Song Release Quotes

That's death and life, you see. We all shine on. You just have to release your hearts, alert your senses, and pay attention. A leaf, a star, a song, a laugh. Notice all the little things, because somebody is reaching out to you. Qualcuno ti ama. Somebody loves you.

The leaves were long, the grass was green, The hemlock-umbels tall and fair, And in the glade a light was seen Of stars in shadow shimmering. Tinuviel was dancing there To music of a pipe unseen, And light of stars was in her hair, And in her raiment glimmering. There Beren came from mountains cold, And lost he wandered under leaves, And where the Elven-river rolled. He walked along and sorrowing. He peered between the hemlock-leaves And saw in wonder flowers of gold Upon her mantle and her sleeves, And her hair like shadow following. Enchantment healed his weary feet That over hills were doomed to roam; And forth he hastened, strong and fleet, And grasped at moonbeams glistening. Through woven woods in Elvenhome She lightly fled on dancing feet, And left him lonely still to roam In the silent forest listening. He heard there oft the flying sound Of feet as light as linden-leaves, Or music welling underground, In hidden hollows quavering. Now withered lay the hemlock-sheaves, And one by one with sighing sound Whispering fell the beechen leaves In the wintry woodland wavering. He sought her ever, wandering far Where leaves of years were thickly strewn, By light of moon and ray of star In frosty heavens shivering. Her mantle glinted in the moon, As on a hill-top high and far She danced, and at her feet was strewn A mist of silver quivering. When winter passed, she came again, And her song released the sudden spring, Like rising lark, and falling rain, And melting water bubbling. He saw the elven-flowers spring About her feet, and healed again He longed by her to dance and sing Upon the grass untroubling. Again she fled, but swift he came. Tinuviel! Tinuviel! He called her by her elvish name; And there she halted listening. One moment stood she, and a spell His voice laid on her: Beren came, And doom fell on Tinuviel That in his arms lay glistening. As Beren looked into her eyes Within the shadows of her hair, The trembling starlight of the skies He saw there mirrored shimmering. Tinuviel the elven-fair, Immortal maiden elven-wise, About him cast her shadowy hair And arms like silver glimmering. Long was the way that fate them bore, O'er stony mountains cold and grey, Through halls of iron and darkling door, And woods of nightshade morrowless. The Sundering Seas between them lay, And yet at last they met once more, And long ago they passed away In the forest singing sorrowless.

And I wanted to be able to listen, to digest the bloody images, to paint them flat and unremarkable onto the vase of posterity. To release him from it and make him Achilles again.

She sat listening to the music. It was a symphony of triumph. The notes flowed up, they spoke of rising and they were the rising itself, they were the essence and the form of upward motion, they seemed to embody every human act and thought that had ascent as its motive. It was a sunburst of sound, breaking out of hiding and spreading open. It had the freedom of release and the tension of purpose. It swept space clean, and left nothing but the joy of an unobstructed effort. Only a faint echo within the sounds spoke of that from which the music had escaped, but spoke in laughing astonishment at the discovery that there was no ugliness or pain, and there never had to be. It was the song of an immense deliverance.

they say every man needs protection, they say every man must fall. yet I swear I see my reflection,some place high above this wall.....and someday I shall be released.

When the song of the angels is stilled, when the star in the sky is gone, when the kings and princes are home, when the shepherds are back with their flocks, the work of Christmas begins: to find the lost, to heal the broken, to feed the hungry, to release the prisoner, to rebuild the nations, to bring peace among the people, to make music in the heart.

I learned to sleep during the day so that I would not be tired when he returned; he always needed to talk then, to tell me down to the last detail about the faces and the wounds and the movements of men. And I wanted to be able to listen, to digest the bloody images, to paint them flat and unremarkable onto the vase of posterity. To release him from it and make him Achilles again.

If you live consciously, if you try to bring consciousness to every act that you go through, you will be living in a silent, blissful state, in serenity, in joy, in love. Your life will have the flavour of a festival. That is the meaning of heaven: your life will have many flowers in it, much fragrance will be released through you. You will have an aura of delight. Your life will be a song of life-affirmation, it will be a sacred yes to all that existence is. You will be in communion with existence — in communion with stars, with the trees, with the rivers, with the mountains, with people, with animals. This whole life and this whole existence will have a totally different meaning for you. From every nook and corner, rivers of bliss will be flowing towards you. Heaven is just a name for that state of mind. Hell means you are living so unconsciously, so absurdly, in such contradiction, that you go on creating more and more misery for yourself.

wait for me in a song! if you’ve come to dinner, release your dogs, pour the wine into the sky, for all the longing ghosts of the grapes (...)

I guess being a writer is a little like being a singer, when they're forced to sing that same boring song a million times over to their fans, even though that song was in the charts something like twenty years ago. We must read our book a million times before releasing it, they must sing the same song a million times after release, right? WRONG! It's nothing like that at all, because a song only takes three minutes to sing, whereas the reading of a book takes a fucking lifetime if you hate it already!

There came a time near dawn on the eve of spring, and Luthien danced upon a green hill; and suddenly she began to sing. Keen, heart-piercing was her song as the song of the lark that rises from the gates of night and pours its voice among the dying stars, seeing the sun behind the walls of the world; and the song of Luthien released the bonds of winter, and the frozen waters spoke, and flowers sprang from the cold earth where he feet had passed. Then the spell of silence fell from Beren, and he called to her, crying Tinuviel; and the woods echoed the name.

It's a good thing I love you, because you officially just scared the shit out of me." "A good thing yea," Dante agreed, squeezing her hand before releasing it. "She's not alone in those sentiments," the Morningstar said, "Except for the love. I make no clamis there yet, little creaw-Dante

In death, when our physicality is stripped away and our essence released to join the eternal song of creation, there is no sin or offense, no judgment or worry.

That smell mixed with the scent of getting tied up and fucked became the smell of complete release, of an orchestra connected by the simple movements of a skilled conductor.

Come back to me. Where have you gone? And why so long? I miss the star below your lip, the constellation on your chest. I miss your ways, how you net butter-flying words and release them for others to enjoy. I miss your tenderness, the sweetness of your breath and the song of your voice. I miss how you worship me. Come back to me once more. Why did you go? And whatever for? The heavens plotted against us. The clouds came and pissed on our lives. The smell of charged particles still lingers in the air. What will become of you and I? Come back to us.

Just as life is made up of day and night, and song is made up of music and silence, friendships, because they are of this world, are also made up of times of being in touch and spaces in-between. Being human, we sometimes fill these spaces with worry, or we imagine the silence is some form of punishment, or we internalize the time we are not in touch with a loved one as some unexpressed change of heart. Our minds work very hard to make something out of nothing. We can perceive silence as rejection in an instant, and then build a cold castle on that tiny imagined brick. The only release from the tensions we weave around nothing is to remain a creature of the heart. By giving voice to the river of feelings as they flow through and through, we can stay clear and open. In daily terms, we call this checking in with each other, though most of us reduce this to a grocery list: How are you today? Do you need any milk? Eggs? Juice? Toilet paper? Though we can help each other survive with such outer kindnesses, we help each other thrive when the checking in with each other comes from a list of inner kindnesses: How are you today? Do you need any affirmation? Clarity? Support? Understanding? When we ask these deeper questions directly, we wipe the mind clean of its misperceptions. Just as we must dust our belongings from time to time, we must wipe away what covers us when we are apart.

She sat at the window of the train....The window frame trembled with the speed of the motion, the pane hung over empty darkness, and dots of light slashed across the glass as luminous streaks, once in a while…She sat listening to the music. It was a symphony of triumph. The notes flowed up…It was a sunburst of sound, breaking out of hiding and spreading open. It had the freedom of release and the tension of purpose. It swept space clean, and left nothing but the joy of an unobstructed effort. Only a faint echo within the sounds spoke of that from which the music had escaped, but spoke in laughing astonishment at the discovery that there was no ugliness or pain, and there never had had to be. It was the song of an immense deliverance. She thought: For just a few moments -- while this lasts -- it is all right to surrender completely -- to forget everything and just permit yourself to feel. She thought: Let go -- drop the controls -- this is it.

Wailing, keening, trying to explain the unexplainable. Trying to release himself and anyone who will listen from the prison of a human experience that cannot explain grief.

Mmm. You strike me as a jam-maker.” “Really? Why?” He grins down at me. Up close, his eyes look almost black, especially shadowed as they are by long eyelashes. Right now, they shine with barely restrained mirth. “Because you’re so sweet,” he says in a mock-saccharine voice. The mischief in his eyes makes me forget, for a too-brief second, that I am a slave and that my brother is in prison and that everyone else I love is dead. Laughter explodes out of me like a song, and my eyes blur and tear. A snort escapes, which sets my dance partner to laughing, which makes me laugh harder. Only Darin ever made me laugh like this. The release is foreign and familiar, like crying, but without the pain. “What’s

No-one knows what became of him, although some say on the coldest nights, in a place where it’s said a village once stood, you can hear laughter echoing through the woods, for that is how it is with those who give themselves over to the Dark so completely, release from life is denied them, and the Beyond closed to them forevermore.

The truth is that no one can keep you captive. No one can keep you unhappy. No one can keep you abused. Our lives rise to the level we accept. I do believe we can rise from the screaming blood of our losses, of extreme pain, physically debilitating emotion, psychological neglect, and apathy, and not merely survive, but thrive. We do not need to let our histories or our losses define us except in the way we choose. We can use them as fuel to create real depth, beauty, connectedness, and compassion in our lives. Our stories can make us exceptional people, not damaged ones. If we choose to be truthful with ourselves. And if we choose to digest and release the pain rather than try to avoid it. This is how pain accumulates and creates more pain, leading to neurosis, pathology, and brittleness of spirit.

To be joyous of heart is to hold an optimistic outlook, to see adversity as opportunity, to see failure as the starting point of success, to view our stubbed toes as the release of acupuncture points, to wake with a feeling of gratitude, and to sleep with a sustaining, unfaltering trust in the Universe of which we are a part. The person with a joyous heart is a treasure to be with, a wellspring of inspiration, and a fit companion. When we are joyous of heart, we hear a resonance in the songs of the birds, see resonance in the opening of a flower, and feel it in the pressure of a friend’s hand.

Yesterday it was sun outside. The sky was blue and people were lying under blooming cherry trees in the park. It was Friday, so records were released, that people have been working on for years. Friends around me find success and level up, do fancy photo shoots and get featured on big, white, movie screens. There were parties and lovers, hand in hand, laughing perfectly loud, but I walked numbly through the park, round and round, 40 times for 4 hours just wanting to make it through the day. There's a weight that inhabits my chest some times. Like a lock in my throat, making it hard to breathe. A little less air got through and the sky was so blue I couldn’t look at it because it made me sad, swelling tears in my eyes and they dripped quietly on the floor as I got on with my day. I tried to keep my focus, ticked off the to-do list, did my chores. Packed orders, wrote emails, paid bills and rewrote stories, but the panic kept growing, exploding in my chest. Tears falling on the desk tick tick tick me not making a sound and some days I just don't know what to do. Where to go or who to see and I try to be gentle, soft and kind, but anxiety eats you up and I just want to be fine. This is not beautiful. This is not useful. You can not do anything with it and it tries to control you, throw you off your balance and lovely ways but you can not let it. I cleaned up. Took myself for a walk. Tried to keep my eyes on the sky. Stayed away from the alcohol, stayed away from the destructive tools we learn to use. the smoking and the starving, the running, the madness, thinking it will help but it only feeds the fire and I don't want to hurt myself anymore. I made it through and today I woke up, lighter and proud because I'm still here. There are flowers growing outside my window. The coffee is warm, the air is pure. In a few hours I'll be on a train on my way to sing for people who invited me to come, to sing, for them. My own songs, that I created. Me—little me. From nowhere at all. And I have people around that I like and can laugh with, and it's spring again. It will always be spring again. And there will always be a new day.

This is it I’m not coming after you I’m going to lie down for half an hour This is it I’m not going down On your memory I’m not rubbing my face in it anymore I’m going to yawn I’m going to stretch I’m going to put a knitting needle Up my nose And poke out my brain I don’t want to love you For the rest of my life I want your skin To fall off my skin I want my clamp To release your clamp I don’t want to live With this tongue hanging out And another filthy song In the place Of my baseball bat This is it I’m going to sleep now darling Don’t try to stop me I’m going to sleep I’ll have a smooth face And I’m going to drool I’ll be asleep Whether you love me or not This is it The new world order Of wrinkles and bad breath It’s not going to be Like it was before Eating you With my eyes closed Hoping you won’t get up And go away It’s going to be something else Something worse Something sillier Something like this Only shorter

Eventually, decades later, when the king was dying, the queen gently ushered everybody out into the corridor, closed the door to the royal bedchamber, and got into bed with her husband. She started singing to him. They laughed. He was short of breath, but he could still laugh. They asked each other, Is this silly? Is this...pretentious? But they both knew that everything there was to say had been said already, over and over, across the years. And so the king, relieved, released, free to be silly, asked her to sing him a song from his childhood. He didn't need to be regal anymore, he didn't need to seem commanding or dignified, not with her. They were, in their way, dying together, and they both knew it. It wasn't happening only to him. So she started singing. They shared one last laugh - they agreed that the cat had a better voice than she did. Still, she sang him out of the world.

If life is a song, you must be the superb lyrics to a sweet melody.

Perhaps we know that one day we will have to release what we are tired of feeding and caring for, when the song of the trees is all we can hope to hear.

Joshen tipped her chin up and kissed her. He was always soft and gentle, but today Senna felt an undeniable hunger somewhere deep inside him. He was trying to suppress it. But she didn’t want that. She wanted him to banish the lingering foulness of the curse and the fear that had never released her from its sweaty grasp, replacing all of that with the sweet taste of his mouth.

Ever since I was small, opera has been a living, breathing part of me. The problem is that as I’ve grown, it’s become more demanding… an entity that controls me. Once a song speaks to my subconscious, the notes become a toxin I have to release through my diaphragm, my vocal cords, my tongue.

I am nothing but oxygen and hydrogen, A luminous sphere of plasma Held together by helium and gravity, And like a balloon I float on earth, Waiting to be released back into the sky, Waiting to go back in the reverse Direction from which I came, Traveling through a warm tunnel of light, And out into a cold, dark abyss Where I will explode into a thousand pieces. I shall leave behind my body, Just like air abandons the skin of a shattered balloon, And the magnetic dust that carries my Heart and spirit will lift us back To congregate and shine With the stars. Home again, In the fluorescent Kingdom of the constellations, I will once again be called by My soul’s true name. And my heart, It will flicker again, With every memory from its many Lifetimes, And with every wish Made by a child. SONG OF THE STAR by Suzy Kassem

The connection being that in my head all language began in song and that the best stories inevitably reutrn to song, to a state of rapture. For years, I had assumed that throwing beautiful words at the page would make my prose feel true. But I had the process exactly backward. It was truth that lifted the language into beauty and toward song. It was a matter of doing what Joe Henry did, of pursuing characters into moments of emotional truth and slowing down. The result was a compression of sensual and psychological detail that released the rhythm and melody in language itself, what Longfellow called "the happy accidents of language.

Something that once had importance might be forgotten by most people but because millions of people once knew it, a force is present that can be harnessed. There might be so much significance attached to a song, for example, or a fact, that it can’t die but only lies dormant, like a vampire in his coffin, waiting to be called forth from the grave once again. There is more magic in the fact that the first mass worldwide photo of the Church of Satan was taken by Joe Rosenthal – the same man who took the most famous news photo in history – the flag-raising at Iwo Jima. There’s real occult significance to that – much more than in memorizing grimoires and witches’ alphabets. People ask me about what music to use in rituals – what is the best occult music. I’ve instructed people to go to the most uncrowded section of the music store and it’s a guarantee what you’ll find there will be occult music. That’s the power of long-lost trivia. I get irritated by people who turn up their noses and whine ‘Why would anyone want to know that?’ Because once upon a time, everyone in America knew it. Suppose there’s a repository of neglected energy, that’s been generated and forgotten. Maybe it’s like a pressure cooker all this time, just waiting for someone to trigger its release. ‘Here I am,’ it beckons, ‘I have all this energy stored up just waiting for you – all you have to do is unlock the door. Because of man’s stupidity, he’s neglected me to this state of somnambulism – dreaming the ancient dreams – even though I was once so important to him.’ Think about that. A song that was once on millions of lips now is only on your lips. Now what does that contain? Those vibrations of that particular tune, what do they evoke, call up? What do they unlock? The old gods lie dormant, waiting.

He was released in 2006, and his memoir, the book for which he was getting the prize in Dayton, In the Place of Justice, tells his story, from being a confused kid caught in a bank robbery gone bad, to a man who had fully taken

A collection of bad love songs, tattered from overuse, has to touch us like a cemetery or a village. So what if the houses have no style, if the graves are vanishing under tasteless ornaments and inscriptions? Before an imagination sympathetic and respectful enough to conceal momentarily its aesthetic disdain, that dust may release a flock of souls, their beaks holding the still verdant dreams that gave them an inkling of the next world and let them rejoice or weep in this world.

I learned to sleep through the day so that I would not be tired when he returned; he always needed to talk then, to tell me down to the last detail about the faces and the wounds and the movements of men. And I wanted to be able to listen, to digest the bloody images, to paint them flat and unremarkable onto the vase of posterity. To release him from it and make him Achilles again.

the song of Mary (the Magnificat; Luke 1:46–55) is about the unthinkable turn in human destinies when all seemed impossible: “For with God nothing will be impossible” (v. 37). The answering song of Zechariah (1:68–79) is a song of new possibilities given late, but not too late, possibilities of deliverance/forgiveness/mercy/light/peace. The old order had left nothing but enslavement/guilt/judgment/darkness and hostility, and no one could see how that could ever change. It will not be explained but only sung about, for the song penetrates royal reason. The song releases energy that the king can neither generate nor prevent. The transformation is unmistakable. Tongues long dumb in hopelessness could sing again.3 The newness wrought by Jesus will not be explained, for to explain is to force it into old royal categories. And in any case the energizing hope comes precisely to those ill-schooled in explanation and understandings. It comes to those who will settle for amazements they can neither explain nor understand.

Cheryl was aided in her search by the Internet. Each time she remembered a name that seemed to be important in her life, she tried to look up that person on the World Wide Web. The names and pictures Cheryl found were at once familiar and yet not part of her conscious memory: Dr. Sidney Gottlieb, Dr. Louis 'Jolly' West, Dr. Ewen Cameron, Dr. Martin Orne and others had information by and about them on the Web. Soon, she began looking up sites related to childhood incest and found that some of the survivor sites mentioned the same names, though in the context of experiments performed on small children. Again, some names were familiar. Then Cheryl began remembering what turned out to be triggers from old programmes. 'The song, "The Green, Green Grass of home" kept running through my mind. I remembered that my father sang it as well. It all made no sense until I remembered that the last line of the song tells of being buried six feet under that green, green grass. Suddenly, it came to me that this was a suicide programme of the government. 'I went crazy. I felt that my body would explode unless I released some of the pressure I felt within, so I grabbed a [pair ofl scissors and cut myself with the blade so I bled. In my distracted state, I was certain that the bleeding would let the pressure out. I didn't know Lynn had felt the same way years earlier. I just knew I had to do it Cheryl says. She had some barbiturates and other medicine in the house. 'One particularly despondent night, I took several pills. It wasn't exactly a suicide try, though the pills could have killed me. Instead, I kept thinking that I would give myself a fifty-fifty chance of waking up the next morning. Maybe the pills would kill me. Maybe the dose would not be lethal. It was all up to God. I began taking pills each night. Each-morning I kept awakening.

