Requested Song Quotes

The primary purpose of prayer is not to make requests. The primary purpose is to praise, to sing, to chant. Because the essence of prayer is a song, and man cannot live without a song. Prayer may not save us. But prayer may make us worthy of being saved.

My request was for courage. To turn and face the thing that scares you the most and do your best to stay there. I asked for honesty, which sometimes requires more strength than most things we do in our lives.

I wish there was a song called “Nguyen and Ari,” a little ditty about a hardworking Vietnamese girl who helps her parents withthe franchised Holiday Inn they run, and does homework in thelobby, and Ari, a hardworking Jewish boy who does volunteerwork at his grandmother’s old-age home, and they meet afterschool at Princeton Review. They help each other study for theSATs and different AP courses, and then, after months of study-ing, and mountains of flashcards, they kiss chastely upon hear-ing the news that they both got into their top college choices.This is a song teens need to inadvertently memorize. Now that’sa song I’d request at Johnny Rockets!

On Saturday morning, the DJ’s voice comes over the speakers as she’s folding laundry in her room. “All right, listeners,” he says, “I’ve got something special for you this morning. Normally we don’t take requests in advance, but this particular caller has been so loyal to us that when she called last week and asked if we’d play a song today, we decided to make an exception.” Oh. Oh, no. “This one’s for you, August. Jane says, ‘Just in case.’” “Love of My Life” starts to play, and August drops her socks on the floor and climbs into bed.

From a floor below someone was singing with a karaoke machine, Paul McCartney's 'Simply Having a Wonderful Christmas Time,' completely out of tune. 'Beyond doubt the worst Christmas song ever written,' New York said to me, quietly. 'Like a request to God to end the universe.

Surely the Board knows what democracy is. It is the line that forms on the right. It is the don’t in Don’t Shove. It is the hole in the stuffed shirt through which the sawdust slowly trickles; it is the dent in the high hat. Democracy is the recurrent suspicion that more than half the people are right more than half the time. It is the feeling of privacy in the voting booths, the feeling of communion in the libraries, the feeling of vitality everywhere. Democracy is the score at the beginning of the ninth. It is an idea which hasn’t been disproved yet, a song the words of which have not gone bad. It’s the mustard on the hot dog and the cream in the rationed coffee. Democracy is a request from a War Board, in the middle of a morning in the middle of a war, wanting to know what democracy is.

As it is, I guess I find "Jack and Diane" a little disgusting. As a child of immigrant professionals, I can't help but notice the wasteful frivolity of it all. Why are these kids not at home doing their homework? Why aren't they setting the table for dinner or helping out around the house? Who allows their kids to hang out in parking lots? Isn't that loitering? I wish there was a song called "Nguyen & Ari," a little ditty about a hardworking Vietnamese girl who helps her parents with the franchised Holiday Inn they run, and does homework in the lobby, and Ari, a hardworking Jewish boy who does volunteer work at his grandmother's old-age home, and they meet after school at Princeton Review. They help each other study for the SATs and different AP courses, and then, after months of studying, and mountains of flashcards, they kiss chastely upon hearing the news that they both got into their top college choices. This is a song teens need to inadvertently memorize. Now that's a song I'd request at Johnny Rockets!

All the men in Daddy's records sang of love with drastically imbalanced emotion. In the span of three minutes, they begged for it and kicked it to the curb. They turned to anybody, even to God, with a perpetual request: Please send me someone to love. But once they got it, love scrambled them.

[Democracy] is the line that forms on the right. It is the don’t in don’t shove. It is the hole in the stuffed shirt through which the sawdust slowly trickles; it is the dent in the high hat. Democracy is the recurrent suspicion that more than half of the people are right more than half of the time. It is the feeling of privacy in the voting booths, the feeling of communion in the libraries, the feeling of vitality everywhere. Democracy is a letter to the editor. Democracy is the score at the beginning of the ninth. It is an idea which hasn’t been disproved yet, a song the words of which have not gone bad. It’s the mustard on the hot dog and the cream in the rationed coffee. Democracy is a request from a War Board, in the middle of a morning in the middle of a war, wanting to know what democracy is.

Put your arms around my neck, sweetheart." "Whatever for?" He grasped her wrists and lifted her arms himself. "Because," he whispered, "we're going to dance." ..... "This will never work. I appreciate the thought. It's very sweet, but-" "Shut up," he whispered. The first notes of the next number drifted to them, and she realized it was the band's rendition of Montgomery's hit song, "I swear." Tears sprang to her eyes, for the instant she recognized the tune, she knew Ryan had requested it. "Dance with me," he whispered. "I feel foolish." "Who'll see? Only me, and I'm our best bud, so I don't count. Besides, why should you feel foolish?" "My legs are dangling. My feet will thump your shins." "Those soft slippers won't hurt my shins," he assured her. And with that, he swept her into a waltz. -Ryan and Bethany (Phantom Waltz)

Thou Power Supreme, whose mighty scheme These woes of mine fulfil, Here firm I rest; they must be best, Because they are Thy will! Then all I want—O do Thou grant This one request of mine!— Since to enjoy Thou dost deny, Assist me to resign.

The only justice is love. Just let it go. You don't have to explain. This is not about being right. There is something true inside the song you can't stop listening to. You don't feel at home anywhere, but you feel at home when Aaron sings that song. Someone calling you a criminal does not make you a criminal, just as someone calling you a hero does not make you a hero. Nobody gets to name you. Find your identity in the one true place. If someone gives you something, and then takes it back - that's okay. If someone says something or sees something, and then they don't - that's okay. Do not be like some broken lawyer making the same argument over and over again, always reaching for rewind. Guilt and regret, those are awful places. You know that. So don't live there. Do not despair. Do not be afraid. Grace is the interesting thing. Hope. And God must be a pretty big fan of today, because you keep waking up to it. You have made known your request for a hundred different yesterdays, but the sun keeps rising on this thing that has never been known. Yesterday is dead and over. Wrapped in grace. You are still alive, and today is the most interesting day. Today is the best place to live. These things deserve your attention: your family, your friends, the people you will meet today, the strangers with their stories. They say 'We are all in this together.' It is absolutely true.

If you can drink from the fountain, why then, should you request for a drink of water from the cup?

Who would answer all the questions, fulfill all the requests? Would anyone? Could anyone? History had taught the citizens of Watts to hope for the best and expect nothing, but be prepared for the worst.

What’s your favorite song to play on the reed pipes? Grover: Oh, um—well, it’s a little embarrassing. I got this request once from a muskrat who wanted to hear “Muskrat Love.” Well ... I learned it, and I have to admit I enjoy playing it. Honestly, it’s not just for muskrats anymore! It’s a very sweet love story. I get misty-eyed every time I play it. So does Percy, but I think that’s because he’s laughing at me.

