Play Second Fiddle Quotes

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And I know I’m about to play second fiddle to another woman, as I should. But my love for you will never change, Maxon.
Kiera Cass (The Prince (The Selection, #0.5))
Music is my mistress, and she plays second fiddle to no one.
Duke Ellington (Music is My Mistress)
Morpheus grunts, low in his chest. “I am not going to wait around and play second fiddle to Jebediah while your mortal side grows to understand and trust me.” “You’re not second best. You and I get to have forever. Forever . Jeb has one life. It’s only fair I spend it with him.” I dance around the truth, as close as I’m willing to get. “ Fair? All this time, he’s been with you during your waking hours. I’ve ever only had you in your dreams. I want you in reality. I’ve waited for what feels like a thousand years already. It is time for our forever to begin.”
A.G. Howard (Ensnared (Splintered, #3))
Ah, selfish. There’s that word again.” Sherry smirked. “It’s been hurled at me many a time, because being a mother and wife is all about selflessness, see?” She imitated a perky, syrupy-sweet voice. “Giving up every molecule of your soul. If you want anything for yourself, you’re accused of being selfish. Marriage and especially motherhood mean being condemned to play second fiddle your entire life.
Andrea Lochen (The Repeat Year)
Fully compliant, accommodating, and happy to continually play second fiddle, the codependent will put himself out if the net result is some form of gratitude or meaningful approval.
A.B. Jamieson (Prepare to be tortured: - the price you will pay for dating a narcissist)
I’ve gotten used to playing second fiddle in the orchestra of us,
Alice Feeney (Rock Paper Scissors)
It's not a bad thing to play second fiddle if the first chair is a virtuoso.
J.T. Sather (How to Survive When the Bottom Drops Out)
Now we were doomed to play second fiddle to the sperm-shooters for all eternity; a feminine footnote to the macho main event.
Lucy Cooke (Bitch: On the Female of the Species)
I wonder if you have any idea, my darling Will, what it’s been like having to play second fiddle every day of my life to such an amazing, beautiful, perfectly wonderful sister.” Will
James Hayman (The Girl in the Glass (McCabe & Savage Thriller #4))
In choosing, moreover, for his father an amiable man of fifty-two, who had already lost an only son, and for his mother a woman of thirty-eight, whose first and only child he was, little Jon had done well and wisely. What had saved him from becoming a cross between a lap dog and a little prig, had been his father's adoration of his mother, for even little Jon could see that she was not merely just his mother, and that he played second fiddle to her in his father's heart: What he played in his mother's heart he knew not yet.
John Galsworthy (The Forsyte Saga (The Forsyte Chronicles, #1-3))
I am tired of playing second fiddle to your dick, your senior year, and your life in general; it's about time I get a life of my own.
Leigh Ann Lunsford (Brisé)
To Jung, the purpose of life was to realize one's own potential, to follow one's own perception of the truth, and to become a whole person in one's own right. This was the goal of individuation, as he later called it. If he was to keep faith with himself, he had to go his own way: it would have been impossible for him to spend his life playing second fiddle in a two-man band.
Anthony Stevens
spirit. These rich curves feel crafted by hand, not computer. Dashing — maybe even exuberant — Baskerville has been known to steal the show, so be sure the content fits it (or doesn’t mind playing second fiddle). Good for: Debonair swagger.
Stephen Coles (The Anatomy of Type: A Graphic Guide to 100 Typefaces)
Grandma did not pretend to be sorry; she said, “Poor Bertha,” but she said it with the humor she was a crackerjack at, as thin and full of play as fiddle wire, and she took much credit for not going in for that kind of second marriage. I quit thinking long ago that all old people came to rest from the things they were out for in their younger years. But that was what she wanted us to believe—“an old baba like me”—and accordingly we took her at her word to be old disinterested wisdom who had put by her vanity.
