Protest Song Quotes

Get up, stand up, Stand up for your rights. Get up, stand up, Don't give up the fight.

I’m stuck babysitting turtle eggs while a volleyball player slash grease monkey slash aquarium volunteer tries to hit on me.” I’m not hitting on you,” he protested. No?” Believe me, you’d know if I was hitting on you. You wouldn’t be able to stop yourself from succumbing to my charms.

I wear the black for the poor and the beaten down, Livin' in the hopeless, hungry side of town, I wear it for the prisoner who has long paid for his crime, But is there because he's a victim of the times. I wear the black for those who never read

No one was enchanted beyond saving in the songs. The hero always saved them. There was no ugly moment in a dark cellar where the countess wept and cried out protest while three wizards put the count to death, and then made court politics out of it.

Loving humans means writing poems & songs novels & plays, slogans, chants & protest signs our critics want to stone us for while we think of them as people under different circumstances we might be able to help

Long live protest songs, in whatever form they take.

You can write the most detailed, vivid description of an ax entering a skull, and nobody will say a word in protest. But if you write a similarly detailed description of a penis entering a vagina, you get letters from people saying they'll never read you again. What the hell? Penises entering vaginas bring a lot more joy into the world than axes entering skulls.

Songs are the soul of movement! - MLK Jr.

A small thing, but in a dissonant world, every moment of harmony counts--and if we share music, we might just shout in anger a little less and sing in unity more. Or so we can hope.

Though most love songs are protest songs, when you think about it.

First thing I'd do is make sure the poor newbie demigods don't have to suffer through the orientation film." All conversation stopped. "What orientation film?" Will Solace asked. Nico looked puzzled. "You know ..." He glanced side to side, clearly uncomfortable with everybody watching him. Finally he cleared his throat and sang in a warbly voice to the tune of "The Hokey Cokey": "It lets the demigods in! It shuts the monsters out! It keeps the half-bloods safe, but turns mortals all about! It's Misty, and it's magic, and it makes me want to shout: the border is all about!" He punctuated the last line of the song with some half-hearted claps. We stared at him in stunned silence. "Nico." Will patted his boyfriend's arm. "You're scaring the other campers." "More than usual," Julia Feingold muttered under her breath. "Oh, come on," Nico protested. "You've all heard that annoying song, right? It's from Welcome to Camp Half-Blood." Nobody responded. "The orientation film," Nico added. We shared a group shrug. Nico groaned. "You mean I just sang in public and ... I'm the only one who's ever seen that stupid film?" "So far, anyway," said Connor Stoll.

Tomorrow I shall write something beautiful, something so serene that storms will rise suddenly and protest with ferocious screams. I shall write poems for the poets and for the songster a single song That will tell a tale of such beauty the heart of earth shall moan. But today, today shall be special for all I will do is sit quietly alone and think of you and think of you.

It was all too much. For a moment Eddard Stark wanted nothing so much as to return to Winterfell, to the clean simplicity of the north, where the enemies were winter and the wildlings beyond the Wall. “Surely Robert has other loyal friends,” he protested. “His brothers, his—” “—wife?” Varys finished, with a smile that cut. “His brothers hate the Lannisters, true enough, but hating the queen and loving the king are not quite the same thing, are they? Ser Barristan loves his honor, Grand Maester Pycelle loves his office, and Littlefinger loves Littlefinger.

This is what songs do, even dumb pop songs: they remind us that emotions are not an inconvenient and vaguely embarrassing aspect of the human enterprise but its central purpose. They make us feel specific things we might never have felt otherwise. Every time I listen to "Sunday Bloody Sunday," for instance, I feel a pugnacious righteousness about the fate of the Irish people. I hear that thwacking military drumbeat and Bono starts wailing about the news he heard today and I'm basically ready to enlist in the IRA and stomp some British Protestant Imperialist Ass, hell yes, bring on the fucking bangers and mash and let's get this McJihad started.

They can't see me but I can see them. I don't stand because I've been standing all morning. Plus, this is my small protest against Luke and Rose. I can't serve you if I don't exist. Get lost in that existential dilemma.

Politicians, singers, and preachers are in the same business, using sound to move hearts and change minds.

Social anthems and protest songs had long been part of the heritage of rock—but not like this. “Earth Song” was something more epic, dramatic, and primal. Its roots were deeper, its vision more panoramic. It was a lamentation torn from the pages of the Old Testament; a “sorrow song” in the tradition of slave spirituals; an apocalyptic prophecy with echoes of Blake, Yeats and Eliot. It conveyed musically what Picasso’s masterful painting, Guernica, conveyed in art. Inside its swirling scenes of destruction and suffering were voices—crying, pleading, shouting to be heard. (“What about us?”)

My birth certificate says: Female Negro Mother: Mary Anne Irby, 22, Negro Father: Jack Austin Woodson, 25, Negro In Birmingham, Alabama, Martin Luther King Jr. is planning a march on Washington, where John F. Kennedy is president. In Harlem, Malcolm X is standing on a soapbox talking about a revolution. Outside the window of University Hospital, snow is slowly falling. So much already covers this vast Ohio ground. In Montgomery, only seven years have passed since Rosa Parks refused to give up her seat on a city bus. I am born brown-skinned, black-haired and wide-eyed. I am born Negro here and Colored there and somewhere else, the Freedom Singers have linked arms, their protests rising into song: Deep in my heart, I do believe that we shall overcome someday. and somewhere else, James Baldwin is writing about injustice, each novel, each essay, changing the world. I do not yet know who I’ll be what I’ll say how I’ll say it . . . Not even three years have passed since a brown girl named Ruby Bridges walked into an all-white school. Armed guards surrounded her while hundreds of white people spat and called her names. She was six years old. I do not know if I’ll be strong like Ruby. I do not know what the world will look like when I am finally able to walk, speak, write . . . Another Buckeye! the nurse says to my mother. Already, I am being named for this place. Ohio. The Buckeye State. My fingers curl into fists, automatically This is the way, my mother said, of every baby’s hand. I do not know if these hands will become Malcolm’s—raised and fisted or Martin’s—open and asking or James’s—curled around a pen. I do not know if these hands will be Rosa’s or Ruby’s gently gloved and fiercely folded calmly in a lap, on a desk, around a book, ready to change the world . . .

I loved these songs and could still hear them in my head long after and into the next day. They weren't protest songs, though, they were rebel ballads... even in a simple, melodic wooing ballad there'd be rebellion waiting around the corner. You couldn't escape it. There were songs like that in my repertoire, too, where something lovely was suddenly upturned, but in stead of rebellion showing up it would be death itself, the Grim Reaper. Rebellion spoke to me louder. The rebel was alive and well, romantic and honorable. The Grim Reaper wasn't like that.