Rules of Manhood -Stop talking about where you went to college -You will regret your tattoos -When in doubt, always kiss the girl -You may only request one song from the DJ -Measure yourself only against your previous self -Revenge is an excellent cure for anger -No one cares if you are offended, so stop it -Read more. It allows you to borrow someone else's brain and will make you more interesting at a dinner party

Once, a young man lost his wife and went to the Land of Dead to find her. He said his life wasn't worth living without her, and played the loveliest song to prove it. The song was so moving, the Lord of the Dead granted his request, though he had never done it before. He said the young man could go, and his wife would follow him, she would be right behind him. But he couldn't look back at her, he had to trust she was there. But he didn't. He didn't trust, he looked back, and so the woman had to stay. Obviously, he didn't love her the way he said he did. But then, I have found that people never love the way they say they do. They can't. They are just people. Full of lies and sentiment and fear. There is no reason for you to leave here, and no way for you to go. No one will come for you, and even if they did, I am not the sentimental sort.

Courtesy, not control, that was His means. Just as He requested the stars to sing and they leapt into bright being, so request was to be their rule over bird and beast, seas and trees, mountains and moons and all the dancing distances between the heavenlies filled with the unending song of Creation.

I'd been the first piece of music he'd ever created but the only one he'd never finished. Maybe that was because fate knew what we didn't. That he was never meant to kill me that night like his father requested him to do. He'd never be able to finish the song until he could do what he was truly meant to do. Love me.

The band in the ballroom announced the cover of a special request, and after a pause, the woman's voice sang out the breathy first line of Etta James's "At Last." Chairs barked as guests rose to greet the champion of all wedding songs, the one that always brought indifferent or fighting or estranged couples to the dance floor for momentary reconciliation.

The morning grass was damp and cool with dew. My yellow rain slicker must have looked sharp contrasted against the bright green that spring provided. I must have looked like an early nineteenth century romantic poet (Walt Whitman, perhaps?) lounging around a meadow celebrating nature and the glory of my existence. But don’t make this about me. Don’t you dare. This was about something bigger than me (by at least 44 feet). I was there to unselfishly throw myself in front of danger (nothing is scarier than a parked bulldozer), in the hopes of saving a tree, and also procuring a spot in a featured article in my local newspaper. It’s not about celebrity for me, it’s about showing that I care. It’s not enough to just quietly go about caring anymore. No, now we need the world to see that we care. I was just trying to do my part to show I was doing my part. But no journalists or TV news stations came to witness my selfless heroics. In fact, nobody came at all, not even Satan’s henchmen (the construction crew). People might scoff and say, “But it was Sunday.” Yes, it was Sunday. But if you’re a hero you can’t take a day off. I’d rather be brave a day early than a day late. Most cowards show up late to their destiny. But I always show up early, and quite often I leave early too, but at least I have the guts to lay down my life for something I’d die for. Now I only laid down my life for a short fifteen-minute nap, but I can forever hold my chin high as I loudly tell anyone who will listen to my exploits as an unsung hero (not that I haven’t written dozens of songs dedicated to my bravery). Most superheroes hide anonymously behind masks. That’s cowardly to me. I don’t wear a mask. And the only reason I’m anonymous is that journalists don’t respond to my requests for interviews, and when I hold press conferences nobody shows up, not even my own mother. The world doesn’t know all the good I’ve done for the world. And that’s fine with me. Not really. But if I have to go on being anonymous to make this world a better place, I will. But that doesn’t mean I’m not thinking about changing my hours of altruism from 7-8 am Sunday mornings to 9-5 am Monday through Friday, and only doing deeds of greatness in crowded locations.

—What are you doing now?— —I’m under my covers— —Alone?— —y— —A crime— I smiled, and the feeling of levity cracked the brittle shell of sorrow, if only for a second, and tears streamed down my face. —Don’t make me laugh, fuckhead— —May I join you under those lucky covers?— When I read the message, I didn’t feel his request in my loins, but on my skin. I wanted him to touch me. Kiss me. Breathe on me. Talk to me. Hold me for hours. The desire wasn’t just between my legs, but in my rib cage, my marrow, my fingertips. Could I give up the consuming protection of loneliness and indulge in a few hours with Jonathan? Was I worthy of a little comfort? Probably not. And I hadn’t forgotten the submissive thing. No. He was going to drag me into a pit of defilement and humiliation. Seeing him would only draw him closer to me than he should be, ever. I texted: —I need you— I hit send. I shouldn’t have.

Daniel." He looked up. "El-la.I was wondering if you'd catch me." He offered me a cigarette. I gave him a shame-on-you look;he grinned. "This is your band?" I asked. Visible piercings aside, no one looked like that went by the name Ax. "Nope,but I go to school with the lead's sister. Regular guy got food poisoning at a Christmas party last night.I've played with them before." "Weddings?" It wasn't quite how I'd pictured him performing. "Usually clubs, but the last one was a bar mitzvah. Musicians have to eat, too," he added, a little sharply. "Sorry." I wanted to wave the smoke away, but figured that might be adding insult to inury. "I thought you played the guitar." "Guitar, piano, a little violin, but badly, and I'll have to garrote you ith one of the strings if you tell anyone." That's the thing about Daniel. Obviously-the violin being a case in point-I don't know him very well,but he seems to hold a grudge for even less time than Frankie. "Secret's safe with me." He shrugged, telling me he didn't really care. Then, "Nice dress." "Just when I start liking you a litte.." He made his vampire-boy face. I could see why it usually worked. "You like me,Ella. Wanna do something when this is over?" "Tempting," I said. "No, I mean that. But no,thanks. I'm not at my best these days." "You're good," he said quietly, blowing out a stream of smoke. "You'll be fine." "Yeah." I shivered. It was bitter outside. "I should go in." "You should." The cold didn't seem to be bothering him at all, and he wasn't even wearing a jacket over his white dress shirt. I turned to go. "Oh, I think I figured it out, by the way." "Figured out what?" "The question.The one everyone should ask before getting involved with someone. Not 'Will he-slash-she make me happy?' but 'Does it bring out the best in me,being with him?'" "Him-slash-her," Daniel corrected, clearly amused. Then, "Nope. No way. Wasn't me who posed the question to you, Marino.I would never be so Emo." "Of course not.But it was one smart boy." I waved. "Hug Frankie for me." "Will do. Hey.Any requests for the band?" "'Don't Stop Believin'," I shot back. He rolled his eyes. "I'm curious, in that last song-are the words really 'I cut my chest wide open'?" "Yup.Followed by, "They come and watch us bleed.Is it art like I was hoping now?" Avett Brothers. Too gruesome for you?" "You have no idea," I told him. How much I get it.

