away from the sky where I was born. Immense nostalgia invades my thoughts. Now that I am so alone and sad like a leaf in the wind, sometimes I want to weep, sometimes I want to laugh with longing.” (Que lejos estoy del cielo donde he nacido. Immensa nostalgia invade mi pensamiento. Ahora que estoy tan solo y triste cual hoja al viento, quisiera llorar, quisiera reir de sentimiento.) We did not speak for a long while. He finally broke the silence. “Since the day you were born, one way or another, someone has been doing something to you,” he said. “That’s correct,” I said. “And they have been doing something to you against your will.” “True.” “And by now you’re helpless, like a leaf in the wind.” “That’s correct. That’s the way it is.” I said that the circumstances of my life had sometimes been devastating. He listened attentively but I could not figure out whether he was just being agreeable or genuinely concerned until I noticed that he was trying to hide a smile. “No matter how much you like to feel sorry for yourself, you have to change that,” he said in a soft tone. “It doesn’t jibe with the life of a warrior.

This, the profoundest of all mysteries, would be left for the living to ponder. Soldiers who survived also would struggle to reconcile the greatest catastrophe in human history with what the philosopher and Army officer J. Glenn Gray called “the one great lyric passage in their lives.” The war’s intensity, camaraderie, and sense of high purpose left many with “a deplorable nostalgia,” in the phrase of A. J. Liebling. “The times were full of certainty,” Liebling later wrote. “I have seldom been sure I was right since.” An AAF crewman who completed fifty bomber missions observed, “Never did I feel so much alive. Never did the earth and all of the surroundings look so bright and sharp.” And a combat engineer mused, “What we had together was something awfully damned good, something I don’t think we’ll ever have again as long as we live.” They had been annealed, touched with fire. “We are certainly no smaller men than our forefathers,” Gavin wrote his daughter. Alan Moorehead, who watched the scarlet calamity from beginning to end, believed that “here and there a man found greatness in himself.” The anti-aircraft gunner in a raid and the boy in a landing barge really did feel at moments that the thing they were doing was a clear and definite good, the best they could do. And at those moments there was a surpassing satisfaction, a sense of exactly and entirely fulfilling one’s life.… This thing, the brief ennoblement, kept recurring again and again up to the end, and it refreshed and lighted the whole heroic and sordid story. In Moorehead’s view, the soldier to whom this grace was granted became, “for a moment, a complete man, and he had his sublimity in him.” For those destined to outlive the

Rob Young, in his essential Electric Eden, describes as Barrett being “strangely pushed and pulled between nostalgia for the secret garden of a child’s imagination and the space-age futurism of interstellar overdrive.” Barrett was channeling a spirit that was trying to pierce the veil between these worlds, and while this nostalgia and futurism, as Young puts it, seem opposed, they are actually two ideas at the heart of magic. The practice of magic is one requiring a link to the past and a vision of the future. Barrett added this directly to the lyrics of his songs and his live performances, experimenting with light and sound in an attempt to work the audience into a trance. The method is new, but the intention is ancient.