Oh the madness of battle! We fear it, we celebrate it, the poets sing of it, and when it fills the blood like fire it is a real madness. It is joy! All the terror is swept away, a man feels he could live for ever, he sees the enemy retreating, knows he himself is invincible, that even the gods would shrink from his blade and his bloodied shield. And I was still keening that mad song, the battle song of slaughter, the sound that blotted out the screams of dying men and the crying of the wounded. It is fear, of course, that feeds the battle madness, the release of fear into savagery. You win in the shield wall by being more savage than your enemy, by turning his savagery back into fear.

Orpheus had found his wife waiting for him and bargained with Hades and Persephone for her release. But Dietmar had no sweet songs to soften the Devil's heart, only his love. Perhaps he would be forced to remain so that they might go free? He would take that bargain and be glad for it.

My Dearest, I miss you, my darling, as I always do, but today is especially hard because the ocean has been singing to me, and the song is that of our life together. I can almost feel you beside me as I write this letter, and I can smell the scent of wildflowers that always reminds me of you. But at this moment, these things give me no pleasure. Your visits have been coming less often, and I feel sometimes as if the greatest part of who I am is slowly slipping away. I am trying, though. At night when I am alone, I call for you, and whenever my ache seems to be the greatest, you still seem to find a way to return to me. Last night, in my dreams, I saw you on the pier near Wrightsville Beach. The wind was blowing through your hair, and your eyes held the fading sunlight. I am struck as I see you leaning against the rail. You are beautiful, I think as I see you, a vision that I can never find in anyone else. I slowly begin to walk toward you, and when you finally turn to me, I notice that others have been watching you as well. “Do you know her?” they ask me in jealous whispers, and as you smile at me, I simply answer with the truth. “Better than my own heart.” I stop when I reach you and take you in my arms. I long for this moment more than any other. It is what I live for, and when you return my embrace, I give myself over to this moment, at peace once again. I raise my hand and gently touch your cheek and you tilt your head and close your eyes. My hands are hard and your skin is soft, and I wonder for a moment if you’ll pull back, but of course you don’t. You never have, and it is at times like this that I know what my purpose is in life. I am here to love you, to hold you in my arms, to protect you. I am here to learn from you and to receive your love in return. I am here because there is no other place to be. But then, as always, the mist starts to form as we stand close to one another. It is a distant fog that rises from the horizon, and I find that I grow fearful as it approaches. It slowly creeps in, enveloping the world around us, fencing us in as if to prevent escape. Like a rolling cloud, it blankets everything, closing, until there is nothing left but the two of us. I feel my throat begin to close and my eyes well up with tears because I know it is time for you to go. The look you give me at that moment haunts me. I feel your sadness and my own loneliness, and the ache in my heart that had been silent for only a short time grows stronger as you release me. And then you spread your arms and step back into the fog because it is your place and not mine. I long to go with you, but your only response is to shake your head because we both know that is impossible. And I watch with breaking heart as you slowly fade away. I find myself straining to remember everything about this moment, everything about you. But soon, always too soon, your image vanishes and the fog rolls back to its faraway place and I am alone on the pier and I do not care what others think as I bow my head and cry and cry and cry.

Yes, a poem, a painting, can draw the sting of troubles from a troubled world and lay in its place a blessed realm before our grateful eyes. Music and sculpture will do likewise. Yet strictly speaking, in fact, there is no need to present this world in art. You have only to conjure the world up before you, and there you will find a living poem, a fount of song. No need to commit your thoughts to paper—the heart will already sing with a sweet inner euphony. No need to stand before your easel and limn with brush and paint—the world’s vast array of forms and colors already sparkles within the inner eye. It is enough simply to be able thus to view the place we live, and to garner with the camera of the sentient heart these pure, limpid images from the midst of our sullied world. And so even if no verse ever emerges from the mute poet, even if the painter never sets brush to canvas, he is happier than the wealthiest of men, happier than any strong-armed emperor or pampered child of this vulgar world of ours—for he can view human life with an artist’s eye; he is released from the world’s illusory sufferings; he is able to come and go at ease in a realm of transcendent purity, to construct a unique universe of art, and thereby to destroy the binding fetters of self-interest and desire.

When you're sad, everything sad builds up. The most painfully truthful thoughts arise, uninvited and unforgiving. The brain, a devoted soldier, always successful, somehow manages to rapidly search its host's darkness. There is no escape to what is next. First, all the buried thoughts you locked in a gloomy chest are released. Second, you begin crying over what you never wanted to admit. Suddenly, you begin to cry over things you did not even know actually deeply hurt you. And sometimes, the wet physicalization of your sorrow isn't enough. Instead, a violent madness stirs in your chest and your head is polluted with a red so angry, your jaw opens to fill the earth with a scream so rare you lose a little of yourself. Your roaring voice trails in pieces, like bullet fragments in flesh, to complete the song that is Loss.

Anger is an energy. It really bloody is. It’s possibly the most powerful one-liner I’ve ever come up with. When I was writing the Public Image Ltd song ‘Rise’, I didn’t quite realize the emotional impact that it would have on me, or anyone who’s ever heard it since. I wrote it in an almost throwaway fashion, off the top of my head, pretty much when I was about to sing the whole song for the first time, at my then new home in Los Angeles. It’s a tough, spontaneous idea. ‘Rise’ was looking at the context of South Africa under apartheid. I’d be watching these horrendous news reports on CNN, and so lines like ‘They put a hotwire to my head, because of the things I did and said’, are a reference to the torture techniques that the apartheid government was using out there. Insufferable. You’d see these reports on TV and in the papers, and feel that this was a reality that simply couldn’t be changed. So, in the context of ‘Rise’, ‘Anger is an energy’ was an open statement, saying, ‘Don’t view anger negatively, don’t deny it – use it to be creative.’ I combined that with another refrain, ‘May the road rise with you’. When I was growing up, that was a phrase my mum and dad – and half the surrounding neighbourhood, who happened to be Irish also – used to say. ‘May the road rise, and your enemies always be behind you!’ So it’s saying, ‘There’s always hope’, and that you don’t always have to resort to violence to resolve an issue. Anger doesn’t necessarily equate directly to violence. Violence very rarely resolves anything. In South Africa, they eventually found a relatively peaceful way out. Using that supposedly negative energy called anger, it can take just one positive move to change things for the better. When I came to record the song properly, the producer and I were arguing all the time, as we always tend to do, but sometimes the arguing actually helps; it feeds in. When it was released in early 1986, ‘Rise’ then became a total anthem, in a period when the press were saying that I was finished, and there was nowhere left for me to go. Well, there was, and I went there. Anger is an energy. Unstoppable.

the scent of fresh-cut grass, which was actually a distress chemical released by the mutilated blades in an anguished effort to repair themselves.

To release him from it and make him Achilles again.

MIDNIGHT RIDER THE ALLMAN BROTHERS Originally released on the album Idlewild South (Capricorn, 1970) Written by Gregg Allman and Robert Kim Payne

When the sun rises, wake with a song Search Embrace dust Balance Soar - However briefly Practice stillness Release the life force Draw from the circle of life

And I wanted to be able to listen, to digest bloody images, to paint them flat and unremarkable onto the vase of posterity. To release him from it and make him Achilles again

There was a song his mom played on the stereo all the time when she was cleaning, and now a line of it recurred to him: I shall be released.

My hand twitched towards him, longing to open the tight buckles, to release him. But I did not. The men were waiting.

I wanted to be able to listen, to digest the bloody images, to paint them flat and unremarkable onto a vase of posterity. To release him from it and make him Achilles again.

his eyes were wired and bugged out.  This was a terrorist mage.  My heart quickened. Their latest trick was using themselves as human bombs to release their black magic, unleashing an explosion of deadly pestilence. If I didn’t stop him, every Oligarch and council member in the city of Mysterium would be annihilated.  I slipped away from Nils. “Song’s not over,” he called out. I ignored him and

Agamemnon posted guards to watch Troy every hour of every day. We were all waiting for something - an attack, or an embassy, or a demonstration of power. But Troy kept her gates shut, and so the raids continued. I learned to sleep through the day so that I would not be tired when he returned; he always needed to talk then, to tell me down to the last detail about the faces and the wounds and the movements of men. And I wanted to be able to listen, to disgest the bloody images, to paint them flat and unremarkable onto the vase of posteriry. To release him from it and make him Achilles again.

WOMEN’S LIBERATION ROCK BAND This real (yes real) band formed in New Haven and Chicago in the 1970s and released an album of songs that included “Ain’t Gonna Marry,” “Dear Government,” and “So Fine.

The physical and visual package of a vinyl album makes it far more desirable and collectible as an object. Vinyl LPs also offer a far better sound quality than the compressed audio files of streaming services. Ultimately, listening to music on a record player releases you from the endless anxiety of choice that comes from digital forms of media where in every single moment you can skip to the next song, or decide you don’t want to listen to what you’re listening to. When you put an album on a record player you are committing your attention to that album. You have bound yourself to the mast.[7]

U2’s music was never really rock ’n’ roll. Under its contemporary skin it’s opera—a big music, big emotions unlocked in the pop music of the day. A tenor out front who won’t accept he’s a baritone. A small man singing giant songs. Wailing, keening, trying to explain the unexplainable. Trying to release himself and anyone who will listen from the prison of a human experience that cannot explain grief.

There must be a law if there is to be liberty. Try to play a piano and you will run into laws as fixed as the decrees of the Medes and Persians. But through those statutes you reach the songs, drudgery leads to delight. The law of Christ brings the liberty of Christ. Keep His statutes, and they become songs. The other side of commandment is conquest. What seems restraint to the outsider means release to you.

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.

What they heard as frenzied abandonment was the sound of his rage. Their joyous release was his escape, his chance to outrun the memories that stalked him. Jazz was freedom. But grief was his fuel. It was that simple and that terrible.

Prayer: Father, as great as my sins are, it is a great and additional sin to refuse to rest in your grace and accept your pardon. Give me the blessedness and release of knowing I am completely, absolutely, freely forgiven through Jesus. Amen.

One Sunday at Woodside, gloomy and hungover, I wrote an instrumental that fitted my mood, and kept singing one line of lyrics over the top: ‘Life isn’t everything’. The next morning I found out that a boy called Guy Burchett who worked for Rocket had died in a motorbike crash at virtually the same time I was writing the song, so I called it ‘Song For Guy’. It was like nothing I’d ever done before, and my American record label refused to release it as a single – I was furious – but it became a colossal hit in Europe.

It’s okay to sing. Hell, it’s okay to record and release songs for absolutely no one but yourself. So what if they don’t top charts? You don’t have to feed the machine for the rest of your life. Especially not when it’s clearly killing you. You could be here and healthy.

Softley’s first album, Songs for Swingin’ Survivors (Columbia), produced by Donovan’s management team of Peter Eden and Geoff Stephens, is one of the three great solo folk albums released in Britain in 1965, alongside Bert Jansch’s second, It Don’t Bother Me, and John Renbourn.

And then there’s the sticky question of “What is the self?” Is it merely a bundle of neural impulses held together by flesh and gravity for a tiny flash of time? And when the flash burns out, does our body turn to dust and our personal ego dissolve into the cosmic soup? Or is each one of us more substantial than that? Are we spiritual beings having a human experience? Does our soul continue once released from the confines of body and ego? And when, as human beings, we listen for guidance from our authentic core, is it really the eternal soul whose song we hear?

As we sprinted from the Candle Room to the Music Club to the Boudoir to the Virtual Video Room, a song called “Interactive” played on a continuous loop in every room. Aech explained that this was a song Prince wrote exclusively for a Myst-like videogame he released with the same title.

Deep in the meadow, under the willow A bed of grass, a soft green pillow Lay down your head, and close your sleepy eyes And when again they open, the sun will rise.   Here it’s safe, here it’s warm Here the daisies guard you from every harm Here your dreams are sweet and tomorrow brings them true Here is the place where I love you.   Rue’s eyes have fluttered shut. Her chest moves but only slightly. My throat releases the tears and they slide down my cheeks. But I have to finish the song for her.   Deep in the meadow, hidden far away A cloak of leaves, a moonbeam ray Forget your woes and let your troubles lay And when again it’s morning, they’ll wash away.   Here it’s safe, here it’s warm Here the daisies guard you from every harm   The final lines are barely audible.   Here your dreams are sweet and tomorrow brings them true Here is the place where I love you.

imagine what we’ll be able to build when we really need something. When the floods start, and the graphs spike red, and we panic. When the last tiger dies, followed by the last polar bear, and the last song thrush, and we are alone – feeling the terrible melancholy, and dishonour, of being the only species left on the planet. Then – when the apocalypse arrives, finally, on our doorstep – we will galvanise, and raise forests, and refreeze the poles, and hatch and release a billion songbirds into the air, because, because – because if we can make New York, we can make anything.

Their lips met with a tenderness Kate had not dreamed possible. The weeks of heart-break and uncertainty, the pain of wasted days, and the despair of unfulfilled dreams released her like winter surrenders its ruthless grip on the frozen earth in early spring. Did every kiss hold such promise?

THIS IS IT This is it I’m not coming after you I’m going to lie down for half an hour This is it I’m not going down on your memory I’m not rubbing my face in it any more I’m going to yawn I’m going to stretch I’m going to put a knitting needle up my nose and poke out my brain I don’t want to love you for the rest of my life I want your skin to fall off my skin I want my clamp to release your clamp I don’t want to live with this tongue hanging out and another filthy song in the place of my baseball bat This is it I’m going to sleep now darling Don’t try to stop me I’m going to sleep I’ll have a smooth face and I’m going to drool I’ll be asleep whether you love me or not This is it The New World Order of wrinkles and bad breath It’s not going to be like it was before eating you with my eyes closed hoping you won’t get up and go away It’s going to be something else Something worse Something sillier Something like this only shorter

To be awed. To experience a communal sense of awe. I can feel it on stage and see it in people’s eyes. And I experience it too. It’s certainly something I have felt many, many times at other artists’ concerts. It’s about reaching an essential and shared state through music – sometimes for a moment, sometimes for an entire concert. We’ve all experienced that. Not just a physical release, although there is that, too, but to be held by an artist at the crucial moment of expression – to be awed, second by second, at the way a song or piece of music unfolds, to be held on the edge of tears by the drama of it all, and to be, as an audience member, an essential participant in the drama itself. That is a wonderful thing. […] So thank God, quite literally, for music, because it’s one of the last remaining places, beyond raw nature, that people can feel awed by something happening in real time, that feeling of reverence and wonder. […] These are sacred moments.

FRANK BIDART Song of the Mortar and Pestle The desire to approach obliteration preexists each metaphysic justifying it. Watch him fucked want to get fucked hard. Christianity allowed the flagellants light, for even Jesus found release from flesh requires mortification of the flesh. From the ends of the earth the song is, Grind me into dust.

Philips was setting up a new ‘underground’ label called Vertigo when we were looking for a deal. We were a perfect fit. But the funny thing was that Vertigo wasn’t even up and running in time for our first single, ‘Evil Woman’, so it was originally released on another Philips label, Fontana, before being reissued on Vertigo a few weeks later. Not that it made any f**king difference: the song went down like a concrete turd both times. But we didn’t care, because the BBC played it on Radio 1. Once. At six o’clock in the morning. I was so nervous, I got up at five and drank about eight cups of tea. ‘They won’t play it,’ I kept telling myself, ‘They won’t play it...’ But then: BLAM...BLAM... Dow-doww... BLAM... Dow-dow-d-d-dow, dooooow... D-d-d-d-d-d-d-d-d DUH-DA! Do-doo-do DUH-DA! Do-doo-do... It’s impossible to describe what it feels like to hear yourself on Radio 1 for the first time. It was magic, squared. I ran around the house screaming, ‘I’m on the radio! I’m on the f**king radio!’ until my mum stomped downstairs in her nightie and told me to shut up.

Forgiving someone doesn’t mean you condone or approve of what they did. Forgiveness is not for the other person at all. It has nothing to do with whether they deserve it or not. Forgiveness is an act of self-love. The best revenge really is a life well lived. While fantasizing about all kinds of revenge was fun for a while, I realized it would only perpetuate what I wanted to be free of, and it would keep me from healing. My advice to anyone struggling with betrayal is don’t let yourself be abused twice. First by the act committed against you, and second by believing it has ruined your ability to experience happiness, trust, or love. Forgive someone who has hurt you so they may receive that gift, and more important because you know it is the scissor that cuts the cord that binds you together. Remember that betrayal doesn’t happen to you so much as it happens by someone else. Forgiveness allows you to release anger. Carrying anger with you is like lighting your own house on fire to get rid of rats. The rats run to safety while you burn yourself down. Forgive. Let go. Heal.

I feel as though dispossessed from the semblances of some crystalline reality to which I’d grown accustomed, and to some degree, had engaged in as a participant, but to which I had, nevertheless, grown inexplicably irrelevant. But the elements of this phenomenon are now quickly dissolving from memory and being replaced by reverse-engineered Random Access actualizations of junk code/DNA consciousness, the retro-coded catalysts of rogue cellular activity. The steel meshing titters musically and in its song, I hear a forgotten tale of the Interstitial gaps that form pinpoint vortexes at which fibers (quanta, as it were) of Reason come to a standstill, like light on the edge of a Singularity. The gaps, along their ridges, seasonally infected by the incidental wildfires in the collective unconscious substrata. Heat flanks passageways down the Interstices. Wildfires cluster—spread down the base trunk Axon in a definitive roar: hitting branches, flaring out to Dendrites to give rise to this release of the very chemical seeds through which sentience is begotten. Float about the ether, gliding a gentle current, before skimming down, to a skip over the surface of a sea of deep black with glimmering waves. And then, come to a stop, still inanimate and naked before any trespass into the Field, with all its layers that serve to veil. Plunge downward into the trenches. Swim backwards, upstream, and down through these spiraling jets of bubbles. Plummet past the threshold to trace the living history of shadows back to their source virus. And acquire this sense that the viruses as a sample, all of the outlying populations withstanding: they have their own sense of self-importance, too. Their own religion. And they mine their hosts barren with the utilitarian wherewithal that can only be expected of beings with self-preservationist motives.