Poet's Note: Kindly do not use my poem without giving me due credit. Do not use bits and pieces to suit your agenda of Kashmir whatever it may be. I, Srividya Srinivasan as the creator of this poem own the right to what I have chosen to feel about the issue and have represented all sides to a complex problem that involves people. I do not believe in war or violence of any kind and this is my compassionate side speaking from all angles to human beings thinking they own only their side to the story. THIS POEM IS THE ORIGINAL WORK OF SRIVIDYA SRINIVASAN and any misuse by you shall be considered as a violation of my copyrights and legally actionable. This poem is dedicated to all those who have suffered in Kashmir and through Kashmir and to not be sliced and interpreted to each one's convenience. ---------------------------- Weep softly O mother, the walls have ears you know... The streets are awash o mother! I cannot go searching for him anymore. The streets are awash o mother with blood and tears, pellets and screams. that silently remain locked in the air, while they seal our soulless dreams. The guns are out, O mother, while our boys go armed with stones, I cannot go looking for him O mother, I have no courage to face what I will find. For, I need to tend to this little one beside, with bound eyes that see no more. ----- Weep for the home we lost O mother, Weep for the valley we left behind, the hills that once bore our names, where shoulder to shoulder, we walked the vales, proud of our heritage. Hunted out of our very homes, flying like thieves in the night, abandoning it all, fearful for the lives of our men, fearful of our being raped, our children killed, Kafirs they called us O mother, they marked our homes to kill. We now haunt the streets of other cities, refugees in a country we call our own, belonging nowhere, feeling homeless without the land we once called home. ------------- Weep loudly O mother, for the nation hears our pain. As the fresh flag moulds his cold body, I know his sacrifice was not in vain. We need to put our chins up, O mother and face this moment with pride. For blood is blood, and pain is pain, and death is final, The false story we must tell ourselves is that we are always the right side, and forget the pain we inflict on the other side. Until it all stops, it must go on, the dry tears on either side, Every war and battle is within and without, and must claim its wounds and leave its scars, And, if we need to go on O mother, it matters we feel we are on the right side. We need to tell ourselves we are always the right sight... We need to repeat it a million times, We are always the right side... For god forbid, what if we were not? --- Request you to read the full poem on my website.

to be open and straightforward about their needs for attention in a social setting. It is equally rare for members of a group in American culture to honestly and openly express needs that might be in conflict with that individual’s needs. This value of not just honestly but also openly fully revealing the true feelings and needs present in the group is vital for it’s members to feel emotional safe. It is also vital to keeping the group energy up and for giving the feedback that allows it’s members to know themselves, where they stand in relation to others and for spiritual/psychological growth. Usually group members will simply not object to an individual’s request to take the floor—but then act out in a passive-aggressive manner, by making noise or jokes, or looking at their watches. Sometimes they will take the even more violent and insidious action of going brain-dead while pasting a jack-o’-lantern smile on their faces. Often when someone asks to read something or play a song in a social setting, the response is a polite, lifeless “That would be nice.” In this case, N.I.C.E. means “No Integrity or Congruence Expressed” or “Not Into Communicating Emotion.” So while the sharer is exposing his or her vulnerable creation, others are talking, whispering to each other, or sitting looking like they are waiting for the dental assistant to tell them to come on back. No wonder it’s so scary to ask for people’s attention. In “nice” cultures, you are probably not going to get a straight, open answer. People let themselves be oppressed by someone’s request—and then blame that someone for not being psychic enough to know that “Yes” meant “No.” When were we ever taught to negotiate our needs in relation to a group of people? In a classroom? Never! The teacher is expected to take all the responsibility for controlling who gets heard, about what, and for how long. There is no real opportunity to learn how to nonviolently negotiate for the floor. The only way I was able to pirate away a little of the group’s attention in the school I attended was through adolescent antics like making myself fart to get a few giggles, or asking the teacher questions like, “Why do they call them hemorrhoids and not asteroids?” or “If a number two pencil is so popular, why is it still number two,” or “What is another word for thesaurus?” Some educational psychologists say that western culture schools are designed to socialize children into what is really a caste system disguised as a democracy. And in once sense it is probably good preparation for the lack of true democratic dynamics in our culture’s daily living. I can remember several bosses in my past reminding me “This is not a democracy, this is a job.” I remember many experiences in social groups, church groups, and volunteer organizations in which the person with the loudest voice, most shaming language, or outstanding skills for guilting others, controlled the direction of the group. Other times the pain and chaos of the group discussion becomes so great that people start begging for a tyrant to take charge. Many times people become so frustrated, confused and anxious that they would prefer the order that oppression brings to the struggle that goes on in groups without “democracy skills.” I have much different experiences in groups I work with in Europe and in certain intentional communities such as the Lost Valley Educational Center in Eugene, Oregon, where the majority of people have learned “democracy skills.” I can not remember one job, school, church group, volunteer organization or town meeting in mainstream America where “democracy skills” were taught or practiced.

It doesn’t seem like Christmas. I cannot say just why. I see the gifts and mistletoe and snowflakes falling from the sky. It doesn’t feel like Christmas. Though snow is on the ground. I watch old Rudolph, Frosty too. I serve hot cocoa all around. But still it doesn’t feel like Christmastime. There’s something missing, something more sublime. My heart tells me this holiday was meant to make me feel something deeper, something warm and real. It doesn’t sound like Christmas. The air is filled with noise. I hear a thousand loud requests yet see unhappy girls and boys. It doesn’t feel like Christmas. Though Santa’s on his way. So why this dullness in my heart as if it’s just another day? It really doesn’t feel like Christmastime. There’s something missing, something more sublime. My heart tells me this holiday was meant to make me feel something deeper, something warm and real. I close my eyes, I bow my head, and drop down to my knees. I talk to God and bear my soul. At length, my spirit warms with peace. It feels much more like Christmas. My heart o’er flows with love. I look at you through caring eyes, the way God sees from up above. It surely is like Christmas. Good will pervades my soul. For Christ was born in Bethlehem to ransom all; my joy is full. It’s starting now to feel like Christmastime. My heart is new, my outlook more sublime. I’ll love the world as God loves me and practice charity. Help and comfort, share with those in need, and it will feel like Christmastime indeed.

Humans were such tricky and complicated things. As it began to spin life and being out of its dreamstuff, the remaining trees began to hum and sing together. Once upon a time, their songs had sounded different, but in this time, they sang the songs the Greywaren had given to them. It was a wailing, ascending tune, full of both misery and joy at once. And as Cabeswater distilled its magic, these trees began to fall, one by one. The psychic's daughter's sadness burst through the forest, and Cabeswater accepted that, too, and put it into the life it was building. Another tree fell, and another, and Cabeswater kept returning again and again to the humans who had made the request. It had to remember what they felt like. It had to remember to make itself small enough. As the forest diminished, the Greywaren's despair and wonder surged through Cabeswater. The trees sang soothingly back to him, a song of possibility and power and dreams, and then Cabeswater collected his wonder and put it into the life it was building. And finally, the magician's wistful regret twisted through what remained of the trees. Without this, what was he? Simply human, human, human. Cabewaster pressed leaves against his cheek one last time, and then they took that humanity for the life it was building. It was nearly human-shaped. It would fit well enough. Nothing was ever perfect. Make way for the Raven King. The last tree fell, and the forest was gone, and everything was absolutely silent. Blue touched Gansey's face. She whispered, "Wake up.