My five Upstart sons are all bloody and brave I’ve got one on the gallows, and two in the grave One is your prisoner, and none is your slave “Pish,” said Gormalin. “That’s a war song!” I’ve got one in the hills that you never have met And though he is young, he will murder you yet For the hour is coming you’ll answer your debt “That song’s illegal!” he protested, and right he was. It’s the very song that got Kellan na Falth hanged. “You can’t sing about men killing men since the Goblin Wars! Especially not a song against a proper king of Holt, even an old, bad king!” Now, of course, I joined in. My five Upstart sons have declared against you Their tongues are as black as their promise is true And they’ll call you to answer whatever you do! No Coldfoot guard was going to be left out of an illegal Galtish rebel song, so Malk picked up the next verse with us, his strong, confident baritone suddenly making the whole insurrection seem credible. The crown you so love sits but light on your head The castle you stole has a cold, stony bed And though I am old, I will yet see you dead You’ve hundreds of men with long swords and long knives But you’ve lain with near half of their fair Galtish wives And none of them love you to lay down their lives Abandon your tower and open your gate No silver-bought army can alter your fate If all my five perish, my neighbor has eight Our ten thousand sons have declared against you Their tongues are as black as their promise is true And they’re coming, they’re coming, whatever you do

There were reprints of American editorials. Liberals saw it as a resurgence of social protest and decried the discrimination, poverty, and hunger that had provoked it. Conservative columnists acidly pointed out that hungry people don’t steal stereo systems first and called for a crackdown in law enforcement. All of the reasoned editorials sounded hollow in light of the perverse randomness of the event. It was as if only a thin wall of electric lighting protected the great cities of the world from total barbarism.

it’s shrewd to put new words to an old tune, especially if you’re trying to turn the familiar on its head.

Alluding to the construction, at the Tidal Basin, of a memorial to Thomas Jefferson (it was to be dedicated in 1943), Ickes linked past and present. “Genius, like justice, is blind,

As the Protestants celebrate a goal, they're egged on by the team captain, a long-haired Italian called Lorenzo Amoruso, who has the look of a 1980s male model. Flailing his arms, he urges them to sing their anti-Catholic songs louder. The irony is obvious: Amoruso is a Catholic. For that matter, so are most of the Rangers players. Since the late nineties, Rangers routinely field nearly as many Catholics as Celtic. Their players come from Georgia, Argentina, Germany, Sweden, Portugal and Holland, because money can buy no better ones. Championships mean more than religious purity.

To most people today, the name Snow White evokes visions of dwarfs whistling as they work, and a wide–eyed, fluttery princess singing, "Some day my prince will come." (A friend of mine claims this song is responsible for the problems of a whole generation of American women.) Yet the Snow White theme is one of the darkest and strangest to be found in the fairy tale canon — a chilling tale of murderous rivalry, adolescent sexual ripening, poisoned gifts, blood on snow, witchcraft, and ritual cannibalism. . .in short, not a tale originally intended for children's tender ears. Disney's well–known film version of the story, released in 1937, was ostensibly based on the German tale popularized by the Brothers Grimm. Originally titled "Snow–drop" and published in Kinder–und Hausmarchen in 1812, the Grimms' "Snow White" is a darker, chillier story than the musical Disney cartoon, yet it too had been cleaned up for publication, edited to emphasize the good Protestant values held by Jacob and Wilhelm Grimm. (...) Variants of Snow White were popular around the world long before the Grimms claimed it for Germany, but their version of the story (along with Walt Disney's) is the one that most people know today. Elements from the story can be traced back to the oldest oral tales of antiquity, but the earliest known written version was published in Italy in 1634.

There's something about the transporting capacity of music, something about it's odd but undeniable ability to create a collective experience by firing our individual imaginations, that's more likely to open our minds and our hearts to competing points of view.

The evangelical Old Testament biblical scholar Christopher Wright states the matter even more strongly: “We are listening, not to a single voice, not even to a single choir in harmony, but to several choirs singing different songs with some protest groups jamming in the wings.”[113]

It was easy. Being with Remus was easy. It was a dance that she knew all the steps to. A song where she knew all the lyrics. He was Hogwarts, a History, and she had memorised every single word of him—could see every page behind closed eyelids. My heart. My heart. My heart. Her soul protested.

It was during my stint at Café Society that a song was born which became my personal protest—“ Strange Fruit.” The germ of the song was in a poem written by Lewis Allen. I first met him at Café Society. When he showed me that poem, I dug it right off. It seemed to spell out all the things that had killed Pop.

Before taking her leave, Miriam reminded Willow not to be long coming to bed. Rider stood and pulled Willow into his arms. "I wish you were coming to my bed, love. I dreamed about you all day." He tilted her chin up, gently kissing her lips, then broke away. "Is that all I get?" she protested, raising up on her toes and pulling him close again. Rider took one of her hands and discreetly guided it to the heat of his desire. "See what you do to me with one chaste kiss? Have a heart,love, and say good night while I can still walk to the bunkhouse." A sigh of regret left Willow's lips as she stole one last kiss, then hurried inside.

Dr. Hoffman told me the word kumbaya was originally an African American spiritual, a song that was also a prayer asking for divine intervention, asking for help in dire times, and that then the hippies in the sixties took it and sang it to mean unity amid protest, and then it got played out and became a stand-in for corniness about togetherness.

You always have to keep pushing to innovate. Dylan could have sung protest songs forever and probably made a lot of money, but he didn’t. He had to move on, and when he did, by going electric in 1965, he alienated a lot of people. His 1966 Europe tour was his greatest. He would come on and do a set of acoustic guitar, and the audiences loved him. Then he brought out what became The Band, and they would all do an electric set, and the audience sometimes booed. There was one point where he was about to sing “Like a Rolling Stone” and someone from the audience yells “Judas!” And Dylan then says, “Play it fucking loud!” And they did. The Beatles were the same way. They kept evolving, moving, refining their art. That’s what I’ve always tried to do—keep moving. Otherwise, as Dylan says, if you’re not busy being born, you’re busy dying.

You'll have that handsome rogue you married at your knees, my dear." Franny giggled. "You really think so, senora?" "I certainly do, my dear." Willow nudged the girl in the ribs. "Take it from me, Miriam knows what she's talking about!" "Good grief, Willow!" Miriam protested. "You make me sound like I'm an expert on seducing men! I find that not the least bit flattering." Willow winked at Franny, and Miriam rolled her eyes skyward.

No amount of black girl magic, no repeated proclamations of our worth can fully treat the wound – although acknowledging its persistence is a beginning. The ultimate remedy, as I see it is supernatural. I look daily toward heaven for restoration, for spiritual healing. My true identity isn’t rooted in our history, grievous and glorious as it is. It is grounded in my designation as a Child of God, the Daughter of the Great Physician. In His care I find my cure. My hope for you is the same one I carry for myself. I pray that amid the heartache of our ancestry you can grant yourself the grace so seldom extended to us. I pray that you can pass that compassion on to your children and to their children so that it slathers comfort on our sore spots. I pray that, as a people, we can give ourselves a soft place to land. I pray even as we rightly express our fury as being regarded as sub-human, that we don’t dwell in that space. That we don’t allow anger to poison our spirits. That we embrace love as our One True Antidote. I hope, too, that you recognize your specialness, the distinctiveness the Creator has imbued us with. I see you as clearly as history has, and in unison with it, I nod. I know that swivel in your hips, that fervor in your testimony, that ebullience in your stride, that flair in your song. The fact that others are constantly trying to diminish you, ever attempting to dismiss your talents even as they mimic you, is proof of your uniqueness! No one bothers to undermine you unless they recognize your brilliance. More than anything, I pray that you can carve out a purpose for yourself, a calling beyond your own survival, a sweet offering to the world. You gain a life by giving yours away. Not everyone is meant to raise a picket sign, and yet each of us can choose a path of impact. Rearing your children with affection and warmth is a form of activism. Honoring your word impeccably is a way to raise your voice. Performing your job with excellence, with your chin high and your standards higher is as powerful as any protest march. Sowing into the lives of young people is a worthy crusade. That is what it means to leave this world of ours more lit up than we found it. It’s also what it means to lead a magnificent life, even if an unlikely one.

