Queen Lyrics Quotes

I thought I was a fool for no one; But ooh baby I'm a fool for you; You're the queen of the superficial; how long before you tell the truth?

Inside my heart is breaking, My make-up may be flaking, But my smile, still, stays on!

The first thing you notice about New Orleans are the burying grounds - the cemeteries - and they're a cold proposition, one of the best things there are here. Going by, you try to be as quiet as possible, better to let them sleep. Greek, Roman, sepulchres- palatial mausoleums made to order, phantomesque, signs and symbols of hidden decay - ghosts of women and men who have sinned and who've died and are now living in tombs. The past doesn't pass away so quickly here. You could be dead for a long time. The ghosts race towards the light, you can almost hear the heavy breathing spirits, all determined to get somewhere. New Orleans, unlike a lot of those places you go back to and that don't have the magic anymore, still has got it. Night can swallow you up, yet none of it touches you. Around any corner, there's a promise of something daring and ideal and things are just getting going. There's something obscenely joyful behind every door, either that or somebody crying with their head in their hands. A lazy rhythm looms in the dreamy air and the atmosphere pulsates with bygone duels, past-life romance, comrades requesting comrades to aid them in some way. You can't see it, but you know it's here. Somebody is always sinking. Everyone seems to be from some very old Southern families. Either that or a foreigner. I like the way it is. There are a lot of places I like, but I like New Orleans better. There's a thousand different angles at any moment. At any time you could run into a ritual honoring some vaguely known queen. Bluebloods, titled persons like crazy drunks, lean weakly against the walls and drag themselves through the gutter. Even they seem to have insights you might want to listen to. No action seems inappropriate here. The city is one very long poem. Gardens full of pansies, pink petunias, opiates. Flower-bedecked shrines, white myrtles, bougainvillea and purple oleander stimulate your senses, make you feel cool and clear inside. Everything in New Orleans is a good idea. Bijou temple-type cottages and lyric cathedrals side by side. Houses and mansions, structures of wild grace. Italianate, Gothic, Romanesque, Greek Revival standing in a long line in the rain. Roman Catholic art. Sweeping front porches, turrets, cast-iron balconies, colonnades- 30-foot columns, gloriously beautiful- double pitched roofs, all the architecture of the whole wide world and it doesn't move. All that and a town square where public executions took place. In New Orleans you could almost see other dimensions. There's only one day at a time here, then it's tonight and then tomorrow will be today again. Chronic melancholia hanging from the trees. You never get tired of it. After a while you start to feel like a ghost from one of the tombs, like you're in a wax museum below crimson clouds. Spirit empire. Wealthy empire. One of Napoleon's generals, Lallemaud, was said to have come here to check it out, looking for a place for his commander to seek refuge after Waterloo. He scouted around and left, said that here the devil is damned, just like everybody else, only worse. The devil comes here and sighs. New Orleans. Exquisite, old-fashioned. A great place to live vicariously. Nothing makes any difference and you never feel hurt, a great place to really hit on things. Somebody puts something in front of you here and you might as well drink it. Great place to be intimate or do nothing. A place to come and hope you'll get smart - to feed pigeons looking for handouts

The king of the jailhouse and the queen of the road think sharing the burden will lighten the load.

I'm burning through the sky, yeah... Two hundred degrees, That's why they call me Mister Fahrenheit...

Stunning" Melanin rich and honeyed, butter brown syrupy ‘Da blacker the berry, the sweeter the sweet Girl, all hues of the ebony rainbow shine Our rind so rare, age like fine wine Lips plump like cherries ready to be picked. Dey spend all kind of money tryin’ to look like ‘dis

There's one thing we're all waiting for, it's Peace on earth and end to war, it's the miracle we need... The Miracle!

What she read was a series of short connected lyrics, “Isis in Darkness.” The Egyptian Queen of Heaven and Earth was wandering in the Underworld, gathering up pieces of the murdered and dismembered body of her lover Osiris. At the same time, it was her own body she was putting back together; and it was also the physical universe. She was creating the universe by an act of love.