Saul Bellow (The Adventures Of Augie March)
Years later I saw a film - poignantly sad, and for me unbearably so - about a scientist who had invented a kind of total sense recorder, not just video but audio and smellio and touchio and the rest, which he set to play every afternoon in a given place a given time, for as long as the mechanism lasted. The scene he projected was that of a dozen or so young couples dancing on a terrace in the same holiday house, on the same island, where the recorder itself was kept. Then this young man comes across it while it is playing and at first is convinced he is watching a real occurrence: he sees this beautiful girl, in her slinky 1930s outfit, dancing and laughing and chattering with her friends, and he falls in love with her on the spot. Second day, same time around, he comes to the island at a slightly different time so he sees a slightly different excerpt, and still doesn't twig and falls deeper in love. And so on and so forth for various days until he happens on a duplicate bit and realises something is wrong. But by then, of course, he is irretrievably hooked. So what does he do? He digs out the machine, fiddles with its insides until he has grasped its workings, and then sets it up in recording mode and records himself into the scene in a desperate last-ditch attempt to join the dancers. Which works, and there he stays: trapped there amongst them in a virtual dimension, forever young, forever re-enacting the same little loop of life, over and over.
A.P. . (Sabine)
You’re…you’re what? Where?” I stood up and glimpsed myself in the mirror. I was a vision, having changed into satin pajama pants, a torn USC sweatshirt, and polka-dotted toe socks, and to top it off, my hair was fastened in a haphazard knot on the top of my head with a no. 2 Ticonderoga pencil. Who wouldn’t want me? “I’m outside,” he repeated, throwing in a trademark chuckle just to be extra mean. “Get out here.” “But…but…,” I stalled, hurriedly sliding the pencil out of my hair and running around the room, stripping off my pathetic house clothes and searching in vain for my favorite faded jeans. “But…but…I’m in my pajamas.” Another trademark chuckle. “So?” he asked. “You’d better get out here or I’m comin’ in…” “Okay, okay…,” I replied. “I’ll be right down.” Panting, I settled for my second-favorite jeans and my favorite sweater of all time, a faded light blue turtleneck I’d worn so much, it was almost part of my anatomy. Brushing my teeth in ten seconds flat, I scurried down the stairs and out the front door. Marlboro Man was standing outside his pickup, hands inside his pockets, his back resting against the driver-side door. He grinned, and as I walked toward him, he stood up and walked toward me, too. We met in the middle--in between his vehicle and the front door--and without a moment of hesitation, greeted each other with a long, emotional kiss. There was nothing funny or lighthearted about it. That kiss meant business. Our lips separated for a short moment. “I like your sweater,” he said, looking at the light blue cotton rib as if he’d seen it before. I’d hurriedly thrown it on the night we’d met a few months earlier. “I think I wore this to the J-bar that night…,” I said. “Do you remember?” “Ummm, yeah,” he said, pulling me even closer. “I remember.” Maybe the sweater had magical powers. I’d have to be sure to hold on to it. We kissed again, and I shivered in the cold night air. Wanting to get me out of the cold, he led me to his pickup and opened the door so we could both climb in. The pickup was still warm and toasty, like a campfire was burning in the backseat. I looked at him, giggled like a schoolgirl, and asked, “What have you been doing all this time?” “Oh, I was headed home,” he said, fiddling with my fingers. “But then I just turned around; I couldn’t help it.” His hand found my upper back and pulled me closer. The windows were getting foggy. I felt like I was seventeen. “I’ve got this problem,” he continued, in between kisses. “Yeah?” I asked, playing dumb. My hand rested on his left bicep. My attraction soared to the heavens. He caressed the back of my head, messing up my hair…but I didn’t care; I had other things on my mind. “I’m crazy about you,” he said. By now I was on his lap, right in the front seat of his Diesel Ford F250, making out with him as if I’d just discovered the concept. I had no idea how I’d gotten there--the diesel pickup or his lap. But I was there. And, burying my face in his neck, I quietly repeated his sentiments. “I’m crazy about you, too.