[T]he old stories of human relationships with animals can't be discounted. They are not primitive; they are primal. They reflect insights that came from considerable and elaborate systems of knowledge, intellectual traditions and ways of living that were tried, tested, and found true over many thousands of years and on all continents. But perhaps the truest story is with the animals themselves because we have found our exemplary ways through them, both in the older world and in the present time, both physically and spiritually. According to the traditions of the Seneca animal society, there were medicine animals in ancient times that entered into relationships with people. The animals themselves taught ceremonies that were to be performed in their names, saying they would provide help for humans if this relationship was kept. We have followed them, not only in the way the early European voyagers and prenavigators did, by following the migrations of whales in order to know their location, or by releasing birds from cages on their sailing vessels and following them towards land, but in ways more subtle and even more sustaining. In a discussion of the Wolf Dance of the Northwest, artists Bill Holm and William Reid said that 'It is often done by a woman or a group of women. The dance is supposed to come from the wolves. There are different versions of its origin and different songs, but the words say something like, 'Your name is widely known among the wolves. You are honored by the wolves.' In another recent account, a Northern Cheyenne ceremonialist said that after years spent recovering from removals and genocide, indigenous peoples are learning their lost songs back from the wolves who retained them during the grief-filled times, as thought the wolves, even though threatened in their own numbers, have had compassion for the people.... It seems we have always found our way across unknown lands, physical and spiritual, with the assistance of the animals. Our cultures are shaped around them and we are judged by the ways in which we treat them. For us, the animals are understood to be our equals. They are still our teachers. They are our helpers and healers. They have been our guardians and we have been theirs. We have asked for, and sometimes been given, if we've lived well enough, carefully enough, their extraordinary powers of endurance and vision, which we have added to our own knowledge, powers and gifts when we are not strong enough for the tasks required of us. We have deep obligations to them. Without other animals, we are made less. (from her essay "First People")

A BRAVE AND STARTLING TRUTH We, this people, on a small and lonely planet Traveling through casual space Past aloof stars, across the way of indifferent suns To a destination where all signs tell us It is possible and imperative that we learn A brave and startling truth And when we come to it To the day of peacemaking When we release our fingers From fists of hostility And allow the pure air to cool our palms When we come to it When the curtain falls on the minstrel show of hate And faces sooted with scorn are scrubbed clean When battlefields and coliseum No longer rake our unique and particular sons and daughters Up with the bruised and bloody grass To lie in identical plots in foreign soil When the rapacious storming of the churches The screaming racket in the temples have ceased When the pennants are waving gaily When the banners of the world tremble Stoutly in the good, clean breeze When we come to it When we let the rifles fall from our shoulders And children dress their dolls in flags of truce When land mines of death have been removed And the aged can walk into evenings of peace When religious ritual is not perfumed By the incense of burning flesh And childhood dreams are not kicked awake By nightmares of abuse When we come to it Then we will confess that not the Pyramids With their stones set in mysterious perfection Nor the Gardens of Babylon Hanging as eternal beauty In our collective memory Not the Grand Canyon Kindled into delicious color By Western sunsets Nor the Danube, flowing its blue soul into Europe Not the sacred peak of Mount Fuji Stretching to the Rising Sun Neither Father Amazon nor Mother Mississippi who, without favor, Nurture all creatures in the depths and on the shores These are not the only wonders of the world When we come to it We, this people, on this minuscule and kithless globe Who reach daily for the bomb, the blade and the dagger Yet who petition in the dark for tokens of peace We, this people on this mote of matter In whose mouths abide cankerous words Which challenge our very existence Yet out of those same mouths Come songs of such exquisite sweetness That the heart falters in its labor And the body is quieted into awe We, this people, on this small and drifting planet Whose hands can strike with such abandon That in a twinkling, life is sapped from the living Yet those same hands can touch with such healing, irresistible tenderness That the haughty neck is happy to bow And the proud back is glad to bend Out of such chaos, of such contradiction We learn that we are neither devils nor divines When we come to it We, this people, on this wayward, floating body Created on this earth, of this earth Have the power to fashion for this earth A climate where every man and every woman Can live freely without sanctimonious piety Without crippling fear When we come to it We must confess that we are the possible We are the miraculous, the true wonder of this world That is when, and only when We come to it.

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!

He thrust his pelvis against his mattress, humping his pillow and thinking of no particular woman or memory, but merely the idea of being touched by someone—anyone. It was a sort of sorrowful pornography, masturbating to the day he would never need to masturbate. He closed his eyes and released on his sheets two fluids of desperation: semen of a lonely man and tears of a lonelier one.

The best-known connection between footfall, knowledge and memory is the Aboriginal Australian vision of the Songlines. According to this cosmogony, the world was created in an epoch known as the Dreamtime, when the Ancestors emerged to find the earth a black, flat, featureless terrain. They began to walk out across this non-place, and as they walked they broke through the crust of the earth and released the sleeping life beneath it, so that the landscape sprang up into being with each pace. As Bruce Chatwin explained in his flawed but influential account, ‘each totemic ancestor, while travelling through the country, was thought to have scattered a trail of words and musical notes along the line of his footprints'. Depending on where they fell, these foot-notes became linked with particular features of the landscape. Thus the world was covered by ‘Dreaming-tracks’ that ‘lay over the land as “ways” of communication’, each track having its corresponding Song.... To sing out was–-and still is, just about, for the Songs survive, though more and more of them slip away with each generation–-therefore to find one’s way, and storytelling was indivisible from wayfaring.

She was a mimicry of a façade fashioned from the half-truths of her life. She was a beautiful abomination, patched together from the most pristine and terrible parts she could find. She was a black crystal of many cuts and facets whose dark glow suffocated and entranced those it washed over. There was a pointlessness in her eyes and apathy in her stature, and further in, past the symphonies of nightmarish screams was a blinding light. All the capability she could ever ask for kept in a place she would never reach. She chose the ice rather than the fire, shivering and hard with heat sparse, for while a flicker can exist in freeze's cold, it's heat will not radiate, no matter how bold. She took my face in hands that would make ice seem warm and whispered a blizzard into my ear, a cascading song of fear after fear. The lies she spilled, mixed with regrets and appeal, were cloaked in the inferno of her rage, the anger, the only thing that really made her real. This was her one semblance of life, a bottomless and endless void of proportions vast with a calamity of fusion and fission streaking through, a mindless hue, an emotion with a face, a darling of her race. The cracks spew darkness from within her ever so pale skin. They congregated on her curves and flesh in black and churning rivers and streams. They flooded every dip with blackness. They filled every hollow with unstable curiosity, this is her release, this is when she is free. The faces of deceit always laugh, they never wallow for their lies are a pleasure tool, her insides are contorted in laughter the same way, just as slick, just as cruel. A crude combination of fascination, of animation, of the darkest demons of them all. She was poetry written in pen, scratched and scribbled again and again. Ink splattered across the page, and within those scrawled words, those small, sharp incisions, an image can be seen, and you're left to wonder what, in the end, this all could mean...

Beckett, where’s Eve?” When he had her pressed to his chest, she tried again. “Are you going to tell me or what?” Beckett sighed and looked into her face. “I left her, babycakes. She needs wings, not handcuffs.” He held Livia tighter, like she was a teddy bear. She stopped moving her feet and hugged him around the neck. “You’re not handcuffs. Don’t you know that? She loves you. She does, I’ve seen it.” Beckett resumed dancing, dipping her again. “Look around, Whitebread. She’s not here. She didn’t try to stop me from coming. Her heart belongs to a dead man and a dream. I’m neither of those things.” Beckett released her and clapped for the end of the song. He reached in his pocket and produced a crumpled envelope. “Here’s my gift to you guys. I’m sure Blake won’t want to accept it, but I’m hoping you’ll convince him. For me.

In 1938, blues musician Lead Belly sang a song he wrote about “the Scottsboro boys,” a group of Black teenagers who were sent to jail after being falsely accused of raping two white women on a train (one of the women later admitted it was a made-up charge). After the song, Lead Belly talked about the case and advised fellow Black Americans “to stay woke—keep their eyes open.” Stay woke. The term has been a part of the Black American lexicon for a very long time. In more recent years, the term has evolved from the way Lead Belly was using it—warning Black people to stay alert to dangerous situations that might arise—to a broader meaning about staying aware of racist systems of oppression. After the release of Erykah Badu’s 2007 song Master Teacher, with a chorus that repeated the line “I stay woke,” the term exploded into the mainstream.

Deep in the meadow, under the willow A bed of grass, a soft green pillow Lay down your head, and close your sleepy eyes And when again they open, the sun will rise. Here it’s safe, here it’s warm Here the daisies guard you from every harm Here your dreams are sweet and tomorrow brings them true Here is the place where I love you. Rue’s eyes have fluttered shut. Her chest moves but only slightly. My throat releases the tears and they slide down my cheeks. But I have to finish the song for her. Deep in the meadow, hidden far away A cloak of leaves, a moonbeam ray Forget your woes and let your troubles lay And when again it’s morning, they’ll wash away. Here it’s safe, here it’s warm Here the daisies guard you from every harm The final lines are barely audible. Here your dreams are sweet and tomorrow brings them true Here is the place where I love you.

I did it the hard way (a poem) ___________________ Many of the big dreams I dreamt, I dreamt, when I met a failed attempt. Life taught me to believe that Great ideas can start from a wretched hut. Many of the strongest steps I took, I took, when I was given the fiercest look. My passion pokes me to understand That people’s mockeries, I can withstand. Many of the fastest speeds I gained, I gained when I was bitterly stained. I first thought the only way was to quit As I tried again, I no longer have guilt. Many of the bravest decisions I made, I made, when my life was about to fade. I was frustrated and ripe to sink. But then I strive to release the ink. Many of the longest journeys I started, I started, having no resource; money parted I relied on God my creator all dawn long And at dusk He gave me a new song. Many of the hardest questions I tackled, I tackled, when I was heckled. They were very troublesome to settle But I make it happen little by little Yet, it was not I, but the Lord Jesus The saviour who gives me success. In Him, through Him and by Him I have the liberty to do everything with vim. I don’t want to enjoy this liberty alone. You too must step out of your comfort zone. It’s not easy, but you can do it anyway. Jesus is the life, the truth and the way.

Every inch of me burned and tightened, and my control slipped entirely as he whispered, “I love you.” Release tore through my body, and he pounded into me, hard and fast, drawing out my pleasure until I felt and saw and smelled that bond between us, until our scents merged, and I was his and he was mine, and we were the beginning and middle and end. We were a song that had been sung from the very first ember of light in the world.

The glorious, unending laps players take around refrains in Dylan’s “Like a Rolling Stone” release even more energy than they gather up; the more they hug the song’s corners to make sense of Dylan’s casual threats, the more his disdain hovers over them, tantalizingly out of reach. In such defining moments, a stylistic genie got released from its bottle, and many found new places for themselves just by chasing some of the same riffs atop their own beats.

The thing about awkward people was that they made so many mistakes, you could make your own around them. They wouldn’t ding you for it. From their presence, you could be yourself around them and simply release. It was strangely relieving being around someone who made you uncomfortable. Not only were they interesting to watch, but you could do just about anything with them. It was as if some bodies were made of an all-purpose fiber that excluded no activity from its nature.

Aurora was romantic and brooding and heartbreaking and volatile all at once. In the age of arena rock, Daisy Jones & The Six managed to create something that felt intimate even though it could still play to a stadium. They had the impenetrable drums and the searing solos—they had songs that felt relentless in the best way possible. But the album also felt up close and personal. Billy and Daisy felt like they were right next to you, singing just to each other. “And it was deeply layered. That was the biggest thing Aurora had going for it. It sounds like a good-time album when you first listen to it. It’s an album you can play at a party. It’s an album you get high to. It’s an album you can play as you’re speeding down the highway. “But then you listen to the lyrics and you realize this is an album you can cry to. And it’s an album you can get laid to. “For every moment of your life, in 1978, Aurora could play in the background. “And from the moment it was released, it was a juggernaut.

This sludge oozes like a dying sea snake, though it tastes like it's already dead. Some evil force made up this concoction, intending to release it to wreak havoc on an unsuspecting world. But the creator made the mistake of tasting his creation and passed on. The world was saved for a moment. Still, like the black plague, this thing refused to fade out forever. I'm sad to report that our good friend Cliff behind the bar rediscovered it. Now it's spreading around the world as if carried by rats.

BAPTISM BY FIRE Scriptures for meditation: 2 Chronicles 6; 7:1-6 Confession: Jer. 20:9 PRAYER POINTS Thank God for the purifying power of the fire of the Holy Ghost. I cover myself with the blood of the Lord Jesus. Father, let Your fire that burns away every deposit of the enemy fall upon me in the name of Jesus. Holy Ghost fire, incubate me in the name of the Lord Jesus Christ. I reject any evil stamp or seal placed upon me by ancestral spirits in the name of Jesus. I release myself from every negative anointing in the name of Jesus. Let every door of spiritual leakage be closed in the name of Jesus. I challenge every organ of my body with the fire of the Holy Spirit. (Lay your right hand methodically on various parts of the body beginning from the head.) Let every human spirit attacking my own spirit release me in the mighty name of Jesus. I reject every spirit of the tail in the name of Jesus. Sing the song "Holy Ghost fire, fire fall on me". Let all evil marks on my body be burnt off by the fire of the Holy Spirit in the name of Jesus. Let the anointing of the Holy Ghost fall upon me and break every negative yoke in the name of Jesus. Let every garment of hindrance and dirtiness be dissolved by the fire of the Holy Ghost in the name of Jesus. I command all my chained blessings to be unchained in the name of Jesus. Let all spiritual cages inhibiting my progress be roasted by the fire of the Holy Spirit in the name of Jesus. Now Make this Powerful Confession Before You Proceed I boldly declare that my body is the temple of God and that the Holy Ghost is dwelling in me. I am cleansed through the blood of the Lord Jesus Christ. Therefore, whosoever wants me to go into captivity shall go into captivity. Whosoever wants me to die by the sword shall die by the sword. The strangers shall fade away and be afraid out of their close places in the mighty name of the Lord Jesus Christ. They shall lick the dust like a serpent, they shall move out of their holes like worms of the earth,

I knew how to make noise for a cause. It was natural, I understood, for Americans to feel disconnected from the struggles of people in faraway countries, so I tried to bring it home, calling up celebrities like Stephen Colbert to lend their star power at events and on social media. I'd enlist the help of Janelle Monae, Zendraya, Kelly Clarkson and other talents to release a catchy pop song written by Diane Warren called "This is for my Girls" the proceeds of which would go towards funding girls' education globally.

Rudel Correze is far from the first to seek to aid me in my passage to Rian. But I find myself still among the living, and I have discovered that I value this world for itself, not merely as a matter for someone's song. I love it for its heady wines and its battles, for the beauty of its women and their generosity and their pride, for the companionship of brave men and clever ones, the promise of spring in the depths of winter and the even surer promise that Rian and Corannos are waiting for us, whatever we may do. And I find now, your highness, long past the fires of my heart's youth and yours, that there is one thing I love more, even more than the music that remains my release from pain.' 'Love, de Talair? This is a word I did not expect to hear from you. I was told you foreswore it more than twenty years ago. The whole world was speaking of that. This much I am certain I remember. My information, so far distant in our cold north, seems to have been wrong in yet another matter. What is the one thing, then, my lord duke? What is it you still love?' 'Arbonne.

Rhage.” “What?” “I'll tell you this. Your destiny's coming for you. And she's coming soon.” Rhage laughed. “Oh, yeah? What's the female like? I prefer them—” “She's a virgin.” A chill shot down Rhage's spine and nailed him in the ass. “You're kidding, right?” “Look in my eye. Do you think I'm jerking you off?” V paused for a moment and then opened the door, releasing the smell of beer and human bodies along with the pulse of an old Guns N' Roses song. As they went inside, Rhage muttered, “You're some freaky shit, my brother. You really are.

The Beatles were particularly prominent examples, and Dylan’s central position in rock history is rooted in that brief period when he and the Beatles were running neck and neck. He released Bringing It All Back Home in the spring of 1965, Highway 61 Revisited that summer, and Blonde on Blonde a year later. Rubber Soul, the first Beatles album conceived as a cohesive artistic statement, was released in December 1965, followed by Revolver seven months later. In commercial terms the Beatles were in a different league: on the American market, they released four LPs of new material in 1965 and two in 1966, and each spent more than five weeks at number one on Billboard’s album chart, while Dylan would not have a number one album until the mid-1970s. But they were evolving from teen-pop hit-makers into mature, thoughtful artists, with Dylan as their acknowledged model. McCartney recalled playing him a tape of their new songs when he came through London in the spring of 1966: “He said, ‘O I get it, you don’t want to be cute anymore!’ That summed it up. . . . The cute period had ended. It started to be art.

The Book Lover:- See how I have come up in the World, because of my books. I pull the covers agape, pages release their cargo and words fly like birds each with its own song. Listen, and vowels will breathe like flutes in your head, Consonants tick-tack like woodpeckers, and sibilants, sly as asps, bite the plosives that pop from our pressed lips. A picture worth a thousand words? You paint a score of trees, dark needled, stippled and stroked across your canvas: My book say ‘’forrest’’ (Feel that Pine green touch) You wash your paper with azures and turquoise, set ship after ship, sails wind-pregnant, As far as the daubed horizon: my books say ‘’armada’’. (Smell that sea-green scent) Art’s shape is their noun, its colour their objective, Its tone their adverb; my books match the grammar of landscapes. This book may say ‘Socrates’ secrets, Freud’s autopsy of actions or Heaney’s verses; Every idea dreamed by man caught, black stamped for all time, within its cardboard confines. Here the past speaks to us, as the future will, in the language of our senses. Step up book by book- In time, you will reach the stars.

Traffic on Wisconsin Avenue wasn’t too bad, but he hit his first snag of the day when he found Pennsylvania to be mired in gridlock. While he crept forward he sang along with his Blaupunkt stereo. Neil Young’s On the Beach was a 1974 release that would have been a unique listening choice for most thirty-two-year-olds, but Ross had grown up with it. Revolution music, his mother used to call it, although Ethan realized there was a certain dissonance to the concept of singing along with antiestablishment songs while driving his luxury car on his way to his government job.

It's an Irish Republican rebel ballad from the 1840s. The reason I know is because I was once in a bar in Liverpool and a couple of lads started singing it and a couple others objected and a fight broke out. As a loyal subject of the Crown, I was on the side of the objectors. We eventually prevailed, but, even if we hadn't, 'A Nation Once Again' is a fine song to get your head kicked into, at least when compared to 'Believe' by Cher, which would rank pretty high on the list of numbers I'd least like to be listening to as my eye's gouged out and I fall into a coma, although it would be a merciful release.