O woman who is not separate from us who is chained beaten strangled this song is for you O woman who is not separate from the homeland who is oppressed silenced persecuted this fury is for you O woman who rages against this regime who marches resists protests this prayer is for you O woman whose wild tresses are tied with a noose this cry is for you we rise together for you O Mahsa from your blood poppies will grow this revolution is for you

But in the Petit Palais, which Daphne had not visited in thirty years, Roland had what she liked to call ‘a moment’. He retired early from the paintings and waited in the main hall. After she had joined him and they were walking away he let rip. He said that if he ever had to look at one more Madonna and Child, Crucifixion, Assumption, Annunciation and all the rest he would ‘throw up’. Historically, he announced, Christianity had been the cold dead hand on the European imagination. What a gift, that its tyranny had expired. What looked like piety was enforced conformity within a totalitarian mind-state. To question or defy it in the sixteenth century would have been to take your life in your hands. Like protesting against Socialist Realism in Stalin’s Soviet Union. It was not only science that Christianity had obstructed for fifty generations, it was nearly all of culture, nearly all of free expression and enquiry. It buried the open-minded philosophies of classical antiquity for an age, it sent thousands of brilliant minds down irrelevant rabbit holes of pettifogging theology. It had spread its so-called Word by horrific violence and it maintained itself by torture, persecution and death. Gentle Jesus, ha! Within the totality of human experience of the world there was an infinity of subject matter and yet all over Europe the big museums were stuffed with the same lurid trash. Worse than pop music. It was the Eurovision Song Contest in oils and gilt frames. Even as he spoke he was amazed by the strength of his feelings and the pleasure of release. He was talking – exploding – about something else. What a relief it was, he said as he began to cool down, to see a representation of a bourgeois interior, of a loaf of bread on a board beside a knife, of a couple skating on a frozen canal hand in hand, trying to seize a moment of fun ‘while the fucking priest wasn’t looking. Thank God for the Dutch!

You play with great skill," he said. "Thank you." "Is that your favorite piece?" "It's my most difficult," Helen said, "but not my favorite." "What do you play when there's no one to hear?" The gentle question, spoken in that accent with vowels as broad as his shoulders, caused Helen's stomach to tighten pleasurably. Perturbed by the sensation, she was slow to reply. "I don't remember the name of it. A piano tutor taught it to me long ago. For years I've tried to find out what it is, but no one has ever recognized the melody." "Play it for me." Calling it up from memory, she played the sweetly haunting chords, her hands gentle on the keys. The mournful chords never failed to stir her, making her heart ache for things she couldn't name. At the conclusion, Helen looked up from the keys and found Winterborne staring at her as if transfixed. He masked his expression, but not before she saw a mixture of puzzlement, fascination, and a hint of something hot and unsettling. "It's Welsh," he said. Helen shook her head with a laugh of wondering disbelief. "You know it?" "'A Ei Di'r Deryn Do.' Every Welshman is born knowing it." "What is it about?" "A lover who asks a blackbird to carry a message to his sweetheart." "Why can't he go to her himself?" Helen realized they were both speaking in hushed tones, as if they were exchanging secrets. "He can't find her. He's too deep in love- it keeps him from seeing clearly." "Does the blackbird find her?" "The song doesn't say," he said with a shrug. "But I must know the ending to the story," Helen protested. Winterborne laughed. It was an irresistible sound, rough-soft and sly. When he replied, his accent had thickened. "That's what comes o' reading novels, it is. The story needs no ending. That's not what matters." "What matters, then?" she dared to ask. His dark gaze held hers. "That he loves. That he's searching. Like the rest of us poor devils, he has no way of knowing if he'll ever have his heart's desire.

O, never will I trust to speeches penn'd, Nor to the motion of a schoolboy's tongue, Nor never come in vizard to my friend, Nor woo in rhyme, like a blind harper's song! Taffeta phrases, silken terms precise, Three-piled hyperboles, spruce affectation, Figures pedantical; these summer-flies Have blown me full of maggot ostentation: I do forswear them; and I here protest, By this white glove;--how white the hand, God knows!-- Henceforth my wooing mind shall be express'd In russet yeas and honest kersey noes: Love’s Labour’s Lost Act V, Scene II

I quietly walk to my room, and keeping the door open, I pick up my cello settling it between my knees. The tips of my left hand press down on the fingerboard, while my right hand saws the bow across the strings. The notes hit the air and I shut my eyes, urging them to find their target. I want them to surround my mom and her dad, but I also want the notes to glue them together, reattach their bond. I know it can happen, and so when my calluses become useless, I keep playing. When my arm protests with fatigue, I keep playing. I keep playing because I believe.

People of color in the internal colonies of the US cannot defend themselves against police brutality or expropriate the means of survival to free themselves from economic servitude. They must wait for enough people of color who have attained more economic privilege (the “house slaves” of Malcolm X’s analysis) and conscientious white people to gather together and hold hands and sing songs. Then, they believe, change will surely come. People in Latin America must suffer patiently, like true martyrs, while white activists in the US “bear witness” and write to Congress. People in Iraq must not fight back. Only if they remain civilians will their deaths be counted and mourned by white peace activists who will, one of these days, muster a protest large enough to stop the war. Indigenous people need to wait just a little longer (say, another 500 years) under the shadow of genocide, slowly dying off on marginal lands, until-well, they’re not a priority right now, so perhaps they need to organize a demonstration or two to win the attention and sympathy of the powerful. Or maybe they could go on strike, engage in Gandhian noncooperation? But wait-a majority of them are already unemployed, noncooperating, fully excluded from the functioning of the system. Nonviolence declares that the American Indians could have fought off Columbus, George Washington, and all the other genocidal butchers with sit-ins; that Crazy Horse, by using violent resistance, became part of the cycle of violence, and was “as bad as” Custer. Nonviolence declares that Africans could have stopped the slave trade with hunger strikes and petitions, and that those who mutinied were as bad as their captors; that mutiny, a form of violence, led to more violence, and, thus, resistance led to more enslavement. Nonviolence refuses to recognize that it can only work for privileged people, who have a status protected by violence, as the perpetrators and beneficiaries of a violent hierarchy.

Sorry to inform you...but as a fellow failed miner, the problem is there's nowhere left to dig. We're real poets man. And whatever. But it's the digging, it's the holes! Its these burrows to half nestle in just to pass the time, to chafe the inner thigh of boredom and that level of power-demanding pain is only in existence because you really, really know that there isn't anything else. The holes. And me missing a shovel, that has created the voids, the tears, the fucks, the sucks, the shame, the stares, the songs, the words, and in admittedly, even more holes. Not having one of my shovels has somehow overcompensated the digs in which I've dug. The holes. The holes are why you smoke aware of cancer, a disease to take over years of boring lives, and give us a bone to gnaw on, overcome, defeat, lick-dry, or die. The holes are why you drink with your last dollars, when you know you're going to throw it up tonight anyway. The holes are why you think you're in love, and that's a hole that you might not climb back from. The holes, the holes the holes, making you question everything standing at a bus stop...smelling like cigarettes and perfume...signing up for classes you wont go to... hand covered in club stamps... face covered in guilt... Maybe go to a protest and just stand there...Or lay in bed when there's no way you can sleep...

