Stay Lyrics Quotes

OkayIwaswrong. Now let’s move on. Where do you think would be the best place for the angels to stay until they leave?” “Whoa.” I burst out laughing. “Did you just say that you were wrong? Was that the word? Wrong?” I smile at him. “I like the sound of that coming out of your mouth. It’s lyrical. W-r-o-n-g. Wroooong. Wrrrrong. Go on, sing it with me.

You can't make a fan of everyone. Stay true to your story, characters, music, art or whatever it is you do and fuck everyone else who doesn't like it. Life isn't perfect.

I'll stay awake because the dark's not taking prisoner's tonight.

Am I the only one wishing life away? Never caught up in the moment busy begging the past to stay Memories painted with much brighter ink; they tell me I loved, teach me how to think.

All I can do is read a book to stay awake, and it rips my life away, but it's a great escape.

[NINA] When I was a child I stayed wide awake Climbed to the highest place On every fire escape Restless to climb I got every scholarship Saved every dollar The first to go to college How do I tell them why I’m coming back home?

I didn't have a heart until I meet you. That smile is killin me too. I can't look away. Can I always stay? I can't look away. I need to stay. I didn't have a heart until I meet you.

Incredible. It is just incredible that you can notice something like that when your face is so cold you can't feel it anymore, and you know perfectly well you are surrounded by death, and the only way to stay alive is to endure the howling wind and hold your course. And still the sky is beautiful.

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

Cause in you're eyes, I'd like to stay

I’ve been trying to stay real and true and proud of who I am, all those ideals of how to look I’ve been trying not to care. But I’m still holding my breath, I ‘m still watching every step. I’m still tip-toeing away, when I’m getting to ashamed of myself. I don’t want to be your letdown, I’m scared like hell I’m not enough. I don’t wanna be your failure anymore. — The Glass Child, Letdown

Better take the keys and drive forever. Staying won't put these futures back together. All the perfect drugs and superheroes wouldn't be enough to bring me back to zero.

You weren’t meant for the ice, you weren’t made for the pain. The world that lives inside of me was not the world you were meant to contain. You were meant for castles and living in the sun. Thecold running through me should have made you run. Yet you stay. Holding onto me, yet you stay, reachingout a hand that I push away. The cold is not meant for you yet you stay, you stay, you stay. When I know it’s not right for you. The ice fills my veins and I can’t feel the pain, yet you’re there like the heat that sends me screaming in fear. I can’t feel the warmth I need to feel the ice. I want to hold it all in and numb it till I can’t feel the knife. Your heat threatens to melt it all and I know I can’t bear the pain if the ice melts away. So I push you away and I scream out your name and I know I can’t need you yet you give anyway and I run wishing you would run too. Yet you stay. Holding onto me yet you stay reaching out a hand that I push away. The cold is not meant for you yet you stay, you stay, you stay. When I know it’s not right for you. The blackness is my shield. I pull it closer still. You’re the light that I hide from, the light that I hate. You’re the light to this darkness and I can’t let you stay. I need the dark around me like I need the ice in my veins. The cold is my healer. The cold is my safe place. Youaren’t welcome with your heat you don’t belong beside me. I hate you yet I love, I don’t want you yet I need you. The dark will always be my cloak and you are the threat to unveil my pain, so leave. Leave and erase the memories. I need to face the life that’s meant for me. Don’t stay and ruin all my plans. You can’t have my soul I’m not a man. The empty vessel I dwell in is not meant to feel the heat you bring. I push you away and I push you away. Yet you stay.

Diazapam (that's valium), temazepam, lithium, ECT, HRT - how long must I stay on this stuff? Don't give me anymore!