Ree Drummond (The Pioneer Woman: Black Heels to Tractor Wheels)
During the season, they saw each other and played together almost every day. At the aunt's request, seconded by Professor Valérius, Daaé consented to give the young viscount some violin lessons. In this way, Raoul learned to love the same airs that had charmed Christine's childhood. They also both had the same calm and dreamy little cast of mind. They delighted in stories, in old Breton legends; and their favorite sport was to go and ask for them at the cottage-doors, like beggars: "Ma'am..." or, "Kind gentleman... have you a little story to tell us, please?" And it seldom happened that they did not have one "given" them; for nearly every old Breton grandame has, at least once in her life, seen the "korrigans" dance by moonlight on the heather. But their great treat was, in the twilight, in the great silence of the evening, after the sun had set in the sea, when Daaé came and sat down by them on the roadside and in a low voice, as though fearing lest he should frighten the ghosts whom he loved, told them the legends of the land of the North. And, the moment he stopped, the children would ask for more. There was one story that began: "A king sat in a little boat on one of those deep still lakes that open like a bright eye in the midst of the Norwegian mountains..." And another: "Little Lotte thought of everything and nothing. Her hair was golden as the sun's rays and her soul as clear and blue as her eyes. She wheedled her mother, was kind to her doll, took great care of her frock and her little red shoes and her fiddle, but most of all loved, when she went to sleep, to hear the Angel of Music." While the old man told this story, Raoul looked at Christine's blue eyes and golden hair; and Christine thought that Lotte was very lucky to hear the Angel of Music when she went to sleep. The Angel of Music played a part in all Daddy Daaé's tales; and he maintained that every great musician, every great artist received a visit from the Angel at least once in his life. Sometimes the Angel leans over their cradle, as happened to Lotte, and that is how their are little prodigies who play the fiddle at six better than fifty, which, you must admit, is very wonderful. Sometimes, the Angel comes much later, because the children are naughty and won't learn their lessons or practice their scales. And, sometimes, he does not come at all, because the children have a bad heart or a bad conscience. No one ever sees the Angel; but he is heard by those who are meant to hear him. He often comes when they least expect him, when they are sad or disheartened. Then their ears suddenly perceive celestial harmonies, a divine voice, which they remember all their lives. Persons who are visited by the Angel quiver with a thrill unknown to the rest of mankind. And they can not touch an instrument, or open their mouths to sing, without producing sounds that put all other human sounds to shame. Then people who do not know that the Angel has visited those persons say that they have genius. Little Christine asked her father if he had heard the Angel of Music. But Daddy Daaé shook his head sadly; and then his eyes lit up, as he said: "You will hear him one day, my child! When I am in Heaven, I will send him to you!" Daddy was beginning to cough at that time.
Gaston Leroux (The Phantom of the Opera)
Runcorn was second fiddle, never first, but he had played the more beautiful tune.
Anne Perry (A Christmas Beginning)
Second Fiddle [10w] Friends play a second fiddle in the orchestra of love.
Beryl Dov
When Robert brought to the table a covered plate and lifted the lid with an excited flourish, Tim played second fiddle to a cake for the first time in his life.
Elizabeth Darrell (Act of Valour (Knightshill Saga Book 3))
It’s Okey-Dokey to play the Hokey Pokey in Cahokia Poem You cannot play the Oompa-pah in Galaxy Andromeda. You cannot do the Can-can in Afghanistan. You cannot play ping-pong while sounding a gong. You cannot tick a tock when your name’s Mum to tick-a-lock. Gainsay or naysay to play the Cha-Cha in Panama. Nix beatnik tricks playing Second Fiddle doing a Paradiddle. Try not to play off-key when you know you have bats in your belfry. But it is Okey-Dokey to play the Hokey Pokey in Cahokia. --Poems that Will Never See the Light of Day, vol. I
Douglas M. Laurent
Junior partnerships within authoritarian regimes proved disastrous for fascist movements. Playing second fiddle fit badly with fascists’ extravagant claims to transform their peoples and redirect history. For their part, the authoritarian senior partners took a dim view of the fascists’ impatient violence and disdain for established interests, for these cases often involved fascist movements that retained much of the social radicalism of the early movement stage.
Robert O. Paxton (The Anatomy of Fascism)
Not surprisingly, accuracy plays a distant second fiddle when elevating a man into a god.
Rob Staeger (Ancient Mathemeticians (Profiles in Mathematics))
The mindset of the Champions is All of it or None of it; they don't play second- fiddle.