When logic and proportion have fallen sloppy dead And the white knight is talking backwards And the red queen's off with her head Remember what the dormouse said Feed your head, feed your head

The blood ran in tiny rivulets down his white face, as if from Christ’s Crown of Thorns, his long blond hair flying out as he turned full circle, his hand ripping at his shirt, tearing it open down his chest, the black tie loose and falling. His pale crystalline blue eyes were glazed and shot with blood as he screamed the unimportant lyrics.

Come to me, and I will try to heal you. I will try to heal you, if you but come back,” Sasha sang softly, the melody sweet, the lyrics heartfelt, and it fell from her lips in a husky plea. “Come to me, and I will give you shelter, I will give you shelter, if you but come back,” he added, picking up where she left off. His lips brushed the lobe of her ear, and he felt the shudder that swept from the crown of her head to the tips of her toes. Her heart galloped, her skin grew damp beneath his, and he continued to chant, making the promise all over again. “Come to me, and I will try to love you. I will try to love you, if you but come back.

Ask yourself Will i burn in Hell? Then write it down and cast it in the well There they are The mob it cries for blood To twist the tale Into fore wood Fan the flames With a little lie Then turn your cheek Until the fire dies The skin it peels Like the truth, away What it was I will never say...

mouthed the lyrics to the Queen song playing on my headset as I blasted one Glaive after another right out of the sky. And another one gone, another one gone, another one bites the

Well, you don′t know fuck about my family Could never tell you what happened The day I turned seventeen The rise of a king, and the fall of a queen

Shhh, Eena, it’s going to be okay. I promise, you’ll get through this.” She didn’t fight him, but grabbed onto his shirt, weeping softly into it as before. He began to hum faintly, a familiar Earth tune. Soon he was singing the words in that deep, consoling voice of his. The song itself was meant to be comforting, and his tender manner made it that much more effectual. Eena recognized the song. She fell asleep to the soothing lyrics. Abide with me fast falls the eventide. The darkness deepens. Lord with me abide. When other helpers fail and comforts flee, Help of the helpless, O abide with me. He went on to sing the other verses, hoping to ease her broken heart. Until her grief finally healed, no matter how long it took, he’d be there for her.

Have you ever heard the Hungarian national anthem? No? Good for you! I wouldn’t recommend it at all. Unless you are looking for inspiration for your suicide attempt. If it is not just an attempt but you are deadly serious about your suicide then I strongly recommend you not only read the lyrics but listen to the music too. The most mournful funeral song sounds jolly compared to it. Other nations have inspiring anthems like ‘God Save the Queen’ or the ‘La Marseillaise’ or ‘The StarSpangled Banner’, and their lyrics are about victory and proudness like ‘Russia – our sacred homeland, Russia – our beloved country’ or ‘Germany, Germany above everything, Above everything in the world!’ But what about the Hungarian anthem? It starts with ‘O Lord, bless the Hungarian’ and then follow eight long and painful stanzas about our ‘slave yoke’ and ‘funeral urn’ and ‘the corpses of our defeated army’ and ‘groans of death, weeping’ and finally it finishes with ‘Pity, O Lord, the Hungarians they who have suffered for all sins of the past and of the future!’ Yes, of the future too.