Telegrams for the astronauts poured in by the thousands. One, however, stood out from the rest. It came not from a world leader or celebrity or other luminary, but from an anonymous stranger. It had traveled over whites-only lunch counters in the South, through jungles in Vietnam where young men fell, over the coffins of two of America’s great civil rights leaders. It had blown across the streets bloodied by protesters and police, past a segregationist presidential campaign, into radios playing songs of alienation and revolt. It had made its way through ten million American souls who didn’t have enough to eat, alongside generations that no longer trusted each other, into a White House where a no-longer-loved president slept. It read: THANKS. YOU SAVED 1968.

Invoking John Winthrop, Reagan said, “I’ve spoken of the shining city all my political life, but I don’t know if I ever quite communicated what I saw when I said it.” It was a free, proud city, built on a strong foundation, full of commerce and creativity, he said, adding, “If there had to be city walls, the walls had doors, and the doors were open to anyone with the will and the heart to get here.” Whatever his faults, Ronald Reagan believed in the possibilities of a country that was forever reinventing itself. “And how stands the city on this winter night?” Reagan asked. “More prosperous, more secure, and happier than it was eight years ago…. And she’s still a beacon, still a magnet for all who must have freedom, for all the pilgrims from all the lost places who are hurtling through the darkness, toward home.

No. It’s like that old dilemma of trying to choose between The Beatles and The Stones. It can’t be done.” Her blunt nose wrinkles, and I have the overwhelming urge to kiss it. “Of course it can be done,” she says, oblivious to my thoughts. “The Beatles for joy or nostalgia. The Stones for drinking or sex.” At the word sex my cock jumps as if to remind me that I’ve been ignoring him and he is not amused. I tilt my hips toward the bed and press my irritable cock to the mattress. The randy bastard jerks in protest. I empathize with my needy willy. Truly. But some things are worth more. Keep telling yourself that, mate. “Why not The Beatles for sex?” I can’t help asking. Mistake. Turning any conversation towards sex is playing with fire. But apparently I like the sweet pain of being slowly burned. Sophie shrugs, sending the white sheet farther down the curve of her shoulder. “Name one Beatles song that’s sexier than a Stones’ song.

Pa, you don't have to give up your room," Willow protested. "I know, I know, but there ain't nuff space in your room for the two of you together. 'Sides, my bed is bigger and . . . Well, you know." Willow silently nodded her head, and Rider shook his father-in-law's hand. "Thanks, Mr. Vaughn. It won't be for long. We hope to be in our place before winter sets in." "Gee, Pa, what we gonna do without Willie here to do for us?" Andy asked. "Don't rightly know, son, but I reckon we'll get along somehow." A mischievous glow came to Willow's eyes. "One of you could always get married," she suggested innocently. A collective round of groans and protests circled the table. Rider draped his arm around her shoulders, a prideful, male grin on his face. "Being married isn't so bad, boys," he said. "It's kind of convenient having your woman handy, whenever you get ra--" Willow slugged his arm. The brothers broke into wild laughter. Owen guffawed at his son-in-law. "You just might fit into this here family after all, son!

Even while I protest the assembly-line production of our food, our songs, our language, and eventually our souls, I know that it was a rare home that baked good bread in the old days. Mother's cooking was with rare exceptions poor, that good unpasteurized milk touched only by flies and bits of manure crawled with bacteria, the healthy old-time life was riddled with aches, sudden death from unknown causes, and that sweet local speech I mourn was the child of illiteracy and ignorance. It is the nature of a man as he grows older, a small bridge in time, to protest against change, particularly change for the better. But it is true that we have exchanged corpulence for starvation, and either one will kill us. The lines of change are down. We, or at least I, can have no conception of human life and human thought in a hundred years or fifty years. Perhaps my greatest wisdom is the knowledge that I do not know. The sad ones are those who waste their energy in trying to hold it back, for they can only feel bitterness in loss and no joy in gain.

The Comte de Chagny was right; no gala performance ever equalled this one. All the great composers of the day had conducted their own works in turns. Faure and Krauss had sung; and on that evening, Christine Daaé had revealed her true self, for the first time, to the astonished and and enthusiastic audience. Gounod had conducted the Funeral March of a Marionette; Reyer, his beautiful overture to Siguar; Saint Saëns, the Danse Macabre and a Rêverie Orientale, Massenet, an unpublished Hungarian march; Guiraud, his Carnaval; Delibes, the Valse lente from Sylvia and the Pizzicati from Coppelia. Mlle. Krauss had sung the bolero in the Vespri Siciliani; and Mlle. Denise Bloch the drinking song in Lucrezia Borgia. But the real triumph was reserved for Christine Daaé, who had begun by singing a few passages from Romeo and Juliet. It was the first time that the young artist sang in this work of Gounod, which had not been transferred to the Opera and which was revived at the the old Theatre Lyrique by Mme. Carvalho. Those who heard her say that her voice, in these passages, was seraphic; but this was nothing to the superhuman notes that she gave forth in the prison scene and the final trio in Faust, which she sang in the place of La Carlotta, who was ill. No one had ever heard or seen anything like it. Daaé revealed a new Margarita that night, a Margarita of a splendor, a radiance hitherto unsuspected. The whole house went mad, rising to it its feet, shouting, cheering, clapping, while Christine sobbed and fainted in the arms of her fellow-singers and had to be carried to her dressing-room. A few subscribers, however, protested. Why had so great a treasure been kept from them all that time? Till then, Christine Daaé had played a good Siebel to Carlotta's rather too splendidly material Margarita. And it had needed Carlotta's incomprehensible and inexcusable absence from this gala night for the little Daaé, at a moment's warning, to show all that she could do in a part of the programme reserved for the Spanish diva! Well, what the subscribers wanted to know was, why had Debienne and Poligny applied to Daaé, when Carlotta was taken ill? Did they know of her hidden genius? And, if they knew of it, why had they kept it hidden? And why had she kept it hidden? Oddly enough, she was not known to have a professor of singing at that moment. She had often said she meant to practice alone for the future. The whole thing was a mystery.

He heard in the protests of the steel a message from the mechanized world. He thought it was a love song, but he was mistaken.

Kim Il-sung understood the power of religion. His maternal uncle was a Protestant minister back in the pre-Communist days when Pyongyang had such a vibrant Christian community that it was called the “Jerusalem of the East.” Once in power, Kim Il-sung closed the churches, banned the Bible, deported believers to the hinterlands, and appropriated Christian imagery and dogma for the purpose of self-promotion. Broadcasters would speak of Kim Il-sung or Kim Jong-il breathlessly, in the manner of Pentecostal preachers. North Korean newspapers carried tales of supernatural phenomena. Stormy seas were said to be calmed when sailors clinging to a sinking ship sang songs in praise of Kim Il-sung. When Kim Jong-il went to the DMZ, a mysterious fog descended to protect him from lurking South Korean snipers. He caused trees to bloom and snow to melt. If Kim Il-sung was God, then Kim Jong-il was the son of God. Like Jesus Christ, Kim Jong-il’s birth was said to have been heralded by a radiant star in the sky and the appearance of a beautiful double rainbow. A swallow descended from heaven to sing of the birth of a “general who will rule the world.