Jaachynma N.E. Agu (The Best Option)
When at last she scooted over to him, Hunter experienced a feeling like none he had ever felt. It went beyond satisfaction, beyond contentment. Having her fair head on his shoulder felt perfectly right, as if the Great Ones had hollowed the spot for her long ago, and he had been waiting all his life for her to fill it. He curled his arm around her, his hand on her back. “It is good, eh?” She placed a palm lightly on his chest. In a dubious tone she replied, “Yes, it is good.” Another silence settled over them. He measured the thrums of her heart beneath his hand, pleased that the rhythm no longer reminded him of the frantic wing beats of a trapped bird. Staring at the conical roof, he longed for the weariness he had pretended. It didn’t come. He was relieved when she broke the silence. “Hunter, what did you mean when you said you had made no talk of marriage because I’m a White Eyes?” He brushed his lips across the top of her head, loving the flower smell that still clung to her hair. He would never again smell springtime and not think of her. “My chief wife will be a woman of my own blood.” He felt her stiffen and, seeking to mollify her, added, “You can be second wife, eh? Or third?” To his surprise she bolted upright, shaking again, this time in anger. With an indignant lift of her small chin, she flung herself away from him. “You are angry?” Her reply was frigid silence. “Blue Eyes, what wrong words have I said?” “What have you said?” Hunter frowned. “It would not please you to marry with me? Better a wife than a slave, yes?” “I will never play second fiddle, never!” Hunter studied her, trying to figure out why she had switched the topic of conversation from marriage to making music. “How dare you!” she cried. “Of all the-- You arrogant, simple-- Oh, never mind! Just you understand this! Amongst my people, a man has one wife, only one, and he looks at no other, thinks of no other, touches no other, until death do they part. I wouldn’t marry you if you got on your knees and begged me!
Catherine Anderson (Comanche Moon (Comanche, #1))
My chief wife will be a woman of my own blood.” He felt her stiffen and, seeking to mollify her, added, “You can be second wife, eh? Or third?” To his surprise she bolted upright, shaking again, this time in anger. With an indignant lift of her small chin, she flung herself away from him. “You are angry?” Her reply was frigid silence. “Blue Eyes, what wrong words have I said?” “What have you said?” Hunter frowned. “It would not please you to marry with me? Better a wife than a slave, yes?” “I will never play second fiddle, never!” Hunter studied her, trying to figure out why she had switched the topic of conversation from marriage to making music.
Catherine Anderson (Comanche Moon (Comanche, #1))
You are angry?” Her reply was frigid silence. “Blue Eyes, what wrong words have I said?” “What have you said?” Hunter frowned. “It would not please you to marry with me? Better a wife than a slave, yes?” “I will never play second fiddle, never!” Hunter studied her, trying to figure out why she had switched the topic of conversation from marriage to making music. “How dare you!” she cried. “Of all the-- You arrogant, simple-- Oh, never mind! Just you understand this! Amongst my people, a man has one wife, only one, and he looks at no other, thinks of no other, touches no other, until death do they part. I wouldn’t marry you if you got on your knees and begged me!” Hunter sat up slowly, feeling a little dazed by her fury and wondering what had sparked it. Would he never understand her? She leaned toward him, her blue eyes flashing. “Even if I would marry you, an announcement by a central fire would not constitute a marriage in my books.” She thumped her chest. “I must make my vows before a priest! And furthermore, when I take a husband, he won’t be a Comanche. You couldn’t be chief husband, second husband, any husband, to me. You’re a barbarian who treats women like chattel!” Very calmly Hunter inserted, “You are my woman. You will sure enough marry no other.” “Well, if you think I’m going to marry you, you have another think coming! Never, do you hear me?” With that, she wrapped her arms around herself and glared at him. Hunter sighed and flopped onto his back, staring upward sightlessly. Minutes passed. When at last he felt her curl up at the foot of the bed, as far away from him as possible, a knowing smile touched his lips. No woman could possibly get that angry over another woman unless she was jealous. And a woman didn’t get jealous unless she was in love. Perhaps he wasn’t the only one with another think coming.