The marketing geniuses on the corporate side of the country music labels had decided to start using focus groups to test their products before they were developed or released. An example of this would be to ask the focus group whether they liked sad songs or happy songs. “We like happy songs!” the focus group would chirp, and the word would go back to the writers and producers to come up with “happy” songs to record. This made it especially hard on the songwriters, who rarely feel a need to write when they are happy, as then they are busy luxuriating in the pleasure of happiness. When something bad happens, they want to find a way to transcend it, so they write a song about it. When Hank Williams, one of the greatest and most successful country artists of all time, wrote a song like “Your Cheatin’ Heart” or “I’m So Lonesome I Could Cry,” he wasn’t writing “happy” songs, yet they made the listener feel better. The listener could feel that someone else had gone through an experience similar to the listener’s own, and then went to the trouble and effort to write it down accurately and share the experience like a compassionate friend might do. In this way, hearing a song like “I’m So Lonesome I Could Cry” could make the listener feel better, or “happy.

The great ones, however, never get lost in those distractions. Biggie in particular was legendary for his ability to stay focused. There could be all sorts of things going on—drinks being passed, blunts being rolled, people trying to holler at him about various projects—but he’d just sit in a chair with his eyes closed, seemingly oblivious to all the chaos around him. That was his way of connecting to the stillness inside of him, so that when it was time to get behind the microphone, he wasn’t caught up in worrying about how his last record did or how this one might be received once it was released. No, when it was time to make a song, he was always able to connect with both the music he was hearing in his headphones and the poetry that was filling up his heart. The same way today artists like Jay Z or Lil Wayne are able to create entire songs without ever putting a word down on paper. Through being able to connect completely with the music, they are able to operate from that “zone” that the great ones are able to access. That might not sound like a big deal, but I’ve seen so many artists get sidetracked by those distractions. And when it’s time for them to get in the recording booth and execute their craft, their mind is somewhere else. Sure, they’re rapping along to the beat, but they’re not connected to it.

He gave Jude the bunch of herbs, which he was still holding, and Jude thanked him, pinching its little purple flowers between his fingers to release its perfume. 'I think it's a kind of perilla,' he said, and held his fingers up for Willem to smell. 'Nice,' he said, and they smiled at each other. And so Jude began, and he followed, and he made it through without going sharp. And at the end of the song, just after the last note, Jude immediately began singing the next song on the list, 'For Unto Us a Child Is Born,' and after that, 'Good King Wenceslas,' and again and again, Willem followed. His voice wasn't as full as Jude's, but he could tell in those moments that it was good enough, that it was maybe better than good enough: he could tell it sounded better with Jude's, and he closed his eyes and let himself appreciate it. They were still singing when the doorbell chimed with their breakfast, but as he was standing, Jude put his hand on his wrist, and they remained there, Jude sitting, he standing, until they had sung the last words of the song, and only after they had finished did he go to answer the door. Around him, the room was redolent of the unknown herb he'd found, green and fresh and yet somehow familiar, like something he hadn't known he had liked until it had appeared, suddenly and unexpectedly, in his life.

42. What is the name of her first EP? Title 43. When was her first EP released? September 9, 2014 44. What was she nominated for at the 2014 American Music Awards? New Artist of the Year 45. What was she nominated for at the 2014 MTV Europe Music Awards? Best Song with a Social Message 46. What was she nominated for at the 2014 NewNowNext Awards? Best New Female Musician 47. What was she nominated for at the 2014 Capricho Awards? Revelation International 48. What was she nominated for at the 2015 People's Choice Awards? Favorite Breakout Artist and Favorite Song 49. What was she nominated for at the 2015 Grammy Awards? Record of the Year and Song of the Year 50. Which albums of hers are self-released? I'll Sing with You and Only 17

You describe the poet as a great and wonderful man whose feet are on the ground, while his head disappears in the clouds. Of course, that is a perfectly ordinary image drawn within the intellectual framework of lower-middle-class convention. It is an illusion based on wish fulfillment, which has nothing in common with reality. In fact, the poet is always much smaller and weaker than the social average. Therefore he feels the burden of earthly existence much more intensely and strongly than other men. For him personally his song is only a scream. Art for the artist is only suffering, through which he releases himself for further suffering. He is not a giant, but only a more or less brightly plumaged bird in the cage of his existence.

Beings Trees in Autumn
 These trees in Buddhist saffron robes renouncing everything,
becoming naked without fear,
in win that is a part of them, disclose a beauty in this death, become new shapes, interior.
To live they cannot hoard;
This losing, too, is growth.
New shapes emerge, new vision clears. Surrender strengthens in the soul another song. This emptying is confidence
in springs, but more-a farthing in the growth that’s come before, a counting of the gifts
and then releasing one by one, so as to give again,
Knowing growth is not a season, but is in the root of things.
This is no losing,
but a becoming.
Coveting such openness
of limb and heart and hand, such bareness in the singing,
I only now discover that I want this wind, blowing where it will, within.

Do you like Phil Collins? I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was on Duke where Phil Collins' presence became more apparent. I think Invisible Touch was the group's undisputed masterpiece. It's an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the preceding three albums. Christy, take off your robe. Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. Sabrina, remove your dress. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. Sabrina, why don't you, uh, dance a little. Take the lyrics to Land of Confusion. In this song, Phil Collins addresses the problems of abusive political authority. In Too Deep is the most moving pop song of the 1980s, about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as anything I've heard in rock. Christy, get down on your knees so Sabrina can see your asshole. Phil Collins' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like In the Air Tonight and Against All Odds. Sabrina, don't just stare at it, eat it. But I also think Phil Collins works best within the confines of the group, than as a solo artist, and I stress the word artist. This is Sussudio, a great, great song, a personal favorite.

First coming He did not wait till the world was ready, till men and nations were at peace. He came when the Heavens were unsteady, and prisoners cried out for release. He did not wait for the perfect time. He came when the need was deep and great. He dined with sinners in all their grime, turned water into wine. He did not wait till hearts were pure. In joy he came to a tarnished world of sin and doubt. To a world like ours, of anguished shame he came, and his Light would not go out. He came to a world which did not mesh, to heal its tangles, shield its scorn. In the mystery of the Word made Flesh the Maker of the stars was born. We cannot wait till the world is sane to raise our songs with joyful voice, for to share our grief, to touch our pain, He came with Love: Rejoice! Rejoice!

One of my favorite “deep thoughts” on the topic occurred when one of my other bands, Loaded, was opening for Alice Cooper a number of years back. After one particularly successful show, we got to talking about Bon Jovi. In the song “Wanted Dead Or Alive,” the claim is made that “I’ve seen a million faces, and I’ve rocked them all.” All? Let’s ponder. I have no doubt that Bon Jovi had played to a million people by the time “Dead or Alive” was released on Slippery When Wet in 1986. But did they rock them all? Couldn’t it be that some dudes brought their girlfriends to the show and weren’t necessarily into their music? What about some parents? Or maybe some people just didn’t get rocked? Hey, it’s happened to me. I’ve gone to gigs properly prepared to get rocked and it just didn’t happen.

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.

When I got off the phone, my earbuds were still in from the call and my phone started playing a song, which it sometimes does, without my explicit instruction. The song it played was a U2 song from an album that was released when I was finishing high school, an album I played on a CD boom box, lying on my bed, staring up at the ceiling, thinking about how I was at the end of some beginning, which made what came next the beginning of the end. I walked over to the bodega on a corner at Sixth and bought a pack of cigarettes. The man who sold them to me didn’t look at me funny; he didn’t tell me I was too old to be playing games like this. I went back to the bench and lit a cigarette and inhaled, the smoke entering my body and filling it with poison, with something. — THE HOUSE IN East Hampton was no longer Toby’s, as if it ever was,

Essay on Lust Identity can’t be concise. It’s knit from sequins and lust and scatters. Mostly everyone was fucking the seven arts with a willed difficulty. Then for one day there was the collective sensation that we carried our lovely voices as if in baskets, piled up in clear tones like grapes. Each voice had achieved its particular mass. From an interior space we heard the word sequin repeating in relation to leaves and the image was yellow-gold leaves moving on dark water. We had undergone an influence of death which was itself imprinted on such a moving sequin: the breath sequins, the heartbeat sequins, the organs and their slowing articulation sequins which drifting from the foreground appear to dim since they gradually go out to illuminate some event so distant we will never own the moment of its perception. But all this gives the illusion of peacefulness which is inert or at least passive when breaths burst smashing into sobbed words some urgent errand trapped in these letters as labour of light diminishing rhythm and if we fiercely decide to clear the stupid human stuff stop waiting for something to come to the father-studded earth shouldn’t this impatience release itself as a tongue so new weeping stops. In young women enamoured of their own intensities the Latin element wells up and knits from lust the pelt on the wall that’s ocelot or shadepelt or the imagination of matter. Nothing’s frugal. As for us, we want to give the city what lust has never ceased to put together. Young women or other women carrying their lovely voices as if on platters, their ten voices or nine voices in urgent errand dictating the imagination of matter. It is not our purpose to obscure the song of no-knowledge.

Scared?" he asked a few minutes later. Willow glanced up in surprise. "Scared of what?" "Me." "Should I be?" "You're an attractive woman practically alone with a man who's reputation is questionable." When she didn't repsond, he moved out of the shadows to stand over her. He restated his question. "Are you worried?" His stance and narrow-eyed expression were almost menacing. Was his move meant to intimidate her? The thought miffed her. She abruptly stood and moved closer, staring up at him defiantly. "I don't scare easy. 'Sides, I can take care of myself." His smile was rueful. "Against a man my size?" "My brothers taught me tricks to make up for my smaller size-if you'll remember correctly." Rider scowled. "I was caught off guard that day. What you did wasn't a very ladylike thing to do, you know." Willow's ire flared. "You got a real thing about this ladylike stuff, don't you, mister?" She punctuated each word with a jab of her finger against his chest. "Well,let me tell you something. When a gentleman forgets to be a gentleman, I reckon a lady can forget to be a lady." Rider captured her finger in his hand, surprising her with his smile. "You know, you're absolutely right. I can't argue with the truth; it would't be gentlemanly. Shall we call a truce and agree to be friends?"" Willow tried to tug her finger out of his grasp but he held it tight. "Well?" he prodded. "We can call a truce, but I ain't ready to call you friend." He retained his hold on her finger. "Friendly acquaintances, perhaps?" His grin was infuriating, but her finger was going numb. "Maybe," she relented. "Well,that's better than nothing, I suppose." He released her stiff finger, and she shook it behind her back to restore the circulation.

Crip writing is a piece of driftwood I grabbed and hung on to that stopped me from going under, this pandemic two years when everyone died, my best, most-needed beloveds, the ones the world needed the most. By crip writing I mean the crip poetry and writing I read, from PDF online zines and Twitter and blogs and Instagram and more and more and more books every year we made with all our world-changing crip-lit labor. I mean writing it to make meaning out of the rage and empty, the crip bitter and fried of our friends being stolen from us. I mean writing that saves our lives and makes new ones. Every line I write is a nocked arrow, the string pulled back, the exhale of release, the deep c*nt feeling of yes as it hits the mark, as it goes farther than we have before, to the place we knew we needed named. Alexis Pauline Gumbs once wrote, "Our future deserves a present where our truths were written," and we are writing down our crip everyday, and out of that, writing our future.

Was it as scary for you as it is for me? Falling for Sawyer?” “Not really, no.” She shakes her head. “I’m sure I had some of the same worries, everyone does. But I’m a leaper. You’re a thinker. We process things differently.” “You didn’t have a panic attack and run away?” I ask sarcastically. “No,” she muses. “Not even that time he refused to have sex with me.” “That was your first date, Everly. And you did have sex,” I remind her. I know, because I heard about it for a week. “Whew.” She blows out a breath. “It was a tough few hours though. How is Boyd’s POD by the way? Can we talk about that?” She leans forward on the couch, looking at me expectantly. “Um, no. I don’t think so.” She shrugs good-naturedly then changes the subject back to me. “Chloe, why didn’t you tell me you were struggling with your anxiety? You know I’m never too busy for you, no matter how many husbands or children I have.” “You have one husband, babe,” Sawyer says, walking into the room at that moment. “You’re still the one, baby.” “We’ve been married for three months, Everly. I sure as hell better still be the one.” “Sawyer,” she sighs. “I was trying to have a moment, okay? Work with me.” “Next time, try waiting more than a day after downloading Shania Twain’s greatest hits to your iPod. You do realize the receipts come to my email, don’t you?” “Um.” Everly looks away and scrunches her nose. “No?” “You’ve been on quite the 90’s love ballads kick this week. Which is weird, because you’re not old enough to have owned the CD’s those songs were originally released on.” He looks at her with amused interest. “What’s a CD?” She blinks at Sawyer dramatically. “Cute. Keep it up.” “Nineties music is all the rage with the millennials,” she tells him with a shrug. “I saw a blog post about it.” “Don’t worry, sweets. We’ll beat the odds together.” He winks and she scowls. “You’re still the only one I dream of,” he calls as he walks into the kitchen and grabs a bottle of water. “See! I don’t even care that you lifted that from a song. It still gave me all the feels!

The Poised Edge of Chaos Sand sifts down, one grain at a time, forming a small hill. When it grows high enough, a tiny avalanche begins. Let sand continue to sift down, and avalanches will occur irregularly, in no predictable order, until there is a tiny mountain range of sand. Peaks will appear, and valleys, and as sand continues to descend, the relentless sand, piling up and slipping down, piling up and slipping down, piling up - eventually a single grain will cause a catastrophe, all the hills and valleys erased, the whole face of the landscape changed in an instant. Walking yesterday, my heels crushed chamomile and released intoxicating memories of home. Earlier this week, I wrote an old love, flooded with need and desire. Last month I planted new flowers in an old garden bed - one grain at a time, a pattern is formed, one grain at a time, a pattern is destroyed, and there is no way to know which grain will build the tiny mountain higher, which grain will tilt the mountain into avalanche, whether the avalanche will be small or catastrophic, enormous or inconsequential. We are always dancing with chaos, even when we think we move too gracefully to disrupt anything in the careful order of our lives, even when we deny the choreography of passion, hoping to avoid earthquakes and avalanches, turbulence and elemental violence and pain. We are always dancing with chaos, for the grains sift down upon the landscape of our lives, one, then another, one, then another, one then another. Today I rose early and walked by the sea, watching the changing patterns of the light and the otters rising and the gulls descending, and the boats steaming off into the dawn, and the smoke drifting up into the sky, and the waves drumming on the dock, and I sang. An old song came upon me, one with no harbour nor dawn nor dock, no woman walking in the mist, no gulls, no boats departing for the salmon shoals. I sang, but not to make order of the sea nor of the dawn, nor of my life. Not to make order at all. Only to sing, clear notes over sand. Only to walk, footsteps in sand. Only to live.

For all his formidable self-confidence, he harboured doubts about the person he was at heart, and sometimes questioned whether he had a heart at all. Iris Caldwell, his girlfriend from Liverpool, recalled that her mother had accused him of being emotionally cold. It ate at him: years later, just before the release of 'Yesterday', Paul called Iris and said her mother should listen to Yesterday to see if it changed her mind. In an interview in the 1980s, he brought up the moment when he heard about his mother's death (‘What are we going to do for money?’), and said, ‘I’ve never forgiven myself for that. Really, deep down, I never have quite forgiven myself for that.’ As he danced through a Beatle life in which every door seemed to open the moment he touched it, he retained, in his mind, the baleful image of himself he drew as a teenager: a face that scowled rather than smiled. He once described his public self as 'pleasantly insincere’. He was drawn to those who saw through his masks and loved him nonetheless. Being accepted by John confirmed to him that he was special. Being loved by Linda, and by Heather, convinced him he was good.

Over and over again we find the Church councils complaining that the peasants (and sometimes the priests too) were singing 'wicked songs with a chorus of dancing women,' or holding 'ballads and dancings and evil and wanton songs and such-like lures of the devil'; over and over again the bishops forbade these songs and dances; but in vain. In every country in Europe, right through the Middle Ages to the time of the Reformation, and after it, country folk continued to sing and dance in the churchyard. Two hundred years after Charlemagne's death there grew up the legend of the dancers of Kölbigk, who danced on Christmas Eve in the churchyard, in spite of the warning of the priest, and all got rooted to the spot for a year, till the Archbishop of Cologne released them. Some men say that they were not rooted standing to the spot, but that they had to go on dancing for the whole year; and that before they were released they had danced themselves waist-deep into the ground. People used to repeat the little Latin verse which they were singing: ... Through the leafy forest, Bovo went a-riding And his pretty Merswind trotted on beside him-- Why are we standing still? Why can't we go away?

I open the door to see him on my doorstep and he doesn’t even say hello. He says, “Let’s cut the crap, Daisy. You need to record this album or Runner’s taking you to court.” I said, “I don’t care about any of that. They can take their money back, get me kicked out of here if they want. I’ll live in a cardboard box.” I was very annoying. I had no idea what it meant to truly suffer. Teddy said, “Just get in the studio, love. How hard is that?” I told him, “I want to write my own stuff.” I think I even crossed my arms in front of my chest like a child. He said, “I’ve read your stuff. Some of it’s really good. But you don’t have a single song that’s finished. You don’t have anything ready to be recorded.” He said I should fulfill my contract with Runner and he would help me get my songs to a point where I could release an album of my own stuff. He called it “a goal for us all to work toward.” I said, “I want to release my own stuff now.” And that’s when he got testy with me. He said, “Do you want to be a professional groupie? Is that what you want? Because the way it looks from here is that you have a chance to do something of your own. And you’d rather just end up pregnant by Bowie.” Let me take this opportunity to be clear about one thing: I never slept with David Bowie. At least, I’m pretty sure I didn’t. I said, “I am an artist. So you either let me record the album I want or I’m not showing up. Ever.” Teddy said, “Daisy, someone who insists on the perfect conditions to make art isn’t an artist. They’re an asshole.” I shut the door in his face. And sometime later that day, I opened up my songbook and I started reading. I hated to admit it but I could see what he was saying. I had good lines but I didn’t have anything polished from beginning to end. The way I was working then, I’d have a loose melody in my head and I’d come up with lyrics to it and then I’d move on. I didn’t work on my songs after one or two rounds. I was sitting in the living room of my cottage, looking out the window, my songbook in my lap, realizing that if I didn’t start trying—I mean being willing to squeeze out my own blood, sweat, and tears for what I wanted—I’d never be anything, never matter much to anybody. I called Teddy a few days later, I said, “I’ll record your album. I’ll do it.” And he said, “It’s your album.” And I realized he was right. The album didn’t have to be exactly my way for it to still be mine.

JANUARY 26 I WILL GIVE YOU SWEET REST IN THE NIGHT DO NOT BE filled with fears in the night hours, My child, for I have promised to be your fortress, your place of safety. I have spread My wings over you, and I will keep you secure. You don’t need to worry about dangers at night for you will not be harmed even though thousands may fall all around you. Remember how I sent My angels to guard My servant Paul when he was bound by chains in a prison cell. My angels filled his prison cell with light and caused his chains to fall off. They escorted him out of his cell, through the prison gates, and opened the city gates to let him escape. You too can count on My angels’ protection in the night hours. Fear not, and listen for the sound of My voice, for I will fill your heart with My song in the night hours. PSALM 91:1–7; ACTS 12:6–10; PSALM 42:8 Prayer Declaration You are my shield, and You give me victory and great honor. I pray to You, and You answer from Your sacred hill. I sleep and wake up refreshed because You, Lord, protect me. I will rest at night because You give me sleep. I take authority over every demon that is released against my family and me at night. I will meditate upon my Lord in the night watches.