What is funny though is how, with time, people seem to have forgotten that it was this period that really made Rahman what he is. The man is Tamil and Tamil music was how he started out, and some of his best songs are in Tamil. On 8 July 2017, AR performed at Wembley Stadium in London, a concert titled Netru, Indru, Naalai (Tamil for ‘yesterday, today, tomorrow’). Soon after the concert, Twitter went berserk with a number of fans who’d attended the concert taking to social media to attack the composer, accusing him of playing ‘too many Tamil songs’. Some claimed that they’d walked out of the show in protest. AR addressed the issue politely and diplomatically. He reasoned that he had ‘tried his best’, was grateful to his fans and loved them for all they’d given him. As for the walking out bit, he said that some people always tend to leave the venue before he finishes a concert. He said there would always be pockets in the seats, here and there, by the time he got to the end of a show. His actual response though was quite brilliant. For his next set of concerts in Canada, AR cleverly released two posters for two different shows—one of which would be Tamil songs only and the other Hindi songs only. That one move said more than all his statements to the media.

True Faith’ ended up being a big song for us, no doubt about it. The title I got from a book I was reading at the time, James A. Michener’s Texas, which talked about Catholicism being the only ‘True Faith’. Rob liked that. Here’s a little-known fact: Barney and I were the only two Protestants at Factory; nearly all the rest were Catholics. Read into that what you will.

What is it about?” “A lover who asks a blackbird to carry a message to his sweetheart.” “Why can’t he go to her himself?” Helen realized they were both speaking in hushed tones, as if they were exchanging secrets. “He can’t find her. He’s too deep in love--it keeps him from seeing clearly.” “Does the blackbird find her?” “The song doesn’t say,” he said with a shrug. “But I must know the ending to the story,” Helen protested. Winterborne laughed. It was an irresistible sound, rough-soft and sly. When he replied, his accent had thickened. “That’s what comes o’ reading novels, it is. The story needs no ending. That’s not what matters.” “What matters, then?” she dared to ask. His dark gaze held hers. “That he loves. That he’s searching. Like the rest of us poor devils, he has no way of knowing if he’ll ever have his heart’s desire.” And you? Helen longed to ask. What are you searching for? The question was too personal to ask even of someone she had known for a long time, much less a stranger. Even so, the words hovered on her tongue, begging to be spoken. She looked away and fought to hold them back. When she returned her gaze to Winterborne, his expression had become remote again. Which was a relief, because for a moment she’d had the alarming feeling that she was only a breath away from confiding every private thought and wish that she’d never told anyone. To Helen’s great relief, Quincy arrived with the dinner tray. The valet’s white brows lifted fractionally as he saw her alone in the room with Winterborne, but he said nothing. As Quincy proceeded to arrange the flatware, glasses, and plate on the table, Helen regained her composure. She stood from the upholstered bench and gave Winterborne a neutral smile. “I will leave you to enjoy your dinner.” His gaze swept over her, lingering at her face. “You’ll play for me again one evening?” “Yes, if you like.” She left the parlor gratefully, steeling herself not to break into a run.

Nick Makoha’s first full-length collection, Kingdom of Gravity (Peepal Tree £8.99), was the 2017 debut which most excited me. Focused on Uganda during the Idi Amin dictatorship, his poetry is charged with ethical sensibility. The lines protest as they sing “the song disturbed by helicopter blades…” but they don’t simplify things: they explore, and complicate. Personal witness and artistry are one. The Guardian

We want justice! We want justice!’ We chanted at the Western Oil Company building; the mirrored glass showed our reflections multiplied as though we were millions. This gave us courage and we shouted louder, even when the men with guns also multiplied. Then we started singing. I copied the women around me as closely as possible. Grandma had taught me many songs but I did not know that one. We sang in unison, like a choir that had been practising all year for that one song. Grandma started it. It was an Ijaw song called Wo Ekilemo. Praise him. Her voice was low and quiet, but one by one we joined in. The sound of us women singing was so powerful that the glass moved on the expensive windows, and people inside the building started shutting the windows, even the high-up ones. The slams made us sing even louder. I imagined the white men on the other side of the windows, watching us as they drank their tea. I wondered if they understood why we were protesting. I wondered if they even cared. The security men waving their guns started swaying, as if their bodies were disobeying their commands. They were Ijaw, too, you see. They removed their hats, and rocked from side to side. I sang loudly until the part that said ‘I have overcome death, poverty and sickness’. I could not sing that part. My mind kept flashing to Ezikiel’s face. But then I joined in again, and our voices rose so high I thought they might reach Allah’s ears. Then we all took off our clothes. ‘There is nothing more powerful than a naked woman,’ Grandma said. ‘Nothing in the world.

Andrei avoided the internet as well and this evasion only added to his gloom. He loved music, especially old songs, and he loved movies, of all sorts. If he had the patience, sometimes he would read. While most of the pages he turned bored him to sleep, certain books with certain lines disarranged him. Some literature brought him to his feet, laughing and howling in his room. When the book was right, it was bliss and he wept. His room hushed with serenity and indebtedness. When he turned to his computer, however, or took out his phone, he would inevitably come across a viral trend or video that took the art he loved and turned it into a joke. The internet, in Andrei’s desperate eyes, managed to make fun of everything serious. And if one did not laugh, they were not intelligent. The internet could not be slowed and no protest to criticize its exploitation of art could be made because recreations of art hid perfectly under the veneer of mockery and was thus, impenetrable. It was easy to use Chopin’s ‘Sonata No. 2’ for a quick laugh, to reduce the ‘Funeral March’ to background music. It was a sneaky way for a digital creator to be considered an artist—and parodying the classics made them appear cleverer than the original artist. Meanwhile, Andrei’s body had healed playing Chopin alone in his apartment. He would frailly replay movie moments, too, that he later found the world edited and ripped apart with its cheap teeth. And everyone ate the internet’s crumbs. This cruel derision was impossible to escape. But enough jokes, memes, and glam over someone’s precious source of life would eventually make a sensitive body numb. And Andrei was afraid of that. He needed his fountain of hope unblemished. For this reason, he escaped the internet’s claws and only surrendered to it for e-mails, navigation, and the weather.

I find it curious that the Bible allowed so many authors in a collection so important to setting the trajectory of a people. In my Protestant tradition, we acknowledge sixty-six books of the Bible. Within those sixty-six writings, who would dare to venture counting the number of fingerprints on those pages? In the collection known as the Psalms alone, a whole gang of psalmists are identified as contributors. That’s to say nothing of letters like Hebrews, where no author is identified. And let’s not get started on books where biblical scholars aren’t so convinced that the author named in the book actually owned the hand moving the quill. I won’t lie to you: I feel like God chose an awfully sloppy process if the goal was for us to receive each and every single word as though it were spoken by the mouth of the same God. God could’ve given it all to Moses on Sinai that first time and provided a little more uniformity to all of this. But that is not what happened. Instead, we are left with a collection of various writings: wisdom literature, poems, songs, letters, teachings, sermons—and even some stories that seem a lot like what we’d now consider folktales. We even have some writings put in there twice. Either God is a sloppy editor, or the voice of the people was preserved in the text on purpose. If God is a sloppy editor, then the Bible is of marginal value. If the voice of the people is preserved in this text, then the Bible is an invitation to seek God in our history, present, and future.