Catherine Anderson (Comanche Moon (Comanche, #1))
Can I have just a moment with the priest?” “For why?” “Just to ask him something.” Hunter’s grip on her arm relaxed. “Namiso, hurry.” Loretta cupped a hand over the priest’s ear and quickly whispered her request, then stepped back to Hunter’s side. The priest considered what she had said, then nodded. A moment later he blessed the young couple before him, and the ceremony began. The words bounced off the walls of Loretta’s mind, making no sense. Numbly she made her responses when she was instructed to. Then it came Hunter’s turn. The priest asked the usual question, adding at the end, “Forsaking all others, taking one wife and only one wife, forever with no horizon?” Hunter, eyes narrowed suspiciously, shot Loretta a knowing look. For several long seconds he made no response, and she held her breath, her gaze locked with his. Then, with solemn sincerity, he inclined his head and replied, “I have spoken it.” The priest, momentarily confused by the unusual response when he had expected an “I do,” sputtered a moment, seemed to consider, then nodded his assent and finished the ceremony. Loretta and Hunter were married, according to his beliefs and hers. Hunter instructed his friends to return the priest to his mission, stressing that he would have their heads if the man didn’t arrive there unharmed. Then he sent Amy to his mother’s lodge. When everyone had been dispatched, he turned to Loretta, one dark eyebrow cocked, his indigo eyes twinkling with laughter. “One wife and only one wife, forever with no horizon?” Loretta’s gaze chased off, and her cheeks went scarlet. Clasping her hands behind her, she rocked back on her heels, then forward onto her toes, pursing her lips. “I told you, Hunter, I refuse to play second fiddle.” He smiled--a slow, dangerous smile that made her nerves leap. His heated gaze drifted slowly down the length of her. He grasped her arm and led her toward his lodge. “Now you will show this Comanche how good you play number one fiddle, yes?
Catherine Anderson (Comanche Moon (Comanche, #1))
When everyone had been dispatched, he turned to Loretta, one dark eyebrow cocked, his indigo eyes twinkling with laughter. “One wife and only one wife, forever with no horizon?” Loretta’s gaze chased off, and her cheeks went scarlet. Clasping her hands behind her, she rocked back on her heels, then forward onto her toes, pursing her lips. “I told you, Hunter, I refuse to play second fiddle.” He smiled--a slow, dangerous smile that made her nerves leap. His heated gaze drifted slowly down the length of her. He grasped her arm and led her toward his lodge. “Now you will show this Comanche how good you play number one fiddle, yes?
Catherine Anderson (Comanche Moon (Comanche, #1))
When everyone had been dispatched, he turned to Loretta, one dark eyebrow cocked, his indigo eyes twinkling with laughter. “One wife and only one wife, forever with no horizon?” Loretta’s gaze chased off, and her cheeks went scarlet. Clasping her hands behind her, she rocked back on her heels, then forward onto her toes, pursing her lips. “I told you, Hunter, I refuse to play second fiddle.
Catherine Anderson (Comanche Moon (Comanche, #1))
When everyone had been dispatched, he turned to Loretta, one dark eyebrow cocked, his indigo eyes twinkling with laughter. “One wife and only one wife, forever with no horizon?” Loretta’s gaze chased off, and her cheeks went scarlet. Clasping her hands behind her, she rocked back on her heels, then forward onto her toes, pursing her lips. “I told you, Hunter, I refuse to play second fiddle.” He smiled--a slow, dangerous smile that made her nerves leap. His heated gaze drifted slowly down the length of her. He grasped her arm and led her toward his lodge. “Now you will show this Comanche how good you play number one fiddle, yes?” “I--” Loretta’s mouth went as dry as dust as she tripped along beside him, her arm vised in his grip. “Surely you don’t mean right now.” Her startled gaze focused on the lodge door. “It’s not even dark yet. People are still awake. You haven’t eaten. There’s no fire built. We can’t just--” He lifted the door flap and drew her into the dark lodge. “Blue Eyes, I have no hunger for food,” he said huskily. “But I will make a fire if you wish for one.” Any delay, no matter how short, appealed to Loretta. “Oh, yes, it’s sort of chilly, don’t you think?” It was a particularly muggy evening, the kind that made clothing stick to the skin, but that hardly seemed important. “Yes, a fire would be lovely.” He left her standing alone in the shadows to haul in some wood, which he quickly arranged in the firepit. Moments later golden flames lit the room, the light dancing and flickering on the tan walls. Remaining crouched by the flames, he tipped his head back and gave her a lazy perusal, his eyes touching on her dress, eyebrows lifting in a silent question. “Do you hunger for food?” he asked her softly.
Catherine Anderson (Comanche Moon (Comanche, #1))
She’d spent her entire life playing second fiddle to perfection. She’d spent her life never being loved for being herself. She’d be damned if she accepted a lifetime of the same.