To My Favorite 17-Year-Old High School Girl Do you realize that if you had started building the Parthenon on the day you were born you would be all done in only one more year? Of course, you couldn’t have done it alone, so never mind, you’re fine just as you are. You are loved simply for being yourself. But did you know that at your age Judy Garland was pulling down $150,000 a picture, Joan of Arc was leading the French army to victory, and Blaise Pascal had cleaned up his room? No wait, I mean he had invented the calculator. Of course, there will be time for all that later in your life after you come out of your room and begin to blossom, or at least pick up all your socks. For some reason, I keep remembering that Lady Jane Grey was Queen of England when she was only fifteen, but then she was beheaded, so never mind her as a role model. A few centuries later, when he was your age, Franz Schubert was doing the dishes for his family but that did not keep him from composing two symphonies, four operas, and two complete Masses as a youngster. But of course that was in Austria at the height of romantic lyricism, not here in the suburbs of Cleveland. Frankly, who cares if Annie Oakley was a crack shot at 15 or if Maria Callas debuted as Tosca at 17? We think you are special by just being you, playing with your food and staring into space. By the way, I lied about Schubert doing the dishes, but that doesn’t mean he never helped out around the house.

Like all Freed musicals and all Astaire musicals, The Band Wagon believes that high and low, art and entertainment, elite and popular aspirations meet in the American musical. The Impressionist originals in Tony’s hotel room, which eventually finance his snappier vision of the show, draw not only a connection to An American in Paris but to painters, like Degas, who found art in entertainers. The ultimate hymn to this belief is the new Dietz and Schwartz song for the film, “That’s Entertainment,” which is to filmusicals what Berlin’s “There’s No Business Like Show Business” is to the stage.11 Whether a hot plot teeming with sex, a gay divorcée after her ex, or Oedipus Rex, whether a romantic swain after a queen or “some Shakespearean scene (where a ghost and a prince meet and everything ends in mincemeat),” it’s all one world of American entertainment. “Hip Hooray, the American way.” Dietz’s lyrics echo Mickey’s theorem in Strike Up the Band. What’s American? Exactly this kind of movie musical from Mount Hollywood Art School.

The wedding of David and Michal was a glorious affair. Though Saul was normally stingy with his money, he was not so with his daughters. Michal had started the day with a bath followed by a bodily anointing of oil. She wore a linen and silk dress with embroidered cloth of Phoenician purple. Her hair was brushed to a soft perfection and placed beneath her Tyrian style crown of gold. She was bedecked with gold and silver jewelry from Egypt. Bracelets, necklaces, ear coverings and a ring on her nose. She walked through the Gibeah streets in fine calf leather sandals, surrounded by a cadre of dozens of virgin bridesmaid companions dressed in white linen. A band of minstrels led her with rejoicing on tambourine, flute, and lyre. She felt like a queen. She would be a queen one day. She knew that she was marrying the mightiest warrior in all of Israel. The gibborim who had killed the giant Rephaim Philistine, who her own father, the anointed warrior king, could not conquer. All she could think of the entire journey to the palace were the lyrics she first heard her from the lips of her bridegroom upon their first acquaintance. She had never forgot them. They were burned into her heart. He had sung a song of virginal submission to a manly king as a sample of his musical talent to her father. But she knew he had sung those words for her. She knew by the look in his eyes, his unquenchable stare of desire for her. It was like a prophecy. Now those words were coming true, she was going to be living them out any moment. Hear, O daughter, and consider, and incline your ear: forget your people and your father’s house, and the king will desire your beauty. Since he is your lord, bow to him. The people of Israel lined the streets and cheered their beautiful princess as she approached the entranceway to the palace. She could feel her heart pounding out of her chest. Would he sing to her on their wedding night? Would he seduce her with his musical talent before he ravished her? All glorious is the princess in her chamber, with robes interwoven with gold. In many-colored robes she is led to the king, with her virgin companions following behind her. With joy and gladness they are led along as they enter the palace of the king.

Hell hath no fury like a queen scorned."... ...That would be the last time he made a crack about being a flamer to someone with a flamethrower for hands. Though he'd really lost it when Raven sang the lyric to Disco Inferno.