Daylight fades away as I watch you. Darkness claims the sky and I wish you knew that nothing you can do can keep me from you. But I stay out of sight and only whisper to you. Words I can’t say. Words you don’t need to hear. Words I can’t keep from tangling my way. Now, I can’t stand alone. Now, I am under your influence. You’ve taken over me and Now, I can’t ignore what I’ve been shown. You’ve claimed me and I don’t care who knows. You’ve claimed me and I don’t care if it shows. I’m weakened and I’m strengthened in your arms. You’ve claimed me and I need to feel you close.” “You stand wanting more than you could ever understand. I stand helpless needing to give in to your every command. Wanting to see you smile has consumed me and tied both my hands. Nothing I offer could ever be worthy of your love. It’s a miracle that you saw me and never ran. I will spend my whole life trying to be the man you think I am.   Now, I can’t stand alone. Now, I am under your influence. You’ve taken over me and Now, I can’t ignore what I’ve been shown. You’ve claimed me and I don’t care who knows. You’ve claimed me and I don’t care if it shows. I’m weakened and I’m strengthened in your arms. You’ve claimed me and I need to feel you close.” “You hold fire within your gaze. It mesmerizes everyone you allow into your maze. I know nothing of your thoughts but I need to bask within the warmth of your rays. Nothing you do could ever be wrong. You’re forever perfect in every way.   Now, I can’t stand alone. Now, I am under your influence. You’ve taken over me and Now, I can’t ignore what I’ve been shown. You’ve claimed me and I don’t care who knows. You’ve claimed me and I don’t care if it shows. I’m weakened and I’m strengthened in your arms. You’ve claimed me and I need to feel you close.” ~ Dank

Ascend, may you find so resistance Just know that you made such a difference All you leave behind will live to the end The cycle of suffering goes on But memories of you stay strong Some day I too will fly and find you again

I stay out of sight and only whisper to you. Words I can’t say. Words you don’t need to hear. Words I can’t keep from tangling my way. Now, I can’t stand alone. I can’t ignore what I’ve been shown. You’ve claimed me and I don’t care who knows. You’ve claimed me and I don’t care if it shows. I’m weakened and I’m strengthened in your arms. You’ve claimed me and I need to feel you close. You stand wanting more than you could ever understand. I stand helpless, needing to give in to your every command. Wanting to see you smile has consumed me and tied both my hands. Nothing I offer could ever be worthy of your love. It’s a miracle that you saw me and never ran. I will spend my whole life trying to be the man you think I am. Now, I can’t stand-alone. Now, I am under your influence. I can’t ignore what I’ve been shown. You’ve claimed me and I don’t care who knows. You’ve claimed me and I don’t care if it shows. I’m weakened and I’m strengthened in your arms. You’ve claimed me and I need to feel you close.” “You hold fire within your gaze. It mesmerizes everyone you allow into your maze. I know nothing of your thoughts but I need to bask within the warmth of your rays. Nothing you do could ever be wrong. You’re forever perfect in every way. Now, I can’t stand-alone. Now, I am under your influence. You’ve taken over me and now, I can’t ignore what I’ve been shown. You’ve claimed me and I don’t care who knows. You’ve claimed me and I don’t care if it shows. I’m weakened and I’m strengthened in your arms. You’ve claimed me and I need to feel you close.” ~ Dank Walker

Well my ship’s been split to splinters and it’s sinkin' fast
 I’m drownin’ in the poison, got no future, got no past
 But my heart is not weary, it’s light and it’s free
 I’ve got nothin’ but affection for all those who’ve sailed with me Everybody movin’ if they ain’t already there
 Everybody got to move somewhere
 Stick with me baby, stick with me anyhow
 Things should start to get interestin' right about now My clothes are wet, tight on my skin
 Not as tight as the corner that I painted myself in
 I know that fortune is waitin’ to be kind
 So give me your hand and say you’ll be mine Well, the emptiness is endless, cold as the clay
 You can always come back, but you can’t come back all the way
 Only one thing I did wrong
 Stayed in Mississippi a day too long -Bob Dylan, “Mississippi

How long can I listen to the lies of prejudice? How long can I stay drunk on fear out in the wilderness? Can I cast it aside, all this loyalty and this pride? Will I ever learn that there'll be no peace, that the war won't cease, until He returns?

Well I knew when I first laid eyes on her I could never be free One look at her and I knew right away She should always be with me Well the dream dried up a long time ago Don't know where it is anymore True to life, true to me Was the girl from the red river shore Well I'm wearing the cloak of misery And I've tasted jilted love And the frozen smile upon my face Fits me like a glove Well I can't escape from the memory Of the one I'll always adore All those nights when I lay in the arms Of the girl from the red river shore Well we're living in the shadows of a fading past Trapped in the fires of time I've tried not to ever hurt anybody And to stay out of the life of crime And when it's all been said and done I never did know the score One more day is another day away From the girl from the red river shore.