Eloisa James (Not That Duke (Would-Be Wallflowers, #3))
I guess if I am being honest, I was better at playing second fiddle – my life seems to have borne that out – with occasional bursts of first fiddle (The Big Issue, the Amazon, Riding across the Gran Chaco) – a slightly second-rate Ranulph Fiennes or even Pen Hadow. Nothing I have ever done had the benefit of planning – more based on ignorance than risk.
Gordon Roddick, 1976
I guess if I am being honest, I was better at playing second fiddle – my life seems to have borne that out – with occasional bursts of first fiddle (The Big Issue, the Amazon, Riding across the Gran Chaco) – a slightly second-rate Ranulph Fiennes or even Pen Hadow. Nothing I have ever done had the benefit of planning – more based on ignorance than risk.
Gordon Roddick
I am part of the first generation of women who can really truly have financial independence and choose whom I marry and choose if and when I have children and somehow I have ended up here, playing second fiddle to a man whose idea of good art is to flaunt his adultery.
Erin Kelly (The Skeleton Key)
I got used to playing second fiddle in the orchestra of us
Alice Feeney, Rock Paper Scissors (Rock Paper Scissors)
A phrase Max had used bothered me. I was not to be surprised if my work underwent a change. I might find it becoming more creative. What the hell had Max meant by that? What was wrong with my work as it was? Fiddling journalism; nothing sustained about it; conventional, facile, all on the sound old traditional lines? No doubt that was how he saw it: did he suppose I had not seen that too? Why else had I undertaken the book? And what was the book, anyway, but a compilation, a re-hash of old newspaper articles better forgotten – no more ‘creative’ than Pamela’s scrap-books. And even that I hadn’t the capacity to finish. It would never be finished. I saw that now. It would not be finished because I had nothing to say. What I had mistaken for talent had been no more than the afflatus which makes every second swelled-headed adolescent suppose he has a vocation to write. It was a folly which had made me turn my back on the chance of a solid profession, got me as far as a sub-editor’s desk on a London weekly, and led me to walk out from that into the blue. I had imagined that I had something to say, and behold, without the drive of a play to report on, a book to review, or a controversy to join in, I was empty: I dredged into my own mind and found nothing there. My youthful energy was already exhausted. I was finished: finished at thirty. And Max had seen that. I
Dorothy Macardle (The Uninvited)
Born on June 3, 1931, Raúl Castro was Fidel’s younger brother. In many ways, the two brothers are very different from each other in both appearance and deportment. Although Ángel Castro is officially listed as the father on Raúl’s birth certificate, there have been consistent rumors that his birth father may have been a Cuban Rural Guard commander named Felipe Miraval, a Batista army loyalist nicknamed “el Chino,” for obvious reasons considering his Asian appearance. Raúl was purportedly his mother’s favorite child and was endearingly called “Muso” by her. Incidentally, Musou is an Asian word that means, “The Only One.” Living in his brother’s shadow Raúl usually found himself playing second fiddle to Fidel, which made Raúl seem less threatening. However, this was only an illusion. As revolutionaries bivouacking in the Sierra Maestra Mountains, he was always loyal to the mission and knew how to get his thoughts across to his older brother. Although he could, Fidel did not really like to execute anyone, especially one of his own troops. However, when he felt he had to set an example, it was easy enough for Fidel to make the rules, such as capital punishment for rape, but he would call on his younger brother Raúl to carry out the sentence. Fidel ideologically was very liberal, perhaps even to the point of being a Socialist, but he wasn’t ready to embrace communism, knowing that the United States, just to their north promised greater rewards, or could become their worst nightmare. It was Raúl’s influence that persuaded Fidel to finally accept a communistic form of government.
Hank Bracker
Every man looks at it in his own way, of course. I’m not the sort of chap to knuckle under to my wife; and there isn’t one woman in a thousand, if she gave her husband a start, could help reminding him of it. It’s the wrong way about. Let women be as independent as they like as long as they’re not married. I never think the worse of them, whatever they do that’s honest. But a wife must play second fiddle, and think her husband a small god almighty — that’s my way of looking at the question.
George Gissing (In the Year of Jubilee)
Equally distasteful was that it would both have to learn from, and play second fiddle to, the United States Navy. These though were facts and, as the second President of the Republic had put it in 1770, ‘facts are stubborn things’.
Charles Stephenson (The Eastern Fleet and the Indian Ocean, 1942–1944: The Fleet that Had to Hide)