Okay, okay, I’ll tell you…” They both wait expectantly as I try to make myself look meek and broken, even letting tears fill my eyes, real ones from the hurt. Sucking in another painful breath, my ribs protesting, I belt out, “And I will always love you…” Andrew flinches from how loud I sing. He backhands me again, cutting me off mid-song, so I spit the blood out and spin back to him. “No? Not feeling it? What about some Metallica? No, what about Tay-Tay? You look like a secret Swifty fan!

Yours has been an intrepid, mordant and flawless protest flowing freely through well-written songs. And the waves of such humane contributions towards a better world shall continue to welter and gather froths of abluent, needed to sanitize the senselessly gory pages of our common history. Thanks so much, Bob Dylan, for the beautiful music.

called Defence of Fort McHenry, which he set to the music of To Anacreon in Heaven, a British drinking song. When it was later sold as sheet music, the publishers used a different title for Key’s ditty, and in 1931 it was chosen to be America’s national anthem. Yes - The Star Spangled Banner is based on a British drinking song! The Union Army in the American Civil War began to allow black soldiers to enlist in 1863. However, whereas a white solider was paid $13 a month, a black solider was only paid $10, and furthermore was deducted $3 for clothing. In protest at this, a number of black regiments refused to

Nothing stings so sharply as injustice, and nothing should; so these verses are not simply vindictive, but put into words the protest of any healthy conscience at the wrongs of the present order, and the conviction that a day of judgment is a moral necessity.”20 Christians should also cry to God day and night against injustice (Luke 18:7). Prayer:

A stuffed-up voice over the PA announced preboarding for Jane’s flight. The brunette made an audible moan of disappointment. Martin struggled to his feet with a hand up from Nobley, and they both stood before Jane, silent, pathetic as wet dogs who want to be let back in the house. She felt very sure of herself just then, tall and sleek and confident. “Well, they’re playing my song, boys,” she said melodically. Martin’s tall shoulders slumped as he sulked, and his long feet seemed clownish. Nobley had no trace of a smile now. She looked at them, side by side, two men who’d given her Darcy obsession a really good challenge. They were easily the most scrumptious men of her acquaintance, and she supposed she’d never had so much fun pursuing and being pursued. And she was saying no. To both of them. To all of it. Her skin tingled. It was a perfect moment. “It’s been a pleasure. Truly.” She started to turn away. “Jane.” Nobley placed a hand on her shoulder, a desperate kind of bravery overcoming his reserve. He took her hand again. “Jane, please.” He raised her hand to his lips, his eyes down as if afraid of meeting hers. Jane smiled and remembered that he really had been her favorite, all along. She stepped into him, holding both his hands down by her sides, and lightly pressed her cheek against his neck. She could feel him sigh. “Thank you,” she whispered. “Tell Mrs. Wattlesbrook I said tallyho.” She sauntered away without looking back. She could hear the men calling after her, protesting, reaffirming their sincerity. Jane ignored them, smiling all the way back through security, to the gate, down the jetway. Though pure fantasy, it was exactly the finale she’d hoped for. She liked the way it had ended, had enjoyed her last line. Tallyho. What did that mean, anyway? Wasn’t it like, the hunt is on, or something? Tallyho. A beginning of something. She was the predator. The fox had been sighted. It was time to run it down. Okay, Aunt Carolyn, she said in a little prayer. Okay, I’m ready. I’m burying the wishful part of me, the prey part of me. I’m real now.

thinking of us, our struggles and pain, grieves in me a song more dismal than the sparrows’ protest to the morning rain

God? Oh God,” I prayed. “I don’t want to be done. Please don’t let me be done. Please don’t let me be done.” I prayed like this all the time. It was my upbringing. Talking to God felt a little like having a conversation with myself, the inner me. I’d always believed God created that inner me, so talking to him was a bit like having a heart to heart with myself. No, I don’t have a God complex. I just think most people make too big a deal about God, fighting wars to defend him or staging protests to deny him. He just seems like a good guy to me. I like talking to him.

Henry left the house at seven-thirty, and I was idling at the curb, my truck warm, two cups of coffee in the drink holders. I didn’t know if Henry liked coffee, but I did. I felt like a creeper, waiting at the curb for a kid, but I rolled down my window and greeted him easily and asked if I could talk to him for a second. “And I’ll take you to school so you won’t be late,” I added when Henry looked at his watch. He smiled widely, like my presence was welcome, and trotted around to the passenger door without protest. I made a note to talk with Henry about stranger danger and creepers

While other young Americans were caught up in Civil Rights Marches, the Vietnam War, protest songs, and psychedelic drugs, Sara Got was hearing voices in her head and trying to relate to them.

The tone of his songs was consistently celebratory: "Isn't it grand to be a Christian, isn't it grand?" singers asked one another. Isn't

In the 1960s both Roman Catholics and evangelical Protestants turned to popular genres of music to provide songs for Christian worship. Roman Catholic songs tended to follow the folk idiom, using acoustical instruments such as guitar and flute, whereas evangelical Protestants turned to rock music, using electronic instruments.

Over the next few years, in the early sixties, everyone in my world was singing Bob Dylan songs. It was as if we were in some worldwide musical stage show and Bob Dylan was writing the lyrics for the entire production. He was writing about freedom, wars, disasters, justice, betrayal, liberty, slavery, outlaws, freight trains, and women; all the usual stuff. And at some point he stopped being a folksinger and a songwriter and he became a warrior poet. For the first time in my life I saw a pen that put swords to shame.

He looked up and their eyes locked. She could feel his exhaustion, the ache that spread through his body, but even more, she could feel the relief that coursed through him at the sight of her. Because it was the same emotion she felt. With a sudden surge of his tail and a flash of fluke, he sped toward her at twice the speed. She barely had time to open her arms before he thudded into her. Hard enough that bubbles erupted from the seal around the rebreather, and her chest ached with the impact. She wrapped her arms and legs around him, holding on as he didn’t slow down. He just struck her with all the force of a hurricane and carried her away from the others without a word. “Daios!” Arges shouted, and she knew that Maketes was trying to follow them. None of them could keep up with her undine, though. A burst of energy and power renewed his speed, and soon enough, the others were just specks in the distance. He was shaking, she realized. Quaking against her chest until she felt as rattled as he was. Tears pricked her eyes, and she held onto him tightly, rubbing her palms up and down his back because she didn’t know what else to do. What to say. Instead, she just held him to her heart and let him hold her against his. At one point in their mad dash, he reached up and ripped the rebreather off of her face. Before she could even protest, he’d connected that tentacle to her throat, and she felt him breathing for her. Perhaps a little too fast, and certainly ragged. But it was there. “Just need to feel you,” he growled against her ear, the tones so low that they practically vibrated through her. She went limp in his arms. How could she do anything else? She’d been so worried, so frantic, that he might be harmed. Which he was. He’d arrived with banners of blood trailing after his body and yet still he carried her through the sea. Perhaps to somewhere he considered safe. Anya

I’m about to protest that I’m not anything like Reyna’s dead psycho husband when the crack of gunfire rings out from somewhere behind the house. “Oh, listen,” says Mrs. Caruso calmly, glancing toward the kitchen window. “They’re playing your song.