I did it the hard way Many of the big dreams I dreamt, I dreamt, when I met a failed attempt. Life taught me to believe that Great ideas can start from a wretched hut. Many of the strongest steps I took, I took, when I was given the fiercest look. My passion pokes me to understand That people’s mockeries, I can withstand. Many of the fastest speeds I gained, I gained when I was bitterly stained. I first thought the only way was to quit As I tried again, I no longer have guilt. Many of the bravest decisions I made, I made, when my life was about to fade. I was frustrated and ripe to sink. But then I strive to release the ink. Many of the longest journeys I started, I started, having no resource; money parted I relied on God my creator all dawn long And at dusk He gave me a new song. Many of the hardest questions I tackled, I tackled, when I was heckled. They were very troublesome to settle But I make it happen little by little Yet, it was not I, but the Lord Jesus The saviour who gives me success. In Him, through Him and by Him I have the liberty to do everything with vim. I don’t want to enjoy this liberty alone. You too must step out of your comfort zone. It’s not easy, but you can do it anyway. Jesus is the life, the truth and the way.

If there’s one thing you learn from me, after hearing about just under one year of my life can it be that you should do whatever makes you happy. People can bring you down, people can bully you, can cheat on you but if you are doing whatever makes you happy they’ll never break you. Like you saw Jacob cried but he went back fighting, no way was he going to drop out that course, it was what he wanted to do in his life and Noah was as happy as always when he told us about Stephen, because he knew although that hurt him he was about to go onto bigger and better things. Oh and never let people hold you back, ever. Mason wouldn’t be going to university this September if he had and he wouldn’t be doing what makes him happy (see full circle). And most of all, always have the courage to stand up and say I am what I am, never apologize for who you are or who you love and always take a chance because you never know what could happen and although some people call it cliché, it’s okay to fall in love with your best friend because sometimes having your best friend as your lover is the best thing you could ask for. I promise. It’s also perfectly acceptable to dress up as a women on a weekly basis and singing popular songs as long as it makes you happy doing so.

Willow leaned forward and laid her head next to his on the pillow. "Is it too late to say I'm sorry, and that I love you more than anything else in this world?" "Oh God,no,love." With his good arm, he reached for the back of her head and brought her lips to his. They kissed as if they'd never get enough of each other, because they knew they never would. When Rider finally released her mouth, he smiled rakishly and pulled her hand under the covers. Willow smiled when he laid her hand over his throbbing desire. "Hmmm, you are feeling better." "Almost well enough to start Mr. Happy on his baby-making lessons again," he said in a deep sexy baritone. "Ah,Rider?" "Yes,love?" He was pulling her down for another stirring kiss. "About those lessons?" "Hmmm, I'm anxious to start practicing again, too,love. But at the moment Mr. Happy is a lot stronger than the rest of me." "Oh,I know,but...Rider, Mr. Happy must have learned his lessons real fast." Rider stilled. "What do you mean?" "I mean that I think Mr. Happy cooked something up in the kitchen." Forgetting his shoulder, Willow's husband sat straight up in bed. He winced, then asked, "You mean you're...going to have a baby?" "Of course I'm going to have a baby, you beefwit. Did you think I was baking another damn pie?" "Yahoooo!" he yelled at the top of his lungs, and hugged her with his good arm. Six men, Juan included, plus two women came pouring into the room. "What in the hell is going on in here?" Owen grumbled in mock irritation. Grinning like a Cheshire cat, Rider announced, "Owen, your daughter is about to make me a father and give you a second grandchild." "Oh,hell, I knew that." Nine people echoed, "You did?" "Hell, yes, all you gotta do is look at 'er face." Rider cocked his head and studied his wife's face. "She does have an extra glow about her, doesn't she?" "She sure does." Owen chuckled. "Her mama got the same glow with all five of her babies." "If I'm glowing, it's because all of you are staring at me like I just grew horns," Willow said, covering her flushed cheeks with her hands. "Dammit, I just thought of something," Owen said. "I s'pose this means I'll have to add another room to the house for when you come visiting." "Owen Vaughn," Miriam reprimanded, "stop that cursing. I swear every other word out of your mouth is a curse! I'm going to break you of that before your grandbabies get old enough to repeat that filth." "Break me of it?" Owen laughed and poked Nick in the ribs with his elbow. "Only one way for a woman to break a stallion, that's to ride 'im hard!" The man all guffawed loudly. Miriam's face turned ten shades of red. "Well,I never!" She turned on her heel and made an indignant exit.

She took out a charcoal stick and began to sketch-- on the workbench itself. Of course the moon wouldn't come to her in songs or poems or crystals or whatever... she felt the most centered, the most tranquil, when she was painting or drawing. Lost in her own world or in new ones she imagined. She shouldn't have made a chart; she should have drawn a circle, with the moons going from waxing to waning all the way around... She hummed to herself a little, the way she always did when she painted. Her hair began to glow. A little shading here, a few light strokes in the middle of the full moon for the face that Rapunzel saw there... Circles and shadows and crosshatching... She worked extra hard on the profile of the fatter waxing crescent, where the moon would be now. She knew what it looked like as she felt her hand shape it. Her power surged; her hair began to sparkle. She looked around frantically for something to release her magic on. The first thing she saw was her tea, so she grabbed the red clay cup and wrapped the end of a braid around it. Just like with Pascal, sparks sprayed off her hair and over the object. When they faded they revealed... ... a heavy, crude clay cup. Rapunzel started to slump in disappointment-- and then noticed something. Where the hair had touched the sides, the cup was now shiny black, like onyx or obsidian.

Hear me out. Stannis is no friend of yours, nor of mine. Even his brothers can scarcely stomach him. The man is iron, hard and unyielding. He’ll give us a new Hand and a new council, for a certainty. No doubt he’ll thank you for handing him the crown, but he won’t love you for it. And his ascent will mean war. Stannis cannot rest easy on the throne until Cersei and her bastards are dead. Do you think Lord Tywin will sit idly while his daughter’s head is measured for a spike? Casterly Rock will rise, and not alone. Robert found it in him to pardon men who served King Aerys, so long as they did him fealty. Stannis is less forgiving. He will not have forgotten the siege of Storm’s End, and the Lords Tyrell and Redwyne dare not. Every man who fought beneath the dragon banner or rose with Balon Greyjoy will have good cause to fear. Seat Stannis on the Iron Throne and I promise you, the realm will bleed. “Now look at the other side of the coin. Joffrey is but twelve, and Robert gave you the regency, my lord. You are the Hand of the King and Protector of the Realm. The power is yours, Lord Stark. All you need do is reach out and take it. Make your peace with the Lannisters. Release the Imp. Wed Joffrey to your Sansa. Wed your younger girl to Prince Tommen, and your heir to Myrcella. It will be four years before Joffrey comes of age. By then he will look to you as a second father, and if not, well … four years is a good long while, my lord. Long enough to dispose of Lord Stannis. Then, should Joffrey prove troublesome, we can reveal his little secret and put Lord Renly on the throne.

But this isn't standard Japanese picnic fare: not a grain of rice or a pickled plum in sight. Instead, they fill the varnished wooden tables with thick slices of crusty bread, wedges of weeping cheese, batons of hard salamis, and slices of cured ham. To drink, bottles of local white wine, covered in condensation, and high-alcohol microbews rich in hops and local iconography. From the coastline we begin our slow, dramatic ascent into the mountains of Hokkaido. The colors bleed from broccoli to banana to butternut to beet as we climb, inching ever closer to the heart of autumn. My neighbors, an increasingly jovial group of thirtysomethings with a few words of English to spare, pass me a glass of wine and a plate of cheese, and I begin to feel the fog dissipate. We stop at a small train station in the foothills outside of Ginzan, and my entire car suddenly empties. A husband-and-wife team has set up a small stand on the train platform, selling warm apple hand pies made with layers of flaky pastry and apples from their orchard just outside of town. I buy one, take a bite, then immediately buy there more. Back on the train, young uniformed women flood the cars with samples of Hokkaido ice cream. The group behind me breaks out in song, a ballad, I'm later told, dedicated to the beauty of the season. Everywhere we go, from the golden fields of empty cornstalks to the dense forest thickets to the rushing rivers that carve up this land like the fat of a Wagyu steak, groups of camouflaged photographers lie in wait, tripods and shutter releases ready, hoping to capture the perfect photo of the SL Niseko steaming its way through the hills of Hokkaido.

My stutter started soon after, and the doctors said it was from the head injury. My mom said that when I stuttered it looked like my brain and I were trying to say ten things at once. My voice just wouldn’t work. “You can’t focus on the one idea you need to talk about,” she told me. “Just say the one thing, Jess.” She is the youngest of three—the Drew girls of McGregor, Texas—and her middle sister Connie was a speech therapist. Aunt Connie advised her to get me to calm down. “Take a breath,” my mother would say, getting down to my level to look me in the eye. That only worked so well. If you want someone to calm down, try telling them “calm down” and see where it gets you. But Connie had another idea, something that worked with other people who stuttered. Singing. “What you’re trying to say,” Mom said to me one day, “sing it to me.” I turned the phrase over in my mind, smoothing the edges of its consonants and vowels until the words became the breaths of a song. A lyric I could control. “I want Cheeeeeeri-ohhhhs,” I sang. I can’t describe that release. The rush of simply being understood. “Yes, you can have Cheerios,” my mother yelled. “You can have whatever you want! You sound so beautiful.” For the next two years, singing was the only time I didn’t stutter. I sang for everything I wanted, like some Disney princess making a wish. Around four, the stutter became more pronounced and my parents took me to a therapist. He used art therapy and asked me to draw myself in the family. I drew my parents standing in front of our house, then put myself inside looking out from a window. He told my parents I had a fear of abandonment. Looking back, I know my parents never left me alone, and maybe I was even around them too much. But somehow, I still had a fear that they would leave me.

If one could prove from established and reliable histories that the events in Judith really happened, it would be a noble and fine book, and should properly be in the Bible. Yet it hardly squares with the historical accounts of the Holy Scriptures, especially Jeremiah and Ezra. For these show how Jerusalem and the whole country were destroyed, and were thereafter laboriously rebuilt during the time of the monarchy of the Persians who occupied the land. Against this the first chapter of Judith claims that King Nebuchadnezzar of Babylon was the first one to set about conquering this territory; it creates the impression that these events took place before the captivity of the Jews, and before the rise of the Persian monarchy. Philo, on the contrary, says that they happened after the release and return of the Jews from Babylon under King Ahasuerus, at which time the Jews had rebuilt neither the temple nor Jerusalem, and had no government. Thus as to both time and name, error and doubt are still present, so that I cannot reconcile [the accounts] at all. Such an interpretation strikes my fancy, and I think that the poet deliberately and painstakingly inserted the errors of time and name in order to remind the reader that the book should be taken and understood as that kind of a sacred, religious, composition. It may even be that in those days they dramatized literature like this, Just as among us the Passion and other sacred stories are performed. In a common presentation or play they conceivably wanted to teach their people and youth to trust God, to be righteous, and to hope in God for all help and comfort, in every need, against all enemies, etc. Therefore this is a fine, good, holy, useful book, well worth reading by us Christians. For the words spoken by the persons in it should be understood as though they were uttered in the Holy Spirit by a spiritual, holy poet or prophet who, in presenting such persons in his play, preaches to us through them. Next after Judith, therefore, like a song following a play, belongs the Wisdom of Philo, a work which denounces tyrants and praises the help which God bestows on his people. The song [that follows] may well be called an illustration of this book [of Judith].

If one could prove from established and reliable histories that the events in Judith really happened, it would be a noble and fine book, and should properly be in the Bible. Yet it hardly squares with the historical accounts of the Holy Scriptures, especially Jeremiah and Ezra. For these show how Jerusalem and the whole country were destroyed, and were thereafter laboriously rebuilt during the time of the monarchy of the Persians who occupied the land. Against this the first chapter of Judith claims that King Nebuchadnezzar of Babylon was the first one to set about conquering this territory; it creates the impression that these events took place before the captivity of the Jews, and before the rise of the Persian monarchy. Philo, on the contrary, says that they happened after the release and return of the Jews from Babylon under King Ahasuerus, at which time the Jews had rebuilt neither the temple nor Jerusalem, and had no government. Thus as to both time and name, error and doubt are still present, so that I cannot reconcile [the accounts] at all. Such an interpretation strikes my fancy, and I think that the poet deliberately and painstakingly inserted the errors of time and name in order to remind the reader that the book should be taken and understood as that kind of a sacred, religious, composition. It may even be that in those days they dramatized literature like this, Just as among us the Passion and other sacred stories are performed. In a common presentation or play they conceivably wanted to teach their people and youth to trust God, to be righteous, and to hope in God for all help and comfort, in every need, against all enemies, etc. Therefore this is a fine, good, holy, useful book, well worth reading by us Christians. For the words spoken by the persons in it should be understood as though they were uttered in the Holy Spirit by a spiritual, holy poet or prophet who, in presenting such persons in his play, preaches to us through them. Next after Judith, therefore, like a song following a play, belongs the Wisdom of Philo, a work which denounces tyrants and praises the help which God bestows on his people. The song [that follows] may well be called an illustration of this book [of Judith].

The birds had multiplied. She'd installed rows upon rows of floating melamine shelves above shoulder height to accommodate the expression of her once humble collection. Though she'd had bird figurines all over the apartment, the bulk of her prized collection was confined to her bedroom because it had given her joy to wake up to them every morning. Before I'd left, I had a tradition of gifting her with bird figurines. It began with a storm petrel, a Wakamba carving of ebony wood from Kenya I had picked up at the museum gift shop from a sixth-grade school field trip. She'd adored the unexpected birthday present, and I had hunted for them since. Clusters of ceramic birds were perched on every shelf. Her obsession had brought her happiness, so I'd fed it. The tiki bird from French Polynesia nested beside a delft bluebird from the Netherlands. One of my favorites was a glass rainbow macaw from an Argentinian artist that mimicked the vibrant barrios of Buenos Aires. Since the sixth grade, I'd given her one every year until I'd left: eight birds in total. As I lifted each member of her extensive bird collection, I imagined Ma-ma was with me, telling a story about each one. There were no signs of dust anywhere; cleanliness had been her religion. I counted eighty-eight birds in total. Ma-ma had been busy collecting while I was gone. I couldn't deny that every time I saw a beautiful feathered creature in figurine form, I thought of my mother. If only I'd sent her one, even a single bird, from my travels, it could have been the precursor to establishing communication once more. Ma-ma had spoken to her birds often, especially when she cleaned them every Saturday morning. I had imagined she was some fairy-tale princess in the Black Forest holding court over an avian kingdom. I was tempted to speak to them now, but I didn't want to be the one to convey the loss of their queen. Suddenly, however, Ma-ma's collection stirred. It began as a single chirp, a mournful cry swelling into a chorus. The figurines burst into song, tiny beaks opening, chests puffed, to release a somber tribute to their departed beloved. The tune was unfamiliar, yet its melancholy was palpable, rising, surging until the final trill when every bird bowed their heads toward the empty bed, frozen as if they hadn't sung seconds before. I thanked them for the happiness they'd bestowed on Ma-ma.

He took a breath. He could feel his anxiety fade; he could feel himself returning to who he was. 'But would you sing with me?' Every morning for the past two months, they had been singing with each other in preparation for Duets. In the film, his character and the character's wife led an annual Christmas pageant, and both he and the actress playing his wife would be performing their own vocals. The director had sent him a list of songs to work on, and Jude had been practicing with him: Jude took the melody, and he took the harmony. 'Sure,' Jude said. 'Our usual?' For the past week, they'd been working on 'Adeste Fideles,' which he would have to sing a cappella, and for the past week, he'd been pitching sharp at the exact same point, at 'Venite adoremus,' right in the first stanza. He'd wince every time he did it, hearing the error, and Jude would shake his head at him and keep going, and he'd follow him until the end. 'You're overthinking it,' Jude would say. 'When you go sharp, its because you're concentrating too hard on staying on key; just don't think about it, Willem, and you'll get it.' That morning, though, he felt certain he'd get it right. He gave Jude the bunch of herbs, which he was still holding, and Jude thanked him, pinching its little purple flowers between his fingers to release its perfume. 'I think it's a kind of perilla,' he said, and held his fingers up for Willem to smell. 'Nice,' he said, and they smiled at each other. And so Jude began, and he followed, and he made it through without going sharp. And at the end of the song, just after the last note, Jude immediately began singing the next song on the list, 'For Unto Us a Child Is Born,' and after that, 'Good King Wenceslas,' and again and again, Willem followed. His voice wasn't as full as Jude's, but he could tell in those moments that it was good enough, that it was maybe better than good enough: he could tell it sounded better with Jude's, and he closed his eyes and let himself appreciate it. They were still singing when the doorbell chimed with their breakfast, but as he was standing, Jude put his hand on his wrist, and they remained there, Jude sitting, he standing, until they had sung the last words of the song, and only after they had finished did he go to answer the door. Around him, the room was redolent of the unknown herb he'd found, green and fresh and yet somehow familiar, like something he hadn't known he had liked until it had appeared, suddenly and unexpectedly, in his life.

Without thinking, she delivered a stinging slap, all her hurt and disappointment behind the impact. The imprint of her hand on his cheek shocked her. And though she immediately regretted her childish action, pride forbade her to own up to it. "Mind your manners, next time, Sinclair!" Across the yard, Luter Hicks halted and burst into guffaws. "Guess she told you, lapdog! Hey, honey," he called to Willow, "if he ain't satisfying you, how 'bout lettin' me warm your bed tonight?" An angry growl rolled out of Rider's throat. He pulled Willow up on her tiptoes, mashing her breasts against his hard chest. His fingers plowed through her thick tresses, knocking her bonnet off and scattering her hair pins. Then clasping her chin between his thumb and fingers, he tipped her head back and took fierce possession of her mouth. When he finally released her lips, he set her down a little harder than necessary. "I'll kill the first man who even blinks at you," he ground out loud enough for Hicks to hear. Then in a low, no-nonsense voice,meant for her ears alone, he ordered, "Kiss me and make it look good!" Willow glanced over at Hick's eager face and cringed. Her pride be damned! Sinclair was by far the lesser evil. She swept her arms around his neck. "Whatever you say...lover," she hissed in his ear. Standing on tiptoe again, she slowly brought his head down and pasted her lips to his. But he would have none of her stiff-lipped kiss and increased the pressure on her mouth until she opened to his brazen tongue. As the kiss deepened, he spread one big hand at the base of her spine and molded her stomach against his hard, hot need. Willow's blood sang, her anger instantly gone in the heat of the moment. "Mr. Sinclair!" Miriam interrupted in a berating tone. "You degrade this young lady with your public display. Unhand her at once!" Without his supporting arms, Willow's weak knees barely held her upright. She stumbled backwards, thoroughly stunned by her backfiring emotions. A loud crash snapped her to her senses when Luther threw his plate against the house and stomped off to the bunkouse. Rider collected himself and stooped to pick up Willow's discarded bonnet. Carefully brushing the dust off, he handed it to her without a word. Willow took her hat, gave him a perfunctory nod, and ground her heel into his toe as she pivoted to enter the house. Unaware of the young man's pained expression, Miriam followed on the girl's heels. "Talk about circuses!" she exclaimed, closing the door behind them. "It was just an act for Hick's benefit," Willow defended. Feeling the need to escape Miriam's all-too-knowing glance,she headed down the hall to her room. A heavy boot kicked at the door. Miriam opened it and Rider limped in. "Where do you want these?" he growled testily from behind a tower of packages. "Put them on the settee for now, thank you," Miriam said. "I'd have you carry them back to Willow's room but it isn't a healthy place for you right now." Rider only grunted,dumped the bundles, and returned to the wagon for another armload.