Hi, Bruce,’ said Uzma. ‘Hello,’ Bruce replied. ‘Would it be possible to have a photo taken?’ she asked. ‘Sure, we can do that!’ he replied, smiling broadly. I took the photograph. Then it was my turn. He signed my book and bandanna and posed for another photograph. Just as I was about to let the next fan have their moment in the sun I turned to Springsteen and said, ‘Bruce. Three words: “Point Blank”, acoustic’ The following night I was sitting in the Sheffield Arena with Amolak and my sister. It was 16 April 1993 and we were in the front block ten or fifteen rows from the stage. Uzma was having the time of her life. It was her first Springsteen concert and it was so wonderful to see her having so much fun. Springsteen had just finished singing ‘Badlands’ when he requested an acoustic guitar and told the audience: ‘A fella came up to me and asked for this song. I don't know if he's out there tonight, but if he is, this is for you.’ He began slowly strumming the acoustic guitar before singing, ‘Do you still say your prayers darling, before you go to bed at night? Praying that tomorrow everything will be all right?’ He was singing ‘Point Blank’. I doubled up, buried my face in my hands and wept. Amolak hugged me. ‘Point Blank’ was one of my favourite songs. I never imagined I would hear it sung acoustically. The fact that Springsteen had remembered my request and then decided to actually listen to my suggestion was overwhelming. As I continued to cry uncontrollably and as Bruce Springsteen continued to sing ‘Point Blank’, Amolak said to me: ‘You see, buddy, dreams do come true.’ *

What does a mind that is focused on hope look like? I read recently about a woman who had been diagnosed with cancer and was given three months to live. Her doctor told her to make preparations to die, so she contacted her pastor and told him how she wanted things arranged for her funeral service—which songs she wanted to have sung, what Scriptures should be read, what words should be spoken—and that she wanted to be buried with her favorite Bible. But before he left, she called out to him, “One more thing.” “What?” “This is important. I want to be buried with a fork in my right hand.” The pastor did not know what to say. No one had ever made such a request before. So she explained. “In all my years going to church functions, whenever food was involved, my favorite part was when whoever was cleaning dishes of the main course would lean over and say, You can keep your fork. “It was my favorite part because I knew that it meant something great was coming. It wasn’t Jell-O. It was something with substance—cake or pie—biblical food. “So I just want people to see me there in my casket with a fork in my hand, and I want them to wonder, What’s with the fork? Then I want you to tell them, Something better is coming. Keep your fork.” The pastor hugged the woman good-bye. And soon after, she died. At the funeral service people saw the dress she had chosen, saw the Bible she loved, and heard the songs she loved, but they all asked the same question: “What’s with the fork?” The pastor explained that this woman, their friend, wanted them to know that for her—or for anyone who dies in Christ—this is not a day of defeat. It is a day of celebration. The real party is just starting. Something better is coming.

On her second screen, there were the number of messages sent by other staffers that day, 1,192, and the number of those messages that she’d read, 239, and the number to which she’d responded, 88. There was the number of recent invitations to Circle company events, 41, and the number she’d responded to, 28. There was the number of overall visitors to the Circle’s sites that day, 3.2 billion, and the number of pageviews, 88.7 billion. There was the number of friends in Mae’s OuterCircle, 762, and outstanding requests by those wanting to be her friend, 27. There were the number of zingers she was following, 10,343, and the number following her, 18,198. There was the number of unread zings, 887. There was the number of zingers suggested to her, 12,862. There was the number of songs in her digital library, 6,877, number of artists represented, 921, and based on her tastes, the number of artists recommended to her: 3,408. There was the number of images in her library, 33,002, and number of images recommended to her, 100,038. There was the temperature inside the building, 70, and the temperature outside, 71. There was the number of staffers on campus that day, 10,981, and number of visitors to campus that day, 248. Mae had news alerts set for 45 names and subjects, and each time any one of them was mentioned by any of the news feeds she favored, she received a notice. That day there were 187. She could see how many people had viewed her profile that day, 210, and how much time on average they spent: 1.3 minutes. If she wanted, of course, she could go deeper, and see precisely what each person had viewed. Her health stats added a few dozen more numbers, each of them giving her a sense of great calm and control. She knew her heart rate and knew it was right. She knew her step count, almost 8,200 that day, and knew that she could get to 10,000 with ease.

There is a story about a man who came to town during the plagues that were killing so many at the time. The rats were the problem and while people did not know this in a scientific way like they do now, it was their intuition that told them that the rats were bringing the disease. He claimed that he knew how to get rid of the rats, but most of all how to get rid of the fevers and the disease that were decimating the countryside. The town had to give him one hundred and thirty of their children for him to take back to his home in Transylvania. The population there were so few that it was becoming almost impossible to marry outside of family. The inbreeding was causing disease in the bloodlines --- primarily mental disease. So he promised to free the city of rats, and hence plague, in exchange for these children. He promised they would be healthy for much longer than any normal children in plague-ridden cities could hope for. The people were so desperate they agreed to the man’s request and within a fortnight the town was the only place for miles around which was miraculously free of rats. Soon the town was also unburdened of the former pestilence. When he came to collect his pay in the form of seventy girls and sixty boys under the age of ten, the town refused. They hung him in the town square, fearful of allowing him to leave in case he would rain the black plague down upon them. The people knew that he was a powerful sorcerer of some type and condemned him to death rather than hand their children over to him.             “It wasn’t until the following spring that people began to see the familiar form of the strange man on the roads leading out of town. He was said to be alive and playing a musical instrument that made people feel dizzy or hypnotized. Soon there was a panic. The woods, still devoid of all rats, were searched for the presumed dead traveler. Nothing was found. Then on the Ides of March, in the middle of the night, one hundred and thirty children disappeared from their beds. The adults spoke of an odd feeling that came over them, accompanied by the faint sound of music on the wind. It had put them to sleep and when they awoke all that was left of their children was a pile of bloody teeth resting on their pillows. The parents searched everywhere, pulling their hair and wailing their mournful cries, but the children had vanished. There are stories that these were the first vampire children who later populated the Carpathians, brought from Hamlin by a dark conjurer. Whatever happened in reality, the song was passed down for hundreds of years as a warning not to make deals that you know you will not uphold. It could be a deal with the devil, and he always gets his due.

Chapter FEEDING YOUR ATTENTION HOG I was once at a New Age party and wanted to get the attention of some particularly lovely sari-wearing, belly-dancing women who were floating in and out of the various rooms. I had discovered that I could move past some of my fear and make a connection with people through singing. So I pulled out my guitar and started playing a song I had worked particularly hard to polish, Fleetwood Mac’s “A Crystalline Knowledge of You.” I was able to make it through without too many mistakes and was starting to feel the relief that comes from surviving traumatic experiences. Then one of the belly-dancing goddesses called to me from across the room, “You are some kind of attention hog, aren’t you!” As soon as she said it, my life passed before me. The room started to swirl, as a typhoon of shame began to suck me down the toilet of my soul. “Embarrassment” is an inadequate word, when someone pins the tail on the jackass of what seems to be your most central core defect. I am usually scrupulous about checking with people when I make requests for attention. But this time I was caught with my hand in the cookie jar up to the elbow. I remember slinking away in silent humiliation, putting my guitar back in its case and making a beeline for my car. I just wanted to get back to my lair to lick my wounds, and try to hold my self-hate demons at bay with a little help from my friend Jack Daniels. After that incident I quit playing music in public at all. Several years later I was attending a very intense, emotional workshop with Dr. Marshall Rosenberg. Our group of about twenty people had been baring and healing our souls for several days. The atmosphere of trust, safety and connectedness had dissolved my defenses and left me with a innocent, childlike need to contribute. And then the words popped out of my mouth, “I’d like to share a song with you all.” These words were followed by the thought: “Now I’ve gone and done it. When everyone turns on me and confirms that I have an incurable narcissistic personality disorder, it will be fifty years before I sing in public again.” Dr. Rosenberg responded in a cheerful, inviting voice. “Sure, go get your guitar!” he said, as though he were unaware that I was about to commit hara-kiri. The others in the group nodded agreement. I ran to my car to get my guitar, which I kept well hidden in the trunk. I was also hoping that I would not just jump in my car and leave. I brought the guitar in, sat down, and played my song. Sweating and relieved that I made it through the song, my first public performance in years, I felt relief as I packed my guitar in its case. Then Dr. Rosenberg said, “And now I would like to hear from each group member how they felt about Kelly playing his song.” “Oh my God!” my inner jackals began to howl, “It was a setup! They made me expose my most vulnerable part and now they are going to crucify me, or maybe just take me out to the rock quarry for a well-deserved stoning!