A true patriot salutes the flag but always makes sure it’s flying over a nation that’s not only free but fair, not only strong but just. History and reason summon us to embrace love and loyalty—to a citizenship that seeks a better world, calls on those better angels, and fights for better days. What, really, could be more patriotic than that? What, in the end, could be more American?

A true patriot salutes the flag but always makes sure it’s flying over a nation that’s not only free but fair, not only strong but just.

Cop Killer” was a protest song. It reflects how a lot of Black people were feeling in that particular historical moment. Folks in L.A. were at the point of exploding with rage at police brutality.

Trust your leaders where mistakes are almost never made And they're afraid that I'm afraid

I remember when we went into Kezar Stadium on the march (April 15, 1967, San Francisco) playing that song—I felt like I was part of some surrealistic dream. We were riding along in this truck. The band was playing. It was like a misty kind of rain. It was early in the morning. The streets were lined with people hanging out of windows and everything. And we were going up the street. I was just stoned out of my head on LSD, everything kind of like vibrating and I was looking around and you could see soldiers and people sneering and you see pictures of napalmed children and signs saying “End the War” and we were playing this joyous incredible music and people were dancing all around the truck just dancing and throwing flowers up in the air and everything and we were singing, “Whoopee, we’re all gonna die!” And it was like we were sort of heading off to these beautiful pastoral gas chambers, we were all going to parade ourselves into these gas chambers and then they were going to wipe us out… I mean, if you gotta go, you might as well go out dancing and singing.

women chained in place with bike locks, leading their arresting officers in a round of “Amazing Grace.” “This is the manufactured division that keeps us separated,” Ethan told me. “And separation is the source of how we’re in this position.” What if he could re-create the joy and song and theater of the protesters but without a demonstration?

And I can tell you the division of our small island was much more to do with keeping Harland & Wolff in the union than to protect the Protestants.

overloaded horses bent backwards by the chisel of the mason who once sculpted an eternal now on the brow of the wingless archangel, time-deformed cherubim and the false protests, overweight bowels fallen from the barracks of the pink house carved with grey rain unfallen, never creaking, never opening door, with the mouth wide, darkened and extinguished like a burning boat floating in a voiceless sea, bottle of rum down threadbare socks, singing from pavement to pavement, bright iridescent flame, "Oh, my Annie, my heart is sore!", slept chin on the curb of the last star, the lintel illuminated the forgotten light cast to a different plane, ah the wick of a celestial candle. The piling up of pigeons, tram lines, the pickpocket boys, the melancholy silver, an ode to Plotinus, the rattle of cattle, the goat in the woods, and the retreat night in the railroad houses, the ghosts of terraces, the wine shakes, the broken pencils, the drunk and wet rags, the eucalyptus and the sky. Impossible eyes, wide avenues, shirt sleeves, time receded, 'now close your eyes, this will not hurt a bit', the rose within the rose, dreaming pale under sheets such brilliance, highlighting unreality of a night that never comes. Toothless Cantineros stomp sad lullabies with sad old boots, turning from star to star, following the trail of the line, from dust, to dust, back to dust, out late, wrapped in a white blanket, top of the world, laughs upturned, belly rumbling by the butchers door, kissing the idol, tracing the balconies, long strings of flowers in the shape of a heart, love rolls and folds, from the Window to Window, afflicting seriousness from one too big and ever-charged soul, consolidating everything to nothing, of a song unsung, the sun soundlessly rising, reducing the majesty of heroic hearts and observing the sad night with watery eyes, everything present, abounding, horses frolic on the high hazy hills, a ships sails into the mist, a baby weeps for mother, windows open, lights behind curtains, the supple avenue swoons in the blissful banality, bells ringing for all yet to come forgotten, of bursting beauty bathing in every bright eternal now, counteract the charge, a last turn, what will it be, flowers by the gate, shoe less in the park, burn a hole in the missionary door, by the moonlit table, reading the decree of the Rose to the Resistance, holding the parchment, once a green tree, sticking out of the recital and the solitaire, unbuttoning her coat sitting for a portrait, uncorking a bottle, her eyes like lead, her loose blouse and petticoat, drying out briefs by the stone belfry and her hair in a photo long ago when, black as a night, a muddy river past the weeds, carrying the leaves, her coffee stained photo blowing down the street. Train by train, all goes slow, mist its the morning of lights, it is the day of the Bull, the fiesta of magic, the castanets never stop, the sound between the ringing of the bells, the long and muted silence of the distant sea, gypsy hands full of rosemary, every sweet, deep blue buckets for eyes, dawn comes, the Brahmanic splendour, sunlit gilt crown capped by clouds, brazen, illuminated, bright be dawn, golden avenues, its top to bottom, green to gold, but the sky and the plaza, blood red like the great bleeding out Bull, and if your quiet enough, you can hear the heart weeping.

She gazed over her oxygen mask at the small, smiling Christmas tree that sat on the table behind her.  Tonight, the whirling sound of the disk in the drive was a song that was sweeter than any lullaby.

We were seconds away from eating them,” Luke said, his voice taking on a strange tone. “All three of us.” “Well, you should thank whatever guardian angel made you think better of it,” Rose said. “God works in mysterious ways.” “Yeah,” Julie cut in hoping to move the conversation song. “It was lucky.” “It wasn’t luck …” Luke started to protest but Julie cut him off.

Kenny had perfected the art of remaining impartial, though some would call it acute obliviousness. In history class, he ignored the nervous glances during the slavery unit. When a Black kid was murdered for wearing a hoodie, he stopped wearing one. When BLBP protests broke out all over the country, he pretended the news coverage didn’t exist, convincing Jason to have a party at his place instead. He ignored every ignorant comment and causal drop of the N-word. After all, it was in all the songs they loved. He almost managed to make his friends completely forget he was Black. Now, there had never been a bigger elephant in the room. And

Cirocco protested that she could walk, but Titanide ideas of medicine included much cuddling, body warmth, and songs of reassurance.

Though I’d wailed and protested being yanked back to the ground, yanked out of heaven—or hell, whatever it was—I’d been grateful too. And my gratitude had filled me with guilt. It wasn’t until I’d met Moses that heaven had become something different. Moses saw people, people who had died and gone on. Heaven wasn’t silent for Moses. It was filled with memories and moments, filled with color. He brought the dead back to life.

I pull out of the embrace, and my struggle seems to be apparent on my face, because when I look at Otis, he’s giving me a cheeky little what do we have here smirk. My first instinct is to word vomit that I’m engaged to Kurt. It’s on the tip of my tongue, but I stop myself because that would sound an awful lot like someone trying to cover their butt and perhaps a bit like I doth protest too much, when all Finn and I did was hug. Plus, a quick glance down at my hand reveals I have, once again, forgotten my ring. How is this possible? Way to go, Lou.