Sam was about to travel to Asia with her boyfriend and she was fretting about what her backers would think if she released some of her new songs while she was 'on vacation'. She was worried that posting pictures of herself sipping a Mai Tai was going to make her look like an asshole. What does it matter? I asked her, where you are whether you're drinking a coffee, a Mai Tai or a bottle of water? I mean, aren't they paying for your songs so that you can... live? Doesn't living include wandering and collecting emotions and drinking a Mai Tai, not just sitting in a room writing songs without ever leaving the house? I told Sam about another songwriter friend of mine, Kim Boekbinder, who runs her own direct support website through which her fans pay her monthly at levels from $5 to $1,000. She also has a running online wishlist of musical gear and costumes kindof like a wedding registry, to which her fans can contribute money anytime they want. Kim had told me a few days before that she doesn't mind charging her backers during what she calls her 'staring at the wall time'. She thinks this is essential before she can write a new batch of songs. And her fans don't complain, they trust her process. These are new forms of patronage, there are no rules and it's messy, the artists and the patrons they are making the rules as they go along, but whether these artists are using crowdfunding (which is basically, front me some money so I can make a thing) or subscription services (which is more like pay me some money every month so that I can make things) or Patreon, which is like pay per piece of content pledge service (that basically means pay me some money every time I make a thing). It doesn't matter, the fundamental building block of all of these relationships boils down to the same simple thing: trust. If you're asking your fans to support you, the artist, it shouldn't matter what your choices are, as long as you're delivering your side of the bargain. You may be spending the money on guitar picks, Mai Tais, baby formula, college loans, gas for the car or coffee to fuel your all-night writing sessions. As long as art is coming out the other side, and you're making your patrons happy, the money you need to live (and need to live is hard to define) is almost indistinguishable from the money you need to make art. ... (6:06:57) ... When she posts a photo of herself in a vintage dress that she just bought, no one scolds her for spending money on something other than effects pedals. It's not like her fan's money is an allowance with nosy and critical strings attached, it's a gift in the form of money in exchange for her gift, in the form of music. The relative values are... messy. But if we accept the messiness we're all okay. If Beck needs to moisturize his cuticles with truffle oil in order to play guitar tracks on his crowdfunded record, I don't care that the money I fronted him isn't going towards two turntables or a microphone; just as long as the art gets made, I get the album and Beck doesn't die in the process.

An upbeat song played over the loudspeaker, and everyone's attention focused on the Jumbotron above the basketball court. "It's time for the Bulls' Kiss Cam. So, pucker up for your sweetie and kiss them." The camera found an older couple in their fifties. The man pulled his wife, I assumed, in for a quick peck on the lips. "Aww. That is so sweet," Trina said. She proceeded to yank poor Owen to his seat in case the spotlight landed on them. She'd do just about anything to get on television, even if it meant not kissing Owen tonight to do so. "That is so staged," I said and sneaked a quick peek at my phone, seeing if he messaged me back. He didn’t. "Really?" she countered and slapped my arm. Once I glanced her way, she pointed towards the large screen looming above. On the screen was Sebastian and me as the camera had just so happened to find us. It stayed there zooming closer. And closer. And closer. "Come on," the announcer called out, prodding us. "Just one kiss won't hurt." He had no idea what he was asking. A kiss would initiate feelings I couldn't avoid any longer. I momentarily forgot how to breathe as the song, “Kiss the Girl” from the Little Mermaid hummed at my lips. Not the best choice, but still. Everything became much worse once my giant moved into view, smiling my favorite smile. Sebastian inched closer; eyebrow cocked to dare me."No pressure or anything." I was quiet for a moment before whispering, "Game on, buddy." My eyes closed a few heartbeats shy of Sebastian's lips meeting mine. His hands rose, cupping my cheeks to keep me from pulling away. Like that was going to happen. Sebastian’s mouth moved against mine, and I conceded, kissing him in return. He tasted sweet and minty, like the home I’d been missing. The kiss turned from soft and tame to fierce and wantingas if neither of us could get enough. And already, I considered myself a goner. Everything became a haze. My heart thumped so wildly against my chest, I swore Sebastian could hear. The crowd surrounding us was whistling and cheering us on, and it only kept gaining momentum as the moments passed. The noise quickly faded until it was as if we were the only two people in the room. We could have been the only two people on earth. "Okay, guys." Trina tapped my shoulder, garnering my attention. "Camera has moved on now." That was our cue to separate, and I slowly drew away from Sebastian. He, in turn, slipped his hand to the back of my neck, holding me here. "Don't," he sighed against my lips. I didn't budge another inch. I didn't want to. Sebastian rewarded me by deepening the kiss. Dear God. There were sparks. My stomach flipped. My toes curled. My body warmed. Every single inch of me only wanted one thing and one thing only. If this continued for too much longer, it was easy to guess my new favorite hobby: Kissing Sebastian Freaking Birch. Needing some air, I pressed my palm flat against his chest. This time he released me as we both were breathless. Sebastian's eyes carefully studied me. He kept staring as if he could read my heart, my mind. And for those brief few seconds, I honestly didn't believe there were any secrets between us. His gaze shifted as he gauged what to do next, and I had no freaking idea where we went from here. We'd done it now. We crossed that line, and there was no way of ever going back.

The Brain Song Reviews (2025) Official Website and Try Today (hfu) The Brain Song Reviews (2025) Official Website and Try Today (hfu) November 29, 2025 Mikaela Cougar's "The Brain Song": Deconstructing an Alt-Rock Anthem CLICK HERE TO Visit The Official Website CLICK HERE TO Visit The Official Website CLICK HERE TO Visit The Official Website In a music scene saturated with polished pop and predictable beats, Mikaela Cougar’s late 2024 release, "The Brain Song," offers something different: a raw, unfiltered sonic experience. Critics have described it as a "gritty, grungy track," reminiscent of Kurt Cobain's angst and Sheryl Crow's honest storytelling. This isn't designed for instant gratification; it's a 2-minute, 31-second journey into the messy reality of the modern mind. This review delves into the cultural, emotional, and musical layers of Cougar's track. It explores the song as a rebellious statement, a response to the pressures and expectations bombarding our psyches. Unlike other "brain songs" promising order, Cougar's embraces the beautiful chaos of genuine human thought. The Sonic Landscape: Grunge, Grit, and a Feminine Perspective Cougar describes herself as "the girl all those 90's rock boy bands were singing about, and these are my response songs." This provides a crucial framework for understanding the track. "The Brain Song" isn't just influenced by 90s alt-rock; it actively continues the themes of alienation, introspection, and resistance to oversimplification. Why Grunge? Distortion as Emotional Expression The "grungy" and "raw" production is intentional. Instead of the polished sound of modern music, this track uses distortion and a minimalist soundscape to reflect the overwhelmed, fragmented state of mind. The thick, abrasive guitar tone embodies mental friction – the anxiety, inner conflict, and constant noise that disrupts our peace. The raw production becomes the song's initial message: This isn't clean or easy. This is what honest thinking sounds like. The Vocals: Confession and Confrontation Cougar's vocal performance is a standout. Channeling the power of Alanis Morrissette and the theatricality of P!NK, she delivers a masterclass in controlled intensity. * **The Verse:** Expect a lower, conversational tone conveying brooding paranoia – the sound of quiet desperation as someone analyzes their flaws and the world's constraints. * **The Chorus:** The song likely explodes into a cathartic shout, unleashing the track's "gritty" core. This isn't a plea for help but a confrontation. It's the brain, tired of its own loops and societal pressures, finally screaming its truth. This dynamic between the quiet verse and explosive chorus mirrors the inner struggle – the sudden bursts of clarity or anger that cut through mental fog. Lyrical Themes: What the Brain Sings About Without readily available lyrics, we can infer the song's themes based on its title, genre, and Cougar's artistic vision. "The Brain Song" likely explores these alt-rock conflicts: Internal Censorship and Self-Doubt: The brain is often our harshest critic. The song likely confronts this inner voice, challenging the self-criticism or refusing to let negative thoughts win. It's the soundtrack to differentiating between your true self and the noise that tries to silence you. * **Possible Lyric:** “You built a cage with all the things you thought you knew / But the noise I hear is just the engine shaking loose.” The Overload of Modern Information: This song contrasts sharply with neuro-acousti

Every hair metal band in the 1980s followed a very simple, yet effective marketing plan: first release an ear-shattering, head-banging metal song to bring in the guys, then follow it up with a sensitive power ballad to bring in the ladies. Well, in the world of He-Man and the Masters of the Universe, He-Man was the head-banging metal song and She-Ra was the power ballad

An incidental victim of Sanjay Gandhi’s family planning drive was the great popular singer Kishore Kumar. Other film stars and musicians agreed to perform in a programme to raise money for sterilization, but Kishore refused. As a consequence, his songs were banned from Vividh Bharati, the AIR channel that exclusively broadcast film music. The Film Censor Board was instructed to hold up the release of movies in which Kishore acted or sang. Sanjay’s men also warned record companies against selling Kishore’s songs. It was an act of petty vindictiveness in keeping with the times.

She was getting back to the earliest sources of gladness that she could remember. She had loved the sun, and the brilliant solitudes of sand and sun, long before these other things had come along to fasten themselves upon her and torment her. That night, when she clambered into her big German feather bed, she felt completely released from the enslaving desire to get on in the world. Darkness had once again the sweet wonder that it had in childhood.

In the dance of hearts, a poignant song, I loved a soul that felt so wrong. Rejected echoes, silent cries, Yet hope persisted, reaching skies. Through the tears, a tale unfolds, Love's narrative, as destiny molds. Their gaze averted, paths diverged, Yet in my heart, the flame surged. As I stepped back, released the tether, Love's script unfolded, strangely weathered. In the silence of my absence keen, Echoes of affection unforeseen. When life's curtain veiled my view, They found the love that once they knew. A cruel paradox, a bitter truth, Love realized in the void of youth. Yet, in this pain, a wisdom gleaned, A love transcendent, undeterred, uncleaned. For in the ebb and flow of fate, Love persists, resilient, innate.

Tupac’s song “I Ain’t Mad at Cha” was released two days after he was killed; according to some it was among his best songs ever. The video, ironically, portrays him as an angel, after having been shot and killed, dying in the back of an ambulance and arriving in Heaven.

Good music is being released less and less. People need it less often. I’m not talking about the melody, the beat, but the lyrics. From my perspective, every song is a story performed by the artist. When was the last time you listened attentively to modern songs’ lyrics? People used to say that music is spiritual nourishment, it is like food for the soul, but if you look at our reality, you’ll see that people started focusing only on physical needs. Modern songs prioritize body over soul. It is because eighty percent of successful and influential labels release tracks that put parties, drugs, and sex as the main priorities of modern life. Seems like all the songs about love have already been sung and the greatest compliments that can be addressed to people are related to their physical characteristics. It feels like singers and songwriters are referring to some piece of meat, instead of a living person. The problem is that good, soulful songs are not to the taste of today's audience. Therefore, many genuinely talented artists are underrated and ignored because they are not following the rules that are dictated by commercial corporations, labels. I don’t know, maybe I’m too conservative.

On November 22nd, 2018, my mother Vernita Lee passed away. I was conflicted about our relationship up until the very end. The truth is, it wasn't until I became successful that my mother started to show more interest in me. I wrestled with the question of how to take care of her - what did I owe the woman who gave me life, The bible says 'honor thy father and mother', but what did that actually mean? I decided one of the ways I could honor her would be to help care for her financially ... but there was never any real connection. I would say that the audience who watched me on television knew me better than my mother did. When her health began to decline a few years ago, I knew I needed to prepare myself for her transition. Just a few days before Thanksgiving my sister Patricia called to tell me she thought it was time. I flew to Milwaukee ... I tried to think of something to say, at one point I even picked up the manual left by the hospice care people. I read their advice thinking the whole time, how sad it was that I, Oprah Winfrey, who had spoken to thousands of people one on one should have to read a hospice manual to figure out what to say to my mother. When it was finally time to leave, something told me it would be the last time I'd ever see her but as I turned to go, the words I needed to say still wouldn't come. All I could muster was 'bye, I'll be seeing you' and I left for, ironically, a speaking engagement. On the flight home the next morning a little voice in my head whispered what I knew in my heart to be true: "you are going to regret this, you haven't finished the work". ... I turned around and went back to Milwaukee. I spent another day in that hot room and still no words came. That night I prayed for help. In the morning I meditated, and as I prepared to leave the bedroom I picked up my phone and noticed the song that was playing - Mahalia Jackson's 'Precious Lord'. If ever there was a sign, this was it. I had no idea how Mahalia Jackson appeared on my playlist. As I listened to the words, Precious Lord, take my hand Lead me on, let me stand. I am tired, I'm weak, I am worn Lead me on to the light, Take my hand, precious Lord And lead me home. I suddenly knew what to do. When I walked into my mothers room I asked if she wanted to hear the song. She nodded, and then I had another idea. I called my friend Wintley Phipps, a preacher and gospel artist, and asked him to sing Precious Lord to my dying mother. Over FaceTime from his kitchen table he sang the song a cappella and then prayed that our family would have no fear, just peace. I could see that my mother was moved. The song and the prayer had created a sort of opening for both of us. I began to talk to her about her life, her dreams, and me. Finally the words were there. I said, "It must have been hard for you, not having an education, not having a skill, not knowing what the future held. When you became pregnant, I'm sure a lot of people told you to get rid of that baby." She nodded. "But you didn't", I said. "And I want to thank you for keeping this baby". I paused, "I know that many times you didn't know what to do. You did the best you knew how to do and that's okay with me. That is okay with me. So you can leave now, knowing that it is well. It is well with my soul. It's been well for a long time." It was a sacred, beautiful moment, one of the proudest of my life. As an adult I'd learned to see my mother through a different lens; not as the mother who didn't care for me, protect me, love me or understand anything about me, but as a young girl still just a child herself; scared, alone, and unequipped to be a loving parent. I had forgiven my mother years earlier for not being the mother I needed, but she didn't know that. And in our last moments together I believe I was able to release her from the shame and the guilt of our past. I came back and I finished the work that needed to be done.

Abide with Us, Our Savior Author: Joshua Stegmann Abide with us, our Savior, Nor let Thy mercy cease From Satan’s might defend us, And grant our souls release. Abide with us, our Savior, Sustain us by Thy Word, That we may, now and ever, Find peace in Thee, O Lord. Abide with us, our Savior, Thou light of endless light Increase to us Thy blessings, And save us by Thy might.

When ego, unopposed, assumes its throne, The world, in fragments, reaps the seeds it’s sown. A kaleidoscope of discord and divide, Where separate streams in ceaseless turmoil bide. Through ego’s lens, reality transforms, A battleground where rampant desire storms. A sphere of strife, of victory and loss, Where fortunes shift as dice of fate are tossed. In ego’s solitary, narrow view, The world is painted in a hue so skewed. Confined by fears, by selfish dreams confined, Its canvas bears the limits of the mind. Thus, perception, in its manifold grace, Reflects the light of ego and soul’s face. In balance, may the truest sight be found, Where essence and ego in harmony abound. In the crucible where essence blends with sight, A wondrous transformation takes its flight. Where once division’s shadow coldly lay, Interconnection’s dawn breaks forth in day. What opposition’s harsh gaze once discerned, To harmonies of concord is now turned. The essence, with its ancient wisdom’s glow, Unveils the unity that lies below. Each leaf and stone, each soul that wanders free, A note within reality’s grand symphony. Essential, bound within the vast expanse, In life’s intricate, cosmic dance. This alchemical shift in vision’s sphere, Brings forth changes profound, both far and near. Challenges, once daunting, now unfold, As growth’s opportunities, bright and bold. Foes, once clad in enmity’s harsh guise, Transform to teachers, wise beneath the skies. Each joy, each pain, in life’s intricate weave, Threads of our evolution, we perceive. No longer a stage for vain rivalry’s play, But a landscape where learning’s blossoms sway. Growth and learning, in rich abundance, thrive, In this new world where our spirits come alive. Where once the ego’s voice, in solo strain, Ruled with iron will, in self’s domain, Now in harmony with the soul’s sweet song, It finds a place where it truly belongs. No longer master, but a partner kind, Guiding through life with a humble mind. It learns compassion’s tongue, intuition hears, Acts with mindfulness, as purpose nears. In perception’s alchemy, a journey grand, From fractured states to unity’s soft hand, From discord’s harsh cacophony to peace, A path that leads where true essences release. This sacred path, evolving as it weaves, Into our nature’s heart, where spirit cleaves. The veil of separation gently falls, As interconnectedness softly calls. Upon this path, with every step we tread, Our world transforms, new visions in its stead. The mundane now with sacredness imbues, The ordinary in extraordinary hues. Each day becomes a picture, rich and vast, For deepest truths, in vibrant colors cast. Through alchemy of sight, our roles transcend, Not mere observers, but creators bend. In world’s unfolding tale, we play our part, Co-architects, with collective heart. A reality, where highest potentials shine, In this, your design, our spirits intertwine.

Though, I knew this song all too well. Eventually the light would burn out, misery would set in, and the darkness would be the centerfold of my chest once again.

Laidback Luke mentioned that he had his own record label, Mixmash Records, and if Tim continued to evolve at this pace, it was not impossible that he would one day release a song by Avici. Now attention was coming from England as well. The DJ and radio host Pete Tong had played the hottest house music on his BBC radio show since the early 90s and in April 2008 he announced a competition for young producers. Tim sent his song ‘Manman’, which to his great surprise was voted the winner by the listeners.