What were you playing?” I ask. “Nothing yet,” she says with a smile. “I can take requests.” I shake my head. This is one area where I can’t bond with her. “I don’t know anything at all about music,” I say. “Sorry.” I know it’s important to her. Kind of like a mainstay in her life. “You can’t hear this at all?” she asks. Her fingers strum across the strings again. “That?” I shake my head. I wish I could hear it, but I can’t. “Can you hear any music?” She’s curious. I like that. I nod. “I can hear the rock bands at the club. Or rather, I can feel the beat and the rhythm of the song when rock and roll is playing.” “Can you dance?” I roll my eyes. “Can I dance? You have to be kidding me.” I motion to my body. “I have rhythm.” Her face colors. That’s not quite the rhythm I meant, but I’ll take it. “Someone is thinking naughty thoughts,” I tease. I reach for her toe, but she jerks it back before I can tug on it. “I’m sorry I can’t enjoy your music,” I confess. “There’s nothing I would like more than to hear you play. I want to experience everything that makes you happy.” I shake my head. I don’t usually feel left out of anything, but I do now.

Lord, if you patiently bore the pain of unanswered prayer for my sake, then I can be patient with what seems to be unanswered prayer for your sake. The cross proves that you love me and so I can trust that you are listening to me and handling my request the way I would want if I had your wisdom. Amen.

Jesus knew—and knows still—the pain of unanswered prayer when he asked if another way could be found to save us besides the agony of the cross (Luke 22:42). God answered that prayer by saying, in effect, “There is no other way to save them. . . . If they are to be saved, I must not save you.” This not only answers the question: Is there any other way to be saved besides Jesus? (No.) It is also the ultimate comfort when we sense no answer to our prayers. Prayer: Lord, if you patiently bore the pain of unanswered prayer for my sake, then I can be patient with what seems to be unanswered prayer for your sake. The cross proves that you love me and so I can trust that you are listening to me and handling my request the way I would want if I had your wisdom. Amen.

On the far wall, just behind the drummer, a hand-painted black-and-white sign read Traditional request $1; Others $2; The Saints $5.

Poetry and Genre The hallmark of rhetoric in ancient Near Eastern literature is repetition; in poetry, this takes the form of what scholars call “parallelism.” Frequently, the first line of a verse is echoed in some way by the second line. The second line might repeat the substance of the first line with slightly different emphasis, or perhaps the second line amplifies the first line in some fashion, such as drawing a logical conclusion, illustrating or intensifying the thought. At times the point of the first line is reinforced by a contrast in the second line. Occasionally, more than two lines are parallel. Each of these features, frequently observed in Biblical psalms, is represented in songs from Egypt, Mesopotamia and Ugarit. Unlike English poetry, which often depends on rhyme for its effect, these ancient cultures attained impact on listeners and readers with creative repetition. Psalms come in several standard subgenres, each with standard formal elements. Praise psalms can be either individual or corporate. Over a third of the psalms in the Psalter are praise psalms. Corporate psalms typically begin with an imperative call to praise (e.g., “Shout for joy to the LORD” [Ps 100:1]) and describe all the good things the Lord has done. Individual praise often begins with a proclamation of intent to praise (e.g., “I will praise you, LORD” [Ps 138:1]) and declare what God has done in a particular situation in the psalmist’s life. Mesopotamian and Egyptian hymns generally focus on descriptive praise, often moving from praise to petition. Examples of the proclamation format can be seen in the Mesopotamian wisdom composition, Ludlul bel nemeqi. The title is the first line of the piece, which is translated “I will praise the lord of wisdom.” As in the individual praise psalms, this Mesopotamian worshiper of Marduk reports about a problem that he had and reports how his god brought him deliverance. Lament psalms may be personal statements of despair (e.g., Ps 22:1–21, dirges following the death of an important person (cf. David’s elegy for Saul in 2Sa 1:17–27) or communal cries in times of crisis (e.g., Ps 137). The most famous lament form from ancient Mesopotamia is the “Lament Over the Destruction of Ur,” which commemorates the capture of the city in 2004 BC by the Elamite king Kindattu. For more information on this latter category, see the article “Neo-Sumerian Laments.” In the book of Psalms, more than a third of the psalms are laments, mostly by an individual. The most common complaints concern sickness and oppression by enemies. The lament literature of Mesopotamia is comprised of a number of different subgenres described by various technical terms. Some of these subgenres overlap with Biblical categories, but most of the Mesopotamian pieces are associated with incantations (magical rites being performed to try to rid the person of the problem). Nevertheless, the petitions that accompany lament in the Bible are very similar to those found in prayers from the ancient Near East. They include requests for guidance, protection, favor, attention from the deity, deliverance from crisis, intervention, reconciliation, healing and long life. Prayers to deities preserved

At his old school, they taught him a song to remember all its phases. Sometimes he’ll sing it for us at dinner, but only if we do not request it.

if it were up to me" if it were up to me I would live where you live in a small dark corner of your soul mornings I would water the roses and the poppies, and even the wild flowers that grow on the banks of your rememberings to the left, after you pass the bridge of adversity (in the blue room, the one you had sealed off until I arrived like a tropical cyclone, and you opened the windows...) if it were up to me, I would embed myself in your left ventricle that I might be part of the skein of your illusions I would stroll through the red of your blood, and to your lungs bring orange blossoms, fragrant carnations, honeysuckle I would breathe the air of your days, the jazmin of your nights would request unlimited passport, walk here, there, hallucinated traveler, through your interiors eternal passenger in the train of your dreams if it were up to me you would never go away we would become the horror, the shame of our children the laughter of the old, the song of the nightingale if it were up to me, my god, my love, my lord if it were up to me Eclectica Magazine (Vol. 3, No. 3, Sep/Oct 1999)

Please to See the King is a piercing, keen-edged record, perhaps the closest a British act has come to what Bob Dylan, speaking of his own recordings of 1965–6, called ‘that thin, that wild mercury sound … metallic and bright gold’. The title, taken from the song ‘The King’ that Carthy introduced to the album sessions, was spoken, according to custom, by ‘wren-hunters’ who went knocking on doors and requesting money in return for a peep at the slaughtered bird in a coffin, bound with a ribbon. And like the wren-hunters of yore, the early Steeleye found themselves in the midst of a difficult economy, hawking their wares around the country at a succession of student-union gigs, in the community which was most receptive to this new incarnation of folk music.