Oh, she says gravely, when a bell chimes or a phone rings, we simply take the opportunity to switch off and abandon all our plans and emotions - all our thoughts about other people and ourselves. Abandon all our human perceptions? I ask indignantly. In that case, what’s left for us? No, she says with a shake of the head, I only mean our conception of the world. I like the way she pronounces the word ‘conception’ in her Dutch accent, as if it were hot and she might burn her lips on it. I wish I could speak a foreign language as fluently as you do, I tell her. Please say ‘conception’ again. Explain it to me. What’s the difference between my perceptions and my conceptions? Resolutely, she makes for a cafe beneath some plane trees whose leaves are casting decorative shadows on the white tablecloths. She sits down and regards me sceptically, as if gauging whether I’m bright enough to merit an answer. Most of the time, she says, we form an opinion about things without really perceiving them. She points to an elderly woman waddling across the square laden down with plastic bags. For instance, she goes on, I look at that woman and I think, How bow-legged she is, and that skirt! A ghastly colour and far too short for her. No one should wear short skirts at that age. Are my own legs still good enough for short skirts? I used to have a blue skirt myself. Where is it, I wonder? I wish I was wearing that blue skirt myself. Where is it, I wonder? I wish I was wearing that blue skirt right now. But if I looked like that woman there... She props her head on her hands and regard me with a twinkle in her eye. I laugh. I haven’t really ‘perceived’ the woman, she says, I’ve merely pondered on skirts and legs and the ageing process. I’m a prisoner of my own ideas - my conceptions, in other words. See what I mean? I say yes, but I’d say yes to a whole host of things when she looks at me that way. A waitress of Franka’s age takes our order. She’s wearing a white crocheted sweater over her enormous breasts and a white apron tightly knotted around her prominent little tummy. Her platform-soled sandals, which are reminiscent of hoofs, give her a clumsy, foal-like appearance. Now it’s your turn, says Antje. French teenager, I say. Probably bullied into passing up an apprenticeship and working in her parents’ cafe. Dreams of being a beautician. No, Antje protests, that won’t do. You must say what’s really going through your head. I hesitate. Come on, do. I sigh. Please, she says. OK, but I take no responsibility for my thoughts. Deal! Sexy little mam’selle, I say. Great boobs, probably an easy lay, wouldn’t refuse a few francs for a new sweater. She’d be bound to feel good and holler Maintenant, viens! That song of Jane Birkin’s, haven’t heard it for years. I wonder what Jane Birkin’s doing these days. She used to be the woman of my dreams. Still, I’m sure that girl doesn’t like German men, and besides, I could easily be her father, I’ve got a daughter her age. I wonder what my daughter’s doing at this moment... I dry up. Phew, I say. Sorry, that was my head, not me. Antje nods contentedly. She leans back so her plaits dangle over the back of the chair. Nothing torments us worse than our heads, she says, closing her eyes. You’ve got to hand it to the Buddhists, they’ve got the knack of switching off. It’s simply wonderful.

the enslaved “would make the dense old woods, for miles around, reverberate with their wild songs, revealing at once the highest joy and the deepest sadness.

...this was all we collectively had, we knew no protest songs, had little to protest--and I felt a swelling in my chest, a surge of joy flowering out through my limbs; there is nothing like crooning in a group to a chorus to communicate to yourselves and the world that you are young and drunk and unhindered by responsibility, that the future stretches out endlessly before you like a California highway.

At the house of bricks, the wolf again banged on the door and shouted, "Little pigs, little pigs, let me in!" This time in response, the pigs sang songs of solidarity and wrote letters of protest to the United Nations.

Of the few who were not afraid to witness the burial of a witch and who had gone to the cemetery, some had come just to verify her being put away but stayed to sing 'Shall We Gather at the River' for politeness' sake, quite unaware of the bleak promise of their song. Others came to see that nothing go awry, that the shallow-minded and small-hearted kept their meanness at bay, and that the entire event be characterized by that abiding gentleness of spirit to which they themselves had arrived by the simple determination not to let anything--anything at all: not failed crops, not rednecks, lost jobs, sick children, rotten potatoes, broken pipes, bug-ridden flour, third-class coal, educated social workers, thieving insurance men, garlic-ridden hunkies, corrupt Catholics, racist Protestants, cowardly Jews, slaveholding Moslems, jack-leg nigger preachers, squeamish Chinamen, cholera, dropsy or the Black Plague, let alone a strange woman--keep them from their God.

If you feel yourself responding cynically when someone relates that 'Dylan's returned to protest songs' as if it's exciting news, it just may be that your instincts are in healthy working order.

But let me explain my culture of origin to you, Angela, in case you have never been around White Anglo-Saxon Protestants. You need to understand that we have only one central rule of engagement, and here it is: This matter must never be spoken of again. We WASPS can apply this rule to anything -- from a moment of awkwardness at the dinner table to a relative's suicide. Asking no further questions is the song of my people.

Poets! Towers of God Made to resist the fury of the storms Like cliffs beside the ocean Or clouded, savage peaks! Masters of lightning! Breakwaters of eternity! Hope, magic-voiced, foretells the day When on the rock of harmony The Siren traitorous shall die and pass away, And there shall only be The full, frank-billowed music of the sea. Be hopeful still, Though bestial elements yet turn From Song with rancorous ill-will And blinded races one another spurn! Perversity debased Among the high her rebel cry has raised. The cannibal still lusts after the raw, Knife-toothed and gory-faced. Towers, your laughing banners now unfold. Against all hatreds and all envious lies Upraise the protest of the breeze, half-told, And the proud quietness of sea and skies…

Life will never be what we want it to be, and the best we can do, in the end, is to endure, seeking love in a fallen world that’s destined to disappoint us.

Christian, who was a tall and wide-shouldered linebacker for the Helena high school football team and who’d volunteered his home for the party because his parents were in Great Falls, rolled his eyes and lowered the volume on his iHome with a remote. He was pale-featured and wore his hair in a semi-buzz cut that looked like a beige carpet sample. A couple of other boys, who were pounding beer after beer in the kitchen and were also on the football team, howled in protest that they liked that song.

in the eighteenth-century Age of Enlightenment, the Scottish writer and politician Andrew Fletcher brilliantly linked music and civic life, writing, “I knew a very wise man…[ who] believed if a man were permitted to make all the ballads, he need not care who should make the laws of a nation.

The capacity of music to reassure and to remind is one of its cardinal virtues.

In his literary commonplace book, Jefferson transcribed these lines from a version of Shakespeare’s Merchant of Venice: The Man who has not Music in his Soul, Or is not touch’d with Concord of sweet Sounds, Is fit for Treasons, Stratagems, & Spoils, The Motions of his Mind are dull as Night, And his Affections dark as Erebus: Let no such Man be trusted.

Henry David Thoreau once wrote, “When I hear music, I fear no danger. I am invulnerable. I see no foe. I am related to the earliest times, and to the latest.

While Protestants preferred Natives learn English, Catholics tackled the difficult native languages. At the Dalles mission, Father Louis-Pierre Rousseau translated Bible lessons, prayers, and children's songs into Chinook jargon, a hybrid of English, French, Chinook, and hand signs developed to conduct trade. Native Peoples memorized the Our Father, Hail Mary, the lengthy Apostles' Creed, and the Ten Commandments.

So much of music builds on prior ideas and themes,