The theme of music making the dancer dance turns up everywhere in Astaire’s work. It is his most fundamental creative impulse. Following this theme also helps connect Astaire to trends in popular music and jazz, highlighting his desire to meet the changing tastes of his audience. His comic partner dance with Marjorie Reynolds to the Irving Berlin song “I Can’t Tell a Lie” in Holiday Inn (1942) provides a revealing example. Performed in eighteenth-century costumes and wigs for a Washington’s birthday–themed floor show, the dance is built around abrupt musical shifts between the light classical sound of flute, strings, and harpsichord and four contrasting popular music styles played on the soundtrack by Bob Crosby and His Orchestra, a popular dance band. Moderate swing, a bluesy trumpet shuffle, hot flag-waving swing, and the Conga take turns interrupting what would have been a graceful, if effete, gavotte. The script supervisor heard these contrasts on the set during filming to playback. In her notes, she used commonplace musical terms to describe the action: “going through routine to La Conga music, then music changing back and forth from minuet to jazz—cutting as he holds her hand and she whirls doing minuet.”13 Astaire and Reynolds play professional dancers who are expected to respond correctly and instantaneously to the musical cues being given by the band. In an era when variety was a hallmark of popular music, different dance rhythms and tempos cued different dances. Competency on the dance floor meant a working knowledge of different dance styles and the ability to match these moves to the shifting musical program of the bands that played in ballrooms large and small. The constant stylistic shifts in “I Can’t Tell a Lie” are all to the popular music point. The joke isn’t only that the classical-sounding music that matches the couple’s costumes keeps being interrupted by pop sounds; it’s that the interruptions reference real varieties of popular music heard everywhere outside the movie theaters where Holiday Inn first played to capacity audiences. The routine runs through a veritable catalog of popular dance music circa 1942. The brief bit of Conga was a particularly poignant joke at the time. A huge hit in the late 1930s, the Conga during the war became an invitation to controlled mayhem, a crazy release of energy in a time of crisis when the dance floor was an important place of escape. A regular feature at servicemen’s canteens, the Conga was an old novelty dance everybody knew, so its intrusion into “I Can’t Tell a Lie” can perhaps be imagined as something like hearing the mid-1990s hit “Macarena” after the 2001 terrorist attacks—old party music echoing from a less complicated time.14 If today we miss these finer points, in 1942 audiences—who flocked to this movie—certainly got them all. “I Can’t Tell a Lie” was funnier then, and for specifically musical reasons that had everything to do with the larger world of popular music and dance. As subsequent chapters will demonstrate, many such musical jokes or references can be recovered by listening to Astaire’s films in the context of the popular music marketplace.

He popped the pill into his mouth, chugged some water, reached for my head, turned it to his direction, and slammed his smooth lips against mine. I was forced to take the nasty shit of a pill with the cold water that flowed into my mouth and down my throat, but our kiss lingered a bit longer, enough for his tongue to tease mine for a few seconds before he released me.

Everything has been stripped away. You’re on your own, you’re free now… You’re so helpless, and now you’ve got nothing left. And you’re invisible—you’ve got no secrets—that’s so liberating. You’ve nothing to fear anymore.”31 It is this sense of release—from possessions, from expectations, from societal demands—that lifts the song above just character demolition, and that no doubt accounts for much of its enduring popularity.

Hinder played in the background, "Lips of an Angel," a song that I actually loved. In the quiet I listened to the lyrics clearly and understood why he liked it too. It could have been our anthem. Wanting to remain faithful to the one you chose versus yearning for the one you wanted. It was us wrapped up in a heartbreaking ballad.

This third album by the group was the first to be entirely written by Lennon-McCartney.

In the forest of silence, I find myself, where my longing reveals the seed of wisdom, every step releases a trail of light and every noise is turned into music.

Watching the light upon the beach, thinking, this time of light, how the days pass by gathering the light and releasing, light into night, and we reach but cannot touch nor take what passes, what seems to pass, time’s dream.

On Monday morning, October 27, 1969, Sheila fried up a couple of eggs slotted in some toast and brewed three cups of tea while I wrote something called “Your Song.” I don’t think it took me more than ten minutes, but it’s eventual melodic accompaniment and release would traverse decades, becoming our signature song and, in the minds of many, our first bona fide classic.

While Bob was busy with Clara’s recording, his modular had just notched another first in the world: it sired the genre of electronic dance music. “I Feel Love,” a hypnotic, seductive single by Donna Summer, the “Queen of Disco,” had cast the Moog in a central role. Soon after the song’s release in July 1977 it went to No. 1 in the UK, climbing to No. 6 in the U.S., and then perched atop charts internationally, eventually making the “top songs of all time” lists of magazines and critics worldwide. Donna Summer and her collaborator, composer Giorgio Moroder, had pushed the boundaries of disco permanently into the electronic sphere with this single song.

It had been… exquisite. The pleasure before the pain. He’d arched into her touch, wanting more, needing more, and the heat of her body had called to him worse than any siren song his kind had released into the sea. She was every temptation he’d ever had, all wrapped up in a body he should hate and a mind that was far too devious. Mira was dangerous, he knew that. And yet, some part of him still wanted to keep her as his own. Punish her? Absolutely. He would punish her for what she had done, but even as he uncoiled his knotted tail and started back toward the cavern, those dark thoughts turned into something far more pleasurable. She would know what it felt like for his kind to dominate hers. He would make them fit together, if that’s what it took. Because he had seen the heat in her eyes, and he had seen the way her soft lips parted when she looked at him writhing in her grip. She’d wanted him, just as much as he’d wanted her. For now, that was enough.

What do you spin with the light you are given? Releasing is in the telling, even as it is unfolding. In the middle of a miracle, God’s art exhibit we’re blessed to exist in. Once we look past ourselves and on to the possibilities of our contributions, we no longer have time or the hunger for such validation. Stay bewildered and in love with your possibilities. Thank your ego for your survival and then politely set it free. Jump into your spirit that lives in your soul and get busy creating beauty and love and stay so intoxicated with heart songs that you never remember to wonder about the mediocrity of life again.

started around 2010 and the product was released on June 23, 2015. In its first editions, Amazon Echo was available for Amazon Prime users only till the product released and became available for the United States region. The importance of the project can be seen in the fact that it was featured in the first-ever Amazon Super Bowl advertisement in 2016. After its United States debut, Amazon Echo was distributed to the United Kingdom and after that to Germany during 2016. The Amazon Echo hardware is a cylindrically shaped speaker, 9.25 inches tall. Inside the body of the speaker, there is a seven-piece microphone array. That number of microphones allows the device to receive signals in a 360-degree perimeter. This speaker is not a finished product. Because of Alexa, it can be seen as an ongoing project, an idea in development. It ranges from a regular speaker of which you use only for listening to music to an assistant who can do small chores for you. The most obvious option is to use Echo to listen to music. Listening to music was never so exciting and cool as it is when you use a smart speaker. It can be called ‘smart listening.' If you are a teen, you will not have to lie to your parents when you say that you are doing something smart. It is definitely not a waste of time.  Songs can be streamed from several locations using Amazon Echo. The regular Amazon library provides the user with 1 million songs to choose from. If someone finds that number of songs unsatisfying,

The grind is the traveling, the hotel food, whatever. It’s a hard drill sometimes. But once I hit the stage, all of that miraculously goes away. The grind is never the stage performance. I can play the same song again and again, year after year. When “Jumpin’ Jack Flash” comes up again it’s never a repetition, always a variation. Always. I would never play a song again once I thought it was dead. We couldn’t just churn it out. The real release is getting on stage.

It does not take long. He cries out in release, and in that same moment, the intensity of his feelings shoots straight through me, making me gasp. My body lights up as though his pleasure were mine, and all around us, the crystals in the walls burst into a symphony of colors, filling my head with dancing lights and a wondrous, multitudinous harmony of song.

Isaac released my hand and set his guitar on the floor before hugging the guy. “How the hell are you?” he asked Isaac. “Good, man. God, it’s great to see you.” His friend released him and eyed me. “And who do we have here? Wife? Girlfriend?” My eyes widened, looking to Isaac for help. “My preacher’s daughter. I kidnapped her. She sings in the choir but secretly loves songs about sex.” I fought my usual reaction, which was to turn ten different shades of red and avert my gaze. This was the start of my favorite dream.

In a Burst of Oneness When wax and wick work best, light and heat are all that's left. Like a candle, our wick of spirit is encased in our humanity, and when our spirit is touched, we light up until all we know melts and changes shape for the burn of our experience. Repeatedly, our sweat and struggle burns our sense of self and world away, so that our Divine spark can be released, again and again. These moments of Spirit-Lighting-Up not only rearrange our lives, but they light and warm those who stay near. In such moments, we become one with what we see, and this sudden Oneness is what the faithful of all paths have called Love. And in the illumination of Oneness called Love, all that's left is a willingness toward birth, an urge to be touched by something timeless and fresh. All that's left is the want of deep parts in strangers. To relish the waking over being awake, the burning over being burned, the loving over being loved. When we can be—no matter how briefly—at one with what we have in common with all life, we are rewarded beyond attachment and ownership. This is the difference between becoming a singer and becoming the song. This is the best of ambition: that the dancer melts into the dance, and the lover melts into the act of love, and the builder melts into the thing being built, until in a burst of Oneness, dancer and lover and builder are one. Perhaps momentarily, when swimming with the stream, we are the stream; when moving with the music, we are the music; when rocking the wounded, we are the suffering. Perhaps momentarily, when thinking without masks, we are pure thought; when believing without doubt, we are God. Perhaps love is an instrument we play for all we're worth in an orchestra yet to be convened. Perhaps this is why, in the fullest moments of loving or knowing or being, we go nameless and timeless and breathless—everything about us used up, like a candle, burned over and over, just to light entire rooms with our flicker.

Born on March 20, 1971, she celebrated her 100th birthday this past March. During the war she toured the battle zones, where British forces were fighting by giving concerts for the troops. The songs most remembered from that era are We'll Meet Again, The White Cliffs of Dover, A Nightingale Sang in Berkeley Square and There'll Always Be an England. During the Second World War she earned the title of “the Allied Forces Sweetheart.” And in 1945 she was awarded the British War Medal and the Burma Star for her untiring devotion to the Crown and the men in uniform. As a songwriter and actress, her recordings and performances were enormously popular. This popularity remained solid after the war with recording of Auf Wiedersehen Sweetheart, My Son, My Son and I Love This Land, which was released to mark the end of the Falklands War. In 2009, at age 92, she became the oldest living artist to top the UK Albums Chart, with We'll Meet Again, The Very Best of Vera Lynn. Commemorating her 100th birthday she released the album Vera Lynn 100, in 2017, which number 3 on the charts, making her the oldest recording artist in the world and the first centenarian performer to have an album in the charts. Vera Lynn devoted much time working with wounded ex-servicemen, disabled children, and breast cancer. She is held in great affection by veterans of the Second World War and in 2000 was named the Briton who best exemplified the spirit of the 20th century.

He said he commenced it on the deck of their vessel, in the fervor of the moment when he saw the enemy hastily retreating to their ships, and looked at the flag he had watched for so anxiously as the morning opened: that he had written some lines or brief notes that would aid him in calling them to mind upon the back of a letter which he happened to have in his pocket, and for some of the lines as he proceeded he was obliged to rely altogether on his memory, and that he finished it in the boat on his way to the shore and wrote it out as it now stands at the hotel on the night he reached Baltimore, and immediately after he arrived; he said that on the next day he immediately sent it to a printer, and directed copies to be struck off in hand-bill form, and that he — Mr. Key — believed it to have been favorably received by the Baltimore public.” In fact, Key composed the song on the back of a letter he was carrying in his pocket, and he completed it during a stay at the Indian Queen Hotel following his release. He titled his work, “Defence of Fort M’Henry.

Too many people suffer from destination disease. They reach a certain level, earn their degrees, buy their dream homes, and then just coast. Studies show 50 percent of high school graduates never read another entire book. One reason may be that they see learning as something you do in school, just something you do for a period of life instead of as a way of life. We all learned when we were in school. Our teachers, coaches, and parents taught us. We were expected to learn when we were school age. But some tend to think that once they finish a certain level of education: “I’m done with school. I’ve finished my training. I’ve got a good job.” Winners never stop learning, and this is the sixth undeniable quality I have observed. God did not create us to reach one level and then stop. Whether you’re nine or ninety years old, you should constantly be learning, improving your skills, and getting better at what you do. You have to take responsibility for your own growth. Growth is not automatic. What steps are you taking to improve? Are you reading books or listening to educational videos or audios? Are you taking any courses on the Internet or going to seminars? Do you have mentors? Are you gleaning information from people who know more than you? Winners don’t coast through life relying on what they have already learned. You have treasure on the inside--gifts, talents, and potential--put in you by the Creator of the universe. But those gifts will not automatically come out. They must be developed. I read that the wealthiest places on earth are not the oil fields of the Middle East or the diamond mines of South Africa. The wealthiest places are the cemeteries. Buried in the ground are businesses that were never formed, books that were never written, songs that were never sung, dreams that never came to life, potential that was never released.

I am Comanche, yes? A mo-cho-rook, cruel one. This is what you run from? A heathen. A man who will beat you? Or maybe throw you to his friends? That would be good, eh? If I could find a man so stupid he would take you!” Releasing her hair to cinch a bruising arm around her waist, Hunter fell silent, nudging his horse forward into a jarring trot. His hand on her hip was heavy, the bite of his fingers uncomfortable but not cruel. Loretta leaned against him and closed her eyes. “Why can’t you understand that its over between us--that I can’t stay in that village with you?” she said. “Even if you had nothing to do with my parents’ deaths, people in your village did! I can’t forget that! And I can’t forgive it!” “This Comanche cares nothing for the song in your heart,” he retorted, his voice still venomous. “You belong to me. Forever, for always! Within you is my seed. A Comanche man does not give up his woman.” Those were the last words to pass between them.

Thank you for bringing me home. My heart will sing a song of friendship when I think of you, Hunter--for always into the horizon.” He gestured toward the stallion. “You will take him. He is strong and swift. He will carry you back to Comanche land, eh?” “Oh, no! I couldn’t. He’s yours!” “He walks a new way now. You are his good friend.” Tears sprang to her eyes. “I will never return to Comancheria, Hunter. Please, keep your horse.” “You keep. He is my gift to you, Blue Eyes.” Words eluded Loretta. Before she thought it through, she rose on her tiptoes and pressed her lips against his in what she intended to be a quick kiss of farewell. Hunter had heard of this strange tosi tivo custom called kissing. The thought of two people pressing their open mouths together had always disgusted him. Loretta was a different matter, however. Before she could pull away, he captured her face between his hands and tipped her head back to nibble lightly at her mouth. To learn the taste of her. And to remember. As inexpert as he was, when his mouth touched hers, a wave of heat zigzagged through him, pooling like fire low in his belly. Her lips were soft and full, as sweet as warm penende, honey. She gasped, and when she did, he dipped his tongue past her teeth to taste her moistness, which was even sweeter and made him think of other sweet places he would like to taste. Hunter at last understood why the tosi tivo liked kissing. She clutched his wrists and leaned away from him. He drew back and smiled, his palms still framing her face. Her large eyes shone as blue as the sky above them, startled and wary, just as they had so many times those first few days. She was like his mother’s beadwork, beautiful on the outside, a confusing tangle on the inside. Would he never understand her? “Good-bye, Hunter.” Reluctantly he released her and watched her lead the horse down the hill. At the base of the slope she turned and looked back. Their gazes met and held. Then she turned toward home and broke into a trot, the horse trailing behind her. Hunter shook his head. Only a White Eyes would walk when she had a perfectly good horse to ride.

SONG OF THE STAR I am nothing but oxygen and hydrogen, A luminous sphere of plasma Held together by helium and gravity, And like a balloon I float on earth, Waiting to be released back into the sky, Waiting to go back in the reverse Direction from which I came, Traveling through a warm tunnel of light, And out into a cold, dark abyss Where I will explode into a thousand pieces. I shall leave behind my body, Just like air abandons the skin of a shattered balloon, And the magnetic dust that carries my Heart and spirit will lift us back To congregate and shine With the stars. Home again, In the fluorescent Kingdom of the constellations, I will once again be called by My soul’s true name. And my heart, It will flicker again, With every memory from its many Lifetimes, And with every wish Made by a child. SONG OF THE STAR by Suzy Kassem Copyright 1993

and echoes to my singing. More sounds went on—an arc-like melody created using an echo machine, and then a guitar solo at the end that was made by selecting fragments from a number of improvised solos. Finally, I sang the song after jogging in the studio, because for some reason I wanted to sound out of breath. Of course, I was singing the same words and melody as I had been on the earlier, straighter, version of the song, but now to a vastly altered musical track—a fact that also affected how I sang. The song, as it was released,

Director: Saravana Rajan Producer: Dayanidhi Azhagiri Written : Saravana Rajan Starring: Jai,Swati Reddy Music: Yuvan Shankar Raja Cinematography: Venkatesh S. Release Date: Jan 24, 2014 Editing: Praveen K. L, N. B. Srikanth Director Saravana Rajan’s debut comedy thriller ‘Vadacurry’ features actors Swati Reddy and Jai in lead role. ‘Vadacurry’ is produced by Dhayanidhi Alagiri with Yuvan Shankar Raja’s music. Bollywood actress Sunny Leone has shaken her legs for ‘Vadacurry’ Tamil film’s dream song with actor Jai in Bangkok. The shooting of the song was held in December 2013. It’s a dream sequence of Jai’s character in the ‘Vadacurry’ where, Sunny will be grooving with him. Sunny was given half-sari, bangles and anklets to portray a typical south Indian look in this song. However, the hot diva loved trying these accessories to shake her legs for her debut film in Kollywood ‘Vadacurry’. ‘Vadacurry’ Tamil movie’s cinematography is handled by Venkatesh. ‘Vadacurry’ team started rolling on floors from August 19, 2013. Interestingly, ‘Vadacurry’ Tamil movie’s music composer Yuvan Shankar Raja is cousin of director Saravana Rajan. Director Saravana Rajan has followed the steps of his tutor Venkat Prabhu in coining food names as title for his movie ‘Vadacurry’ that matched with Venkat Prabhu’s recent release ‘Biriyani’. The charming beauty Anusha Dhayanidhi has made a debut as costume designer in ‘Vadacurry’. Anusha Dhayanidhi has transformed the looks of female lead Swathi in ‘Vadacurry’ Tamil film. It should be noted that ‘Subramaniyapuram’ pairs, who had portrayed good chemistry have joined this comedy entertainer ‘Vadacurry’. However, ‘Vadacurry’ Tamil film is ready to be served on 24January, 2014 to give a punch of full-on comedy with its taste and essence.

stroke the keys of a piano, or simply use my voice to produce a song; my soul releases the emotions I harbor.

It’s a rather joyous song,” Cohen said when Various Positions was released. “I like very much the last verse—‘And even though it all went wrong, / I’ll stand before the Lord of Song / with nothing on my lips but Hallelujah!

Some scents sparkle and then quickly disappear, like the effervescence of citrus zest or a bright note of mint. Some are strange siren songs of rarer origin that call from violets hidden in woodland, or irises after spring rain. Some scents release a rush of half forgotten memories. And then there are the scents that seem to express truths about people and places that you have never forgotten: the scents that make time stand still.