Roaming in rugged mountain retreats is the outer Chö. Casting the body away as food is the inner Chö. Cutting to the root of the unique is the ultimate Chö. I’m a yogi who has these three kinds of Chö. Is there a female student here who will request these three?

She has touched me. My hatred for her has gone the way of the wind. She saved my life.” He quickly related the tale about the rattlesnake and how she had broken her silence to warn him. “You would prefer that she live for always away from you?” Hunter’s gut contracted. In that instant he realized how much he wanted the woman beside him. “I would prefer that my eyes never again fall upon her than to see her die.” His mouth twisted. “She has great heart for one so small. She makes war with nothing, and wins.” Many Horses nodded. “Huh, yes, Warrior and Swift Antelope have already told me.” “I would take my woman back to her land,” Hunter said. “I know the words of the prophecy, eh? And I would not displease the Great Ones, but I see no other path I might walk.” Hunter’s mother rose to her knees. “My husband, I request permission to speak.” Many Horses squinted into the shadows. “Then do it, woman.” She moved forward into the light, her brown eyes fathomless in the flickering amber. “I would but sing part of the song, so we might hear the words and listen.” She tipped her head back and clasped her hands before her. In a singsong voice, she recited, “‘When his hatred for the White Eyes is hot like the summer sun and cold like the winter snow, there will come to him a gentle maiden from tosi tivo land.’” “Yes, wife, I know the words,” Many Horses said impatiently. “But do you listen?” Woman with Many Robes fixed her all-seeing gaze on her eldest son. “Hunter, she did not come to you, as the prophecy foretold. You took her by force.” “Pia, what is it you’re saying? That she would have come freely?” A breath of laughter escaped Hunter’s lips. “The little blue-eyes? Never.” His mother held up a hand. “I say she would have, and that she shall. You must take her to her wooden walls. The Great Ones will lead her in a circle back to you.” Hunter glanced at his father. Many Horses set his pipe aside and gazed for a long while into the flames. “Your mother may be right. Perhaps we have acted wrongly, sending you to fetch her. Perhaps it was meant for her to come of her own free will.” Hunter swallowed back an argument. Though he didn’t believe his little blue-eyes would ever return to Comancheria freely, his parents had agreed that he should take her home, and that was enough. “What will lead her back to me, pia?” Woman with Many Robes smiled. “Fate, Hunter. It guides our footsteps. It will guide hers.

That night in Cartagena he again requested the songs of his youth, some so old he had to teach them to Iturbide, who was too young to remember them. The audience slipped away as the General bled inside, and he was left alone with Iturbide beside the embers.

The hate has gone from you to a faraway place you cannot find, as it was spoken in the prophecy. That’s why it is time for you to walk your own way. You must fight the last great fight for the People, yes? And you must fight it alone. I have to stay here. For our mother, my children. You’re our hope, our only hope.” “You call it hope? I call it running away.” “No! When we run, we find someplace familiar and safe. Winter will be upon us soon. You will face uncertainty and great danger when you go west.” Giving Hunter a small shake, Warrior cried, “You are our hope, Hunter! Why can’t you see that? When the last Comanche puts down his weapon, when the last chief says it is finished, we will know it is not finished. We will know that the People live on--far away from this place--that our songs are being sung, that our ways are being honored. I know you feel great fear, but fear has never stopped you. You mustn’t let it stop you now.” “I will go wherever the Great Ones lead me,” Hunter whispered. “You know I will. It’s just that I can’t see the path they want me to follow. There is no one to lead me.” “The path will be there. When you turn your face westward you will know, deep within, where to place your feet.” Warrior’s voice rang with certainty. “I would ask one thing of you, tah-mah. Ride beside me one last time into battle. It will be our final memory of each other, yes?” Once again Hunter remembered looking into that white man’s blue eyes. The battles shall stretch before him with no horizon. When would it ever end? But his brother had made this request of him. “I will ride with you,” Hunter whispered. “One last time.” Straightening his pallet, Warrior stretched out on his back, so close his arm brushed Hunter’s. After a long while he said, “You will tell your sons and daughters about me, yes?” Hunter wished he could weep, but the tears were dammed behind his lids, aching and burning. “Yes. And you will tell yours of me?” “I will tell them.” Warrior’s voice cracked. “Of you and your golden one and the song that led you west. Love her well, tah-mah. The days together are brief.” “Yes.” Hunter knew Warrior was thinking of Maiden of the Tall Grass. In a husky voice, he added, “Far too brief.

I will go wherever the Great Ones lead me,” Hunter whispered. “You know I will. It’s just that I can’t see the path they want me to follow. There is no one to lead me.” “The path will be there. When you turn your face westward you will know, deep within, where to place your feet.” Warrior’s voice rang with certainty. “I would ask one thing of you, tah-mah. Ride beside me one last time into battle. It will be our final memory of each other, yes?” Once again Hunter remembered looking into that white man’s blue eyes. The battles shall stretch before him with no horizon. When would it ever end? But his brother had made this request of him. “I will ride with you,” Hunter whispered. “One last time.” Straightening his pallet, Warrior stretched out on his back, so close his arm brushed Hunter’s. After a long while he said, “You will tell your sons and daughters about me, yes?” Hunter wished he could weep, but the tears were dammed behind his lids, aching and burning. “Yes. And you will tell yours of me?” “I will tell them.” Warrior’s voice cracked. “Of you and your golden one and the song that led you west. Love her well, tah-mah. The days together are brief.” “Yes.” Hunter knew Warrior was thinking of Maiden of the Tall Grass. In a husky voice, he added, “Far too brief.

The knot which first my heart did strain, When that your servant I became, Doth bind me still for to remain Always your own as now I am. And if you find that I do feign, With just judgment myself I damn, To have disdain. If other thought in me do grow But still to love you steadfastly, If that the proof do not well show That I am yours assuredly, Let every wealth turn me to woe And you to be continually My chiefest foe. If other love or new request Do seize my heart but ony this, Or if within my wearied breast Be hid one thought that means amiss, I do desire that mine unrest May still increase, and I to miss That I love best. If in my love there be one spot Of false deceit or doubleness, Or if I mind to slip this knot By want of faith or steadfastness, Let all my service be forgot And when I would have chief redress Esteem me not. But if that I consume in pain Of burning sighs and fervent love And daily seek none other gain But with my deed these words to prove, Methink of right I should obtain That ye would mind for to remove Your great disdain. And for the end of this my song, Unto your hands I do submit My deadly grief and pains to strong Which in my heart be firmly shut, And when ye list, redress my wrong, Since well ye know this painful fit Hath last too long. - Poem LXX from "Songs and Lyrics