Some nights she comes to act as courier, midwife to our own skills. Emily, come like a UFO to implant her genius in us. Our Queen Mab, condemned to be the only woman mentioned in the lyric omnibuses of her epoch; easy scapegoat of men’s centuries, she stood in for all women. So now, of course, she comes to blow off steam in the privacy of the green room. All those living years she walked from yard to yard, gardens flourished in opium poppies; went out at night to see the owls and wed her genius. She applied her passion like a hot iron sword. And no one can take off her clothes, ever—she comes and her language takes them off of us, not piece by piece, not fumbling buttons, but all at once in a single shot, her tiny poems like grenades that fit in the hand. And we here bask in the debris, stripped down to our private parts, the snow white of the bone, the authentic corpse in heat. The absolute original.

In place of negative falsification, we have nurtured, in the past thirty years, a new fetishization. Black female protagonists are now unerringly strong and soulful; they are sexually voracious and unafraid; they take the unreal forms of earth mothers, African queens, divas, spirits of history; they process grandly through novels thick with a breed of greeting-card lyricism. They have little of the complexity, the flaws and uncertainties, depth and beauty of Janie Crawford and the novel she springs from.

AKKA MAHADEVI Around nine hundred years ago in southern India, there lived a female mystic called Akka Mahadevi. Akka was a devotee of Shiva. Ever since her childhood, she had regarded Shiva as her beloved, her husband. It was not just a belief; for her it was a living reality. The king saw this beautiful young woman one day, and decided he wanted her as his wife. She refused. But the king was adamant and threatened her parents, so she yielded. She married the man, but she kept him at a physical distance. He tried to woo her, but her constant refrain was, “Shiva is my husband.” Time passed and the king’s patience wore thin. Infuriated, he tried to lay his hands upon her. She refused. “I have another husband. His name is Shiva. He visits me, and I am with him. I cannot be with you.” Because she claimed to have another husband, she was brought to court for prosecution. Akka is said to have announced to all present, “Being a queen doesn’t mean a thing to me. I will leave.” When the king saw the ease with which she was walking away from everything, he made a last futile effort to salvage his dignity. He said, “Everything on your person—your jewels, your garments—belongs to me. Leave it all here and go.” So, in the full assembly, Akka just dropped her jewelry, all her clothes, and walked away naked. From that day on, she refused to wear clothes even though many tried to convince her otherwise. It was unbelievable for a woman to be walking naked on the streets of India at the time—and this was a beautiful young woman. She lived out her life as a wandering mendicant and composed some exquisite poetry that lives on to this very day. In a poem (translated by A. K. Ramanujan), she says: People, male and female, blush when a cloth covering their shame comes loose. When the lord of lives lives drowned without a face in the world, how can you be modest? When all the world is the eye of the lord, onlooking everywhere, what can you cover and conceal? Devotees of this kind may be in this world but not of it. The power and passion with which they lived their lives make them inspirations for generations of humanity. Akka continues to be a living presence in the Indian collective consciousness, and her lyrical poems remain among the most prized works of South Indian literature to this very day. Embracing

À la claire fontaine m’en allant promener J’ai trouvé l’eau si belle que je m’y suis baigné. Il y a longtemps que je t’aime, jamais je ne t’oublierai.

Happy and thrice happy are those who enjoy an uninterrupted union, and whose love, unbroken by any sour complaints, shall not dissolve until the last day of their existence. Horace (65 B.C.–8 B.C.), Roman lyric poet

These young people didn’t live in a world of ladies and gentlemen. They were allowed to dress like slobs and curse like gangsters. To drink like tosspots. To tattoo and pierce their bodies like primitives. To listen to songs with animal rhythms and vulgar lyrics. They had no curfews, no chaperones, no guidance that applied to real-life male and female behavior. Indeed, they were told that gender was mutable and sex an irrelevance. And then the young men—only the men—were held to rules of behavior that would have been restrictive when Victoria was queen.

He fucking sings the lyrics to the most famous Queen song ever in fucking Russian. Holy crap, this guy is so cool.

Loyalty-Over-Love; Trust No One! Take No Shorts, Take No Prisoners!