I don’t know how they do it. We’ve been recording all day but the longer we go on the better they get

When the song of the angels is stilled, When the star in the sky is gone, When the kings and princes are home, When the shepherds are back with their flock, The work of Christmas begins: To find the lost, To heal the broken, To feed the hungry, To release the prisoner, To rebuild the nations, To bring peace among brothers, To make music in the heart. Howard Thurman, the late author, professor and civil rights leader

As they drifted down the Apple River, Virgil felt as though a medicine was moving through him, flushing his cells with a natural liquid peace. The quiet shrilly of katydids and the soft song of moving water permeated the air. He watched Chantel slowly spinning in the currents, her eyelids fluttering in a way he'd never seen before, her ebony face drenched in sunshine, feet kicking lazily in the water. He wanted to think only of her, in this calm river vision, releasing all other thoughts from his head like flocks and flocks of birds, every species known to man, shooting out of a cavern and filling the sky.

I did it the hard way ( a poem) _________________________ Many of the big dreams I dreamt, I dreamt, when I met a failed attempt. Life taught me to believe that Great ideas can start from a wretched hut. Many of the strongest steps I took, I took, when I was given the fiercest look. My passion pokes me to understand That people’s mockeries, I can withstand. Many of the fastest speeds I gained, I gained when I was bitterly stained. I first thought the only way was to quit As I tried again, I no longer have guilt. Many of the bravest decisions I made, I made, when my life was about to fade. I was frustrated and ripe to sink. But then I strive to release the ink. Many of the longest journeys I started, I started, having no resource; money parted I relied on God my creator all dawn long And at dusk He gave me a new song. Many of the hardest questions I tackled, I tackled, when I was heckled. They were very troublesome to settle But I make it happen little by little Yet, it was not I, but the Lord Jesus The saviour who gives me success. In Him, through Him and by Him I have the liberty to do everything with vim. I don’t want to enjoy this liberty alone. You too must step out of your comfort zone. It’s not easy, but you can do it anyway. Jesus is the life, the truth and the way. ___________________________ Israelmore Ayivor

Our Kotex commercial airs the same week the article is released. We were hired to design something “pad-centric” when "Nashville Combat" was in postproduction and we were subsisting on lentils and six-packs of PBR. We were instructed to steal some thunder from tampon usage with a “fun, light-hearted spot” showcasing the company’s new Super Light Close-to-You sanitary napkin. “Isn’t that a Carpenters song?” Mel said after they approached us.

#63. Listen to Your Favorite Song It’s amazing what listening to your favorite songs can do for your mind and body. Not only will the upbeat music stimulate the release of happy hormones, but the recollection of happy times will influence your mood. Without realizing it, you will be dancing around and singing along, which will leave you feeling happy and ready to take on the day.

When the whistling-thrush released A deep sweet secret on the trembling air; Blackbird on the wing, bird of the forest shadows, Black rose in the long ago summer, This was your song: It isn’t time that’s passing by, It is you and I.

A couple of weeks before, while going over a Variety list of the most popular songs of 1935 and earlier, to use for the picture’s sound track – which was going to consist only of vintage recording played not as score but as source music – my eye stopped on a .933 standard, words by E.Y. (“Yip”) Harburg (with producer Billy Rose), music by Harold Arlen, the team responsible for “Over the Rainbow”, among many notable others, together and separately. Legend had it that the fabulous Ms. Dorothy Parker contributed a couple of lines. There were just two words that popped out at me from the title of the Arlen-Harburg song, “It’s Only a Paper Moon”. Not only did the sentiment of the song encapsulate metaphorically the main relationship in our story – Say, it’s only a paper moon Sailing over a cardboard sea But it wouldn’t be make-believe If you believed in me – the last two words of the title also seemed to me a damn good movie title. Alvin and Polly agreed, but when I tried to take it to Frank Yablans, he wasn’t at all impressed and asked me what it meant. I tried to explain. He said that he didn’t “want us to have our first argument,” so why didn’t we table this conversation until the movie was finished? Peter Bart called after a while to remind me that, after all, the title Addie Pray was associated with a bestselling novel. I asked how many copies it had sold in hardcover. Peter said over a hundred thousand. That was a lot of books but not a lot of moviegoers. I made that point a bit sarcastically and Peter laughed dryly. The next day I called Orson Welles in Rome, where he was editing a film. It was a bad connection so we had to speak slowly and yell: “Orson! What do you think of this title?!” I paused a beat or two, then said very clearly, slowly and with no particular emphasis or inflection: “Paper …Moon!” There was a silence for several moments, and then Orson said, loudly, “That title is so good, you don’t even need to make the picture! Just release the title! Armed with that reaction, I called Alvin and said, “You remember those cardboard crescent moons they have at amusement parks – you sit in the moon and have a picture taken?” (Polly had an antique photo of her parents in one of them.) We already had an amusement park sequence in the script so, I continued to Alvin, “Let’s add a scene with one of those moons, then we can call the damn picture Paper Moon!” And this led eventually to a part of the ending, in which we used the photo Addie had taken of herself as a parting gift to Moze – alone in the moon because he was too busy with Trixie to sit with his daughter – that she leaves on the truck seat when he drops her off at her aunt’s house. … After the huge popular success of the picture – four Oscar nominations (for Tatum, Madeline Kahn, the script, the sound) and Tatum won Best Supporting Actress (though she was the lead) – the studio proposed that we do a sequel, using the second half of the novel, keeping Tatum and casting Mae West as the old lady; they suggested we call the new film Harvest Moon. I declined. Later, a television series was proposed, and although I didn’t want to be involved (Alvin Sargent became story editor), I agreed to approve the final casting, which ended up being Jodie Foster and Chris Connolly, both also blondes. When Frank Yablans double-checked about my involvement, I passed again, saying I didn’t think the show would work in color – too cute – and suggested they title the series The Adventures of Addie Pray. But Frank said, “Are you kidding!? We’re calling it Paper Moon - that’s a million-dollar title!” The series ran thirteen episodes.

Sometimes what’s exceptional about a sign is not the sign itself, but its timing. Your favorite pick-me-up song plays on the radio just when you’re feeling especially down. The number 100 appears on your Starbucks receipt just when you’re worrying about flunking a test. The answer to a crossword puzzle clue is randomly spoken by someone on TV just when you’re about to give up on it. All of these simple, surprising occurrences can be signs from the Other Side, because their timing makes us feel connected to the world in a way we can’t quite explain—as if all we have to do is release our feelings of fear and doubt into the universe, and the universe will respond with playful, wonderful reassurances.

Praise is not a “happy-clappy” song. Praise is not the fast songs before the nice, slow worship songs. Praise is a declaration, a victory cry, proclaiming faith to stand firm in the place God has given you. Praise is a proclamation that the Enemy’s intent to plunder you will not rock you. Praise declares that you will not be moved by the Enemy’s attempt to snatch you away. If you need to have the Enemy flee from your life, then you need to praise your pathway to victory! Praising God with other believers releases explosive faith that frightens the Enemy. This time of high praise, when we have broken away from self-concerns and when we are truly rejoicing in our Lord, is confronting;

Every cell in the tree integrates information about the state of the internal environment of the needs then open or close to admit gases or release water vapor. Every cell inside the needle is making similar assessments and decisions, sending and receiving signals, modulating its behavior as it learns about and responds to the environment. When such processes run though animal nerves, we call them “behavior and thought”. If we broaden our definition and let drop the arbitrary requirement of the possession of nerves, then the balsam fir tree is a behaving and thinking creature. Indeed, the proteins that we vertebrate animals use to create the electrical gradients that enliven our nerves are closely related to the proteins in plant cells that cause similar electrical excitation. The signals in galvanized plant cells are languid-they take a minute or more to travel the length of a leaf, twenty times slower than nerve impulses in a human limb-but they perform a similar function as animal’s nerves, using pulses of electrical charge to communicate from one part of the plant to another. Plants have no brain to coordinate these signals, so plant thinking is diffuse, located in the connections among every cell.

Imagined from within the abstractions of celestial geometry, water’s movement is orderly, imbued with mathematical elegance. Even with the overtones and ornaments of irregular shorelines and ocean depths are worked into the score, all seems harmonious; Earth and ocean are governed by the steady, predictable hand of the skies. No sunlight, no Moon. A storm pounds offshore. I hear nothing but the violence of water. A few waves hiss, most give a deeper complaint as they charge, then punch. Embayments and spits impede and deflect the assault, causing waves to turn on one another, releasing slaps so loud they resonate in my chest. Every few seconds, lightning cracks the dark: surf sliced by a giant oak that lies dead on the beach; spilling breakers overtopping beaten, limp palm crowns; sea spray so dense that the lightning fires the air with silver. Then darkness. At my feet, shudders emerge from what was steady ground. Waves slam into the knee-high escarpment that marks the highest edge of the beach; body-size fragments of soil cleave away; the roots that held the soil are entirely powerless. The moon presses the tide so tight against the land that spent waves have no room to run back before the next breaker arrives. By my clock, the tide is at its highest point, it should ease back soon, but my whole being tells me, you’re next. There is no celestial harmony but atonal panic, sensory tumult that overwashes all else. Not Newtonian elegance but Prospero’s rough magic and roaring war.

Patterns of urban wildlife seem to lend credence to the antiurbanism of many environmentalists. Yet cities occupy just 3 percent of the world’s surface and house half of the human population. This intensification is efficient. The average citizen of New York releases less than one third of the US national average amount of carbon dioxide. Unlike those sprawling cities like Atlanta or Phoenix, New York’s carbon emissions from transportation have not risen in the last 30 years. Denver, despite its profligate lawns, water one quarter of Colorado’s population with 2 percent of the state’s water supply. Therefore, the high biodiversity of the countryside exists only because of the city. If all the world’s urban dwellers were to move to the country, native birds and plants would not fare well. Forests would fall, streams would become silted, and carbon dioxide concentrations would spike. This is no thought experiment. These outcomes are manifest in the cleared forests and such from suburban peripheries. Instead of lamenting a worldwide pattern of biological diminishment in urban areas, we might view statistics on bird and plant diversity as signs of augmented rural biological diversity, made possible by the compact city.

And Denny Laine, just weeks after the LP was released, had developed a sour view of the project, and Wings generally. “I look on Band on the Run as definitely their [Paul and Linda’s] album,” he complained to Disc’s Caroline Boucher, while promoting Ahh . . . Laine!, finally released on December 7. “We’re not a group anymore. I’m one of the three, or I’m an individual. If it was Wings I’d feel more a part of it. But it’s not my songs and I’d like to feel more involved and contribute as much as they do.

38 Paul was still thinking of singles and albums as he did during the Beatles’ days, and as many British groups (and record labels) did in the 1960s—as separate releases, with no crossover. With few exceptions, when the Beatles released a song as a single, it was removed from consideration as an album track. They explained this as a value-for-money issue: fans who already bought a single should not have to buy those tracks again on the next LP. It was different in the United States. Singles were considered teasers for albums. Record executives like Coury considered albums more marketable when they had hits on them, and American consumers considered it a convenience to have the songs they knew as singles on albums as well. In the Beatles’ case, because Capitol LPs typically included 12 songs, compared with

Muhammet Eksi, with the stage name 256Muhammet, is active and appointed as a music producer in 2021. Born in 2003, 256 Muhammet was born in 2018. He started making music actively. He performed at many entertainment and outdoor live music venues. 256muhammet, who has been away from music for about 3 years, started to produce active music by opening a Youtube channel in 2019. He will release his first song in 2022

One of her best songs ever is 'Annabel Lee,' which she just released a few years ago on her underrated 2011 album In My Dreams. It's a six-minute sex-and-death trip with a lyric from one of her hot dead rock-and-roll boyfriends: Edgar Allan Poe. The key line is: 'The moon never beams without bringing me dreams.' Poe might have written that line in 1849, but he clearly always meant it for Stevie Nicks to sing.

All my friends tell me I should move on I'm lying in the ocean, singing your song Ahh That's how you sang it Loving you forever can't be wrong Even though you're not here, won't move on Ahh That's how we played it And there's no remedy for memory, your face is like a melody It won't leave my head Your soul is haunting me and telling me that everything is fine But I wish I was dead (dead, like you) Every time I close my eyes, it's like a dark paradise No one compares to you I'm scared that you won't be waiting on the other side Every time I close my eyes, it's like a dark paradise No one compares to you I'm scared that you won't be waiting on the other side All my friends ask me why I stay strong Tell 'em when you find true love, it lives on Ahh That's why I stay here And there's no remedy for memory, your face is like a melody It won't leave my head Your soul is haunting me and telling me that everything is fine But I wish I was dead (dead, like you) Every time I close my eyes, it's like a dark paradise No one compares to you I'm scared that you won't be waiting on the other side Every time I close my eyes, it's like a dark paradise No one compares to you But there's no you, except in my dreams tonight Oh-oh-oh-oh-hah-hah-hah-hah I don't want to wake up from this tonight Oh-oh-oh-oh-hah-hah-hah-hah I don't want to wake up from this tonight There's no relief, I see you in my sleep And everybody's rushing me, but I can feel you touching me There's no release, I feel you in my dreams Telling me I'm fine Every time I close my eyes, it's like a dark paradise No one compares to you I'm scared that you won't be waiting on the other side Every time I close my eyes, it's like a dark paradise No one compares to you But there's no you, except in my dreams tonight Oh-oh-oh-oh-hah-hah-hah-hah I don't want to wake up from this tonight Oh-oh-oh-oh-hah-hah-hah-hah I don't want to wake up from this tonight "Dark Paradise

hindiwalalyrics.com provide you the lyrics of each and every song that existed in the music world. Upcoming song lyrics also updated here on the day of its release. If you are searching for lyrics of any song, then you just need to search the song name and lyrics will appear in front of you.

She threw her head back and released her breath. Her series of chuckles was like a fragmented moan dribbling freely into the climate of a now happier milieu. It had been a while since Mickey’s Pub had heard a noise that could penetrate through buzzing without force, that dominated loud men with earned grace. The first drop of her pearl laughter seeped into Maxwell’s ears and dyed his eardrums pink. For a long time, the maintenance of this color would be his heartfelt mission.

I remembered a joke I’d once heard, that if you play a country song backward, you get back your girlfriend, your dog is no longer dead, and your brother is released from prison.

Alison Wood Brooks, an associate professor at Harvard Business School, had a different notion of how to handle nervousness. In a series of three studies, she subjected groups of people to experiences that most everyone would find nerve-racking: completing “a very difficult IQ test” administered “under time pressure”; delivering, on the spot, “a persuasive public speech about ‘why you are a good work partner’ ”; and most excruciating of all, belting out an 80s pop song (“Don’t Stop Believin’,” by Journey). Before beginning the activity, participants were to direct themselves to stay calm, or to tell themselves that they were excited. Reappraising nervousness as excitement yielded a noticeable difference in performance. The IQ test takers scored significantly higher. The speech givers came across as more persuasive, competent, and confident. Even the singers performed more passably (as judged by the Nintendo Wii Karaoke Revolution program they used). All reported genuinely feeling the pleasurable emotion of excitement—a remarkable shift away from the unpleasant discomfort such activities might be expected to engender. In a similar fashion, we can choose to reappraise debilitating “stress” as productive “coping.” A 2010 study carried out with Boston-area undergraduates looked at what happens when people facing a stressful experience are informed about the positive effects of stress on our thinking—that is, the way it can make us more alert and more motivated. Before taking the GRE, the admissions exam for graduate school, one group of students was given the following message to read: “People think that feeling anxious while taking a standardized test will make them do poorly on the test. However, recent research suggests that arousal doesn’t hurt performance on these tests and can even help performance. People who feel anxious during a test might actually do better. This means that you shouldn’t feel concerned if you do feel anxious while taking today’s GRE test. If you find yourself feeling anxious, simply remind yourself that your arousal could be helping you do well.” A second group received no such message before taking the exam. Three months later, when the students’ GRE scores were released, the students who had been encouraged to reappraise their feelings of stress scored an average of 65 points higher.

The Prophecy Seelie and Unseelie, two parts of a whole, destroy one, and to the other woe. Without light, there can be no shadow, winter will reign, and darkness will follow. Thousands slaughtered in vengeful creed, thousands more sold in the name of greed. A single summer seed to return a Seelie clan, a starflower sewn into a foreign land. To bridge the abyss and brave a sea of fire, strength to heal and blossom amid treachery most dire. Railea’s mightiest to kneel before her bloom, an Unseelie king be brought to doom. The necromancer’s dagger falls to a guardian, a cursed twin at the brink of desperation. His voiceless sister’s blood sings of untouched power, twelve runes carved on her spine at the blood moon’s hour. Two hearts to break while one ceases, the necromancer’s lost dagger her death releases.

But we are now free to let go of those ideas because we have new ideas and images that are powerful and well-grounded in science and mathematics. We must release ourselves from the grip of the old image, because it is contrary to facts about nature, and leads us down a path to misguided, destructive, and costly management policies. We must let go of our old, outdated folkways surrounding learning and knowledge; we must learn to sing a new song.

We didn't dance together. We danced our own dance, our own space. But we felt the connection. We were three people in communion with the music. The music sang and we sang back, loudly, with our bodies. For a moment, all the superficiality of the world; all its banal cruelty, wokeness, and mundane distractions—everything faded. Our souls reverberated with the purity of music, the release of dance, and the separate yet united communion of disparate people in that single experience.

Releasing a shitty song is not a victimless crime.

The show also gave me the opportunity to sing its theme song, “Follow Me,” which was cowritten by my sister. I recently produced and recorded a modern version of the song. In an effort to assuage the fans, I asked many of my original castmates to shoot a video for the song’s reboot. It was tricky because we did a one-day shoot complicated by the protocols of COVID-19. The shooting schedule for that day was insane, with temperature checks and sanitation requirements. Once we all got back into a room together, the years apart vanished. We arrived as adults but performing brought us back to 2004. The release of the song and video spurred new rumors about a Zoey 101 reunion show. I am excited at the prospect of working on another Zoey 101 project, whether that be a long-format movie or series. The cast is eager to reunite and bring the characters into the present. We have been in talks to reinvent the series. Producers and writers have shared some concepts that sound intriguing. Hopefully, a modern-day version will go into production soon.

Even when it was really difficult to write a song, when it came down to it, I went, “Pfft, whatever! Just do it!” Whether the song would get released or not, I decided to write it first and think about that later.

The world deserved Gavin James, not Reaper. Releasing Reaper would release a wrath unlike this earth had ever seen. It would be a Hellfire scorching every inch, until all the beautiful and ugly things died, burning to the ground until only one thing remained—ash.

John had just released “Imagine,” the song that would become an international anthem for peace, telling the world to “live as one,” yet he couldn’t pick up the phone, make peace with me and arrange to see his own son. Surely, I reasoned, Julian meant more to him than some foolish agreement with Yoko about dealing with each other’s ex-partner. I was wrong. It was three years before John saw Julian again.