The Meaning of Democracy.” The request got White thinking. “Surely the Board knows what democracy is,” he wrote in the magazine. “It is the line that forms on the right. It is the don’t in don’t shove. It is the hole in the stuffed shirt through which the sawdust slowly trickles; it is the dent in the high hat. Democracy is the recurrent suspicion that more than half the people are right more than half of the time. It is the feeling of privacy in the voting booths, the feeling of communion in the libraries, the feeling of vitality everywhere. Democracy is a letter to the editor. Democracy is the score at the beginning of the ninth. It is an idea which hasn’t been disproved yet, a song the words of which have not gone bad. It’s the mustard on the hot dog and the cream in the rationed coffee.” “I love it!” Roosevelt said when he read the piece, which he would later quote, adding happily: “Them’s my sentiments exactly.” They were Churchill’s, too, though he would have phrased the point in a more ornate way. The Americans and the British, he said at Fulton in 1946, “must never cease to proclaim in fearless tones the great principles of freedom and the rights of man which are the joint inheritance of the English-speaking world and which through Magna Carta, the Bill of Rights, the Habeas Corpus, trial by jury, and the English common law find their most famous expression in the American Declaration of Independence

dlaurent The Ballad of Johnny Jihad (Down Desert Storm Way). © c. 2001 During the Gulf War (1990-1991), American Pro-Taliban Jihadist John Philip Walker Lindh was captured while serving with the enemy forces. Here is his tale in song and legend. My nowex at the time did not want me to run to the radio station with this, thought I’d look singularly ridiculii. The following, 'The Ballad of Johnny Jihad' is sung to the tune of 'The Ballad of Jed Clampett' (1962), commonly known as 'The Beverly Hillbillies' song, the theme tune for the TV show series starring Buddy Ebsen. (Lyrics, Paul Henning, vocals Jerry Scoggins, Lester Flatt; master musicians of the art of the ballad and bluegrass ways, Lester Flatt and Earl Scruggs). The Ballad of Johnny Jihad (Sung) Come and listen to the story of Johnny Jihad, Who left home and country to study his Islam, And then one day he was shooting at our troops, So down through the camp did the government swoop. (Voice Over): ‘Al Que-da that is, Af-ghani Tali-ban, Terror-ist . . .’ (Sung) Well, the first thing you know ol’ John from ’Frisco roamed, The lawman said ‘he’s a lad misunderstood very far from home.’ Said, ‘Californee is the place he oughta be,’ So they request his trial be moved to Berkeley . . . (Voice Over): ‘Liberals that is, group-ies, peace-activists . . .’ Announcer: The Johnny Jihad Show! (Intense bluegrass banjo pickin’ music) . . . (Sung) Now its time to say goodbye to John and all his kin, Hope ya don’t think of him as a fightin’ Taliban, You’re all invited back again to this insanity, To get yourself a heapin’ helpin’ of this travesty . . . Johnny Jihad, that’s what they call ’im now Nice guy; don’t get fooled now, y’hear? (Voice Over): ‘Lawyerin’ that is, O.J.ism, media-circus . . .’ (Music) . . . end

I’m not sure why she requested to have his songs included in my playlist. Then, I remember. She’s related to Mom. They’re both sadistic this way.

Don't give me anything Even if it's your attention Even if it's your love Even if it's your tears Don't give me your sadness Don't give me your anger Don't give me your thirst Don't give me anything Because I still scramble the sky to find all traces of you, Mother." But son, how can you say something like that? Have I not given you flowers? I have given you the sun. I have given you grass and leaves. I have given you the sea and the sand of the beach. Why still? Isn't it enough for you to drink milk from my loneliness? You taste the pain from my wound, as you used to feel the happiness under my stomach like the scratch of a knife that welcomes your presence. How everything is still, I give you a warm fire, I give you a touch of the morning, I give you a gentle song from my heart that you know holds a million worries. How do you still say things like that? I still give you a light until half of my age. I give you laughter from half of my death. I give you eternal memories and eternal dreams at the same time. I give it all, even if it's just a simple box of lunch that you may receive to sate your hunger. How I always wanted to be there for you, son. Because my only request is nothing more. Let me be your traveling companion, a friend in your troubled times. As I used to rock you and put you in my lap. Let me be the bread that fills your hunger, the consolation of your heart when you are tight, the heat when you are sick. Wasn't I there when you were learning to stand and I was there when you fell? I faithfully wait for you while you run after the moon and sun. And even though time creeps up on me with the strains of age that I may no longer be able to stand up straight as I used to. I will never give up on you son. No, mother will never give up. Because for me, you are enough just yourself. However, can you fill yourself with all the pride? Be content with what you have. Suffice yourself with all the prayers I never stop saying from the corner of my heart which may be the most heavenly hope. Your heaven, son. Even though I know it will disturb your restful sleep. Although it will add to your restless working time. Because I know how hard you struggle. For every drop of sweat that you shed when you have to run to catch the bus that comes to pick you up. When your mind can't escape from your laptop screen that keeps flashing. When morning comes and busy work comes like rain that never ends whacking. Suffice yourself with Mother's love. Even though later, there will be no more cynical words rolling from Mother's lips which are starting to wrinkle. Rest assured, the door to the house of Mother's heart will always be open for you, whenever you want to go home.

Democracy is the recurrent suspicion that more than half of the people are right more than half of the time. It is the feeling of privacy in the voting booths, the feeling of communion in the libraries, the feeling of vitality everywhere. Democracy is a letter to the editor. Democracy is the score at the beginning of the ninth. It is an idea which hasn't been disproved yet, a song the words of which have not gone bad. It's the mustard on the hot dog and the cream in the rationed coffee. Democracy is a request from a War Board, in the middle of a morning in the middle of a war, wanting to know what democracy is.

And after some months, the exposure to beauty and wealth took a toll on his mind. He could not pinpoint it at first. Andrei thought human change came from decisions, but actually it came from observation. The brain was a special piano whose song history was never forgotten; one wrong key could destroy the instrument and necessitate years of healing. For Andrei, the multitude of wealthy guests, their walks, accommodation requests, secrets, women, and jewels had achieved his natural lust for luxury ten times over and turned him into a complete ghost.

Astaire had been told by the studio brass that he could have all the time he needed, so he planned for six weeks of rehearsal on the more difficult numbers (“Night and Day” and “The Table Dance”) that he imported from the stage production. Even though Astaire had played the role of Guy Holden, the man mistaken for Mimi’s (Ginger Rogers) divorce correspondent, on Broadway and in London, he was too much of a perfectionist to assume that he could reprise the dances on film without sufficient rehearsal. In addition, the Cole Porter score that he had sung in the theatre was, with the exception of “Night and Day,” completely scrapped and replaced with songs by Mack Gordon and Harry Revel, and Con Conrad and Herb Magidson (after Porter refused producer Pandro Berman’s request to write new ones). Astaire wanted, and was given, the time to master the new material.

When I was young, just a baby, really, my mother used to sing to me every night. I’d always request the song, the one that goes: My mommy comes back, she always comes back, she always comes back to get me. My mommy comes back, she always comes back, she never will forget me.

Perhaps we should talk about music instead, she suggested. Did anyone want to make a request for their funeral? A lot of people die, she explained, without sharing their favorite songs or poems. “And it is your funeral,” she said. “You must say what you would like. It can take enormous pressure off friends and family if they know your favorite songs.

So it’s my humble request lady, Kindly let me ride by your side, By unlearning the mastery of fencing And sleep peacefully under a banyan tree.

A laugh puffs past my lips as John Mayer starts singing about a woman named Olivia. “Did you request this song?

The Allman Brothers were from my hometown of Macon, Georgia, so requesting this song was a small lapse into provincialism. In 1972, the group’s guitarist, Duane Allman, had died when his motorcycle had crashed into the back of a peach truck. They subsequently named the album they had been working on, Eat A Peach. Its memorable lyrics, which came pouring out of Wisconsin’s machine at 9,000 feet in the California mountains, go as follows: Well, I’ve got to run to keep from hiding And I’m bound to keep on riding And I’ve got one more silver dollar But I’m not gonna’ let ‘em catch me, no Not gonna’ let ‘em catch the midnight rider. The song is a paen to freedom and independence, which, come to think about it, is kinda’ what the PCT is. And the God’s-honest-truth is that for the next two days this song carried me a total of fifty miles in an elevated state of morale.

All-powerful Lord, I don’t have the power to accomplish what needs to be done, so I spread out my requests before you.

Universal had also been “Astroturfing”—hiring mercenary phone banks to call in to radio stations to request “hit” songs, creating an artificial appearance of demand where none existed.

Diane Louise Jordan Diane Louise Jordan is a British television presenter best known for her role in the long-running children’s program Blue Peter, which she hosted from 1990 until 1996. She is currently hosting BBC1’s religious show, Songs of Praise. Also noted for her charity work, Diane Louise Jordan is vice president of the National Children’s Home in England. When in late 1997 I was invited by the Right Honorable Gordon Brown, Chancellor of the Exchequer, to sit on the Diana, Princess of Wales Memorial Committee, I was clueless as to why I’d been chosen. I was in the middle of a filming assignment in the United States when the call came through. Sitting on the bed in my New York hotel room, still with the receiver in my hand after agreeing to the chancellor’s request, I kept asking myself, “Why me?” The rest of the committee seemed to me to be high fliers of great influence or closely related to her. I was neither. I didn’t fit. But, perhaps, that’s the point. A lot of us think we don’t fit, don’t believe we’re up to much. Yet the truth is we’re all part of something big, and we’re all capable of inspiring others to be the best that they can be. This is what Princess Diana believed. The Princess influenced and inspired many through her life, and now I had an opportunity to be part of something that ensured her influence would continue. It was out responsibility as the Memorial Committee to sift through more than ten thousand suggestions by the British public to find an appropriate memorial to the life and work of the Princess. It was unanimously felt that the memorial should have lasting impact and reflect the many facets of Diana, so we came up with four commemorative projects: the Diana Nurses, a commemorative 5 pound coin, projects in the Royal Parks, and the Diana, Princess of Wales Memorial Award, for young people between the ages of eleven and eighteen. The Diana Award, as it is now known, was set up to acknowledge and support the achievements of young people throughout Britain. Each year the award is given to individuals or groups who have made an outstanding contribution to their community by improving the lives of others, especially the more vulnerable, or by enhancing the communities in which they live. The Diana Award is also given to those who’ve shown exemplary progress in personal development, particularly if it involves overcoming adversity. I’ve been associated with the Diana Award since it was established in 1999. And now, as a trustee, I’m extremely honored to be further involved, as I believe that the award holders are a living part of the late Princess’s legacy. They represent the kind of brave, caring, idealistic values Diana admired and championed. Like the late Princess, this award simply shines a light on what is already there, already being achieved. It’s as if Diana herself is telling the recipients how fantastic they are. The Princess said her job was to love people, and through this award she is still doing that. Recently, I was at an award holders ceremony. I was overwhelmed to be in an environment surrounded by beautiful young people committed to wanting the best. Like Princess Diana, they all demonstrate, in their individual ways, that when we strive to do our best, whether by overcoming personal adversity or contributing to the well-being of others, it changes us for the better. We see a glimpse of how we could all be if, like Diana, we have the courage to expose our hearts.

Surely the Board knows what democracy is. It is the line that forms on the right. It is the “don’t” in don’t shove. It is the hole in the stuffed shirt through which the sawdust slowly trickles; it is the dent in the high hat. Democracy is the recurrent suspicion that more than half of the people are right more than half of the time. It is the feeling of privacy in the voting booths, the feeling of communion in the libraries, the feeling of vitality everywhere. Democracy is a letter to the editor. Democracy is the score at the beginning of the ninth. It is an idea which hasn’t been disproved yet, a song the words of which have not gone bad. It’s the mustard on the hot dog and the cream in the rationed coffee. Democracy is a request from a War Board, in the middle of a morning in the middle of a war, wanting to know what democracy is.

So when we received another request to do the spring commencement address for the class of 1996 and since it fit into our tour routing, I decided to give it a shot. Well, as soon as the news was released, a few of the college students expressed disdain that the powers that be would select somebody who had never been to college and was known more for redneck songs than for the more genteel pursuits of academia. Soon the criticism showed up in the college newspaper and local media. The pushback came mainly from two seniors named Moore and Leonard. They seemed to think it would be a disgrace to be addressed by someone they considered several cuts below the intelligence level required to speak before such an august body of young men and women who were preparing to go out and make their way in the world. What they didn’t realize is that it was my world they were getting ready to go out into. I had been making my way in it since before they were born and had some things to say about life after cutting the apron strings that could prove just as beneficial as anything they had gotten out of their books.

What’s your favorite song to play on the reed pipes? Grover: Oh, um—well, it’s a little embarrassing. I got this request once from a muskrat who wanted to hear “Muskrat Love.” Well ... I learned it, and I have to admit I enjoy playing it. Honestly, it’s not just for muskrats anymore! It’s a very sweet love story. I get misty-eyed every time I play it. So does Percy, but I think that’s

In the darkest days of the Second World War, when America’s very future was at risk, writer E. B. White was asked by the U.S. Federal Government’s Writers’ War Board to write a short response to the question “What is democracy?” His answer was unassuming but inspiring. He wrote: Surely the Board knows what democracy is. It is the line that forms on the right. It is the “don’t” in don’t shove. It is the hole in the stuffed shirt through which the sawdust slowly trickles; it is the dent in the high hat. Democracy is the recurrent suspicion that more than half of the people are right more than half of the time. It is the feeling of privacy in the voting booths, the feeling of communion in the libraries, the feeling of vitality everywhere. Democracy is a letter to the editor. Democracy is the score at the beginning of the ninth. It is an idea which hasn’t been disproved yet, a song the words of which have not gone bad. It’s the mustard on the hot dog and the cream in the rationed coffee. Democracy is a request from a War Board, in the middle of a morning in the middle of a war, wanting to know what democracy is.

I once asked a schizophrenic man, "Why does the sun come up in the morning?" His reply was "Tomorrow." I looked at him blankly. When I requested explanation, he said, "Didn't you ever see Annie? The sun'll come up, tomorrow," and he burst into song. Instead of addressing the question from a factual point of view, he simply referred to an idiosyncratic association he had to my question. Adult thinking is universal and understandable by all who speak-a da language. It is a core symptom of schizophrenia, this regressive type of autistic thinking typical of children-or at least we evolutionists think so and most psychiatrists do as well.

Everyone knows Camille’s mother worked as a stripper. She had Camille super young, and she was still stripping when we were at Oakmont. People used to throw dollar bills at Camille in the hallway. They’d say they were going to visit her mom at Exotica, and ask Camille what song they should request. Maybe that’s why Camille tries so hard to be plain. She deflects male attention like it’s her job. Trying to prove she’s nothing like her mother.