It's been the longest time Since I've been in this place, Where I spend my whole day Hoping I'll see your face. Then I script things to say, And maybe what you'd say back. You don't know it yet, But, girl, it's a fact That I can see us Staying up late, Talking all night, But I guess I'll have to wait. 'Cause it's brand-new, Yeah, I know we just met. I want to be there with you, But not just yet. Girl, you've got that look, Like you're hard to impress. So I'm bumbling with words, 'Cause my mind is a mess. You were out of the blue And you caught me by surprise, With a slight smile, that long stare, And a challenge in your eyes I could feel all this In that single look, Like you could see my soul. You could read me like a book, And I think it's something. Though I know we just met, I'm gonna get there with you. You just don't know it ... yet.

It's as if someone bought all the diamonds at Tiffany's, and crushed them into dust, then spread that dust across the water so that it sifts down evenly, filtering through the shards of light that cut into the depth. We are swimming through eternity, my daughters' bright mermaid legs, kicking out, towards deeper water. I stay beneath the surface and marvel for as long as lungs can hold. "Swimming is the reset button," Pallas used to say, "swimming starts the day again.

I think that the process of giving your true love to someone, mainly surrounds the act of opening a door inside that's all locked up. Behind that door lives the small child that is the real you. The small child who hurts too much and feels too much and laughs too loud and always believes... true love involves unlocking the many padlocks on that door, taking her by the hand, and guiding her to the arms of the one you've chosen to love. And I think this is why some people change forever... because they loved someone in this way, but it only hurt too much. The little one was wounded. So this is why you take her back and tell her she's better off staying inside. It is a poetic, lyrical tragedy. Some people die this way, before they ever are dead. Or maybe we don't die; maybe we live on, behind that door.

The story of the rapper and the story of the hustler are like rap itself, two kinds of rhythm working together, having a conversation with each other, doing more together than they could do apart. It's been said that the thing that makes rap special, that makes it different both from pop music and from written poetry, is that it's built around two kinds of rhythm. The first kind of rhythm is the meter. In poetry, the meter is abstract, but in rap, the meter is something you literally hear: it's the beat. The beat in a song never stops, it never varies. No matter what other sounds are on the track, even if it's a Timbaland production with all kinds of offbeat fills and electronics, a rap song is usually built bar by bar, four-beat measure by four-beat measure. It's like time itself, ticking off relentlessly in a rhythm that never varies and never stops. When you think about it like that, you realize the beat is everywhere, you just have to tap into it. You can bang it out on a project wall or an 808 drum machine or just use your hands. You can beatbox it with your mouth. But the beat is only one half of a rap song's rhythm. The other is the flow. When a rapper jumps on a beat, he adds his own rhythm. Sometimes you stay in the pocket of the beat and just let the rhymes land on the square so that the beat and flow become one. But sometimes the flow cops up the beat, breaks the beat into smaller units, forces in multiple syllables and repeated sounds and internal rhymes, or hangs a drunken leg over the last bap and keeps going, sneaks out of that bitch. The flow isn't like time, it's like life. It's like a heartbeat or the way you breathe, it can jump, speed up, slow down, stop, or pound right through like a machine. If the beat is time, flow is what we do with that time, how we live through it. The beat is everywhere, but every life has to find its own flow. Just like beats and flows work together, rapping and hustling, for me at least, live through each other. Those early raps were beautiful in their way and a whole generation of us felt represented for the first time when we heard them. But there's a reason the culture evolved beyond that playful, partying lyrical style. Even when we recognized the voices, and recognized the style, and even personally knew the cats who were on the records, the content didn't always reflect the lives we were leading. There was a distance between what was becoming rap's signature style - the relentlessness, the swagger, the complex wordplay - and the substance of the songs. The culture had to go somewhere else to grow. It had to come home.

Delia let out a resigned sigh. 'I couldn't help her, and she didn't want to stay. So there was nothing more I could do.' 'But you said she was in trouble.' Delia nodded. 'She is, but I can't force help on her. 'She'll come back when she's ready.' 'If she's every ready,' Lydia clarified. 'That's true. Some people never are,' Delia agreed thoughtfully.

Not to waste the spring I threw down everything, And ran into the open world To sing what I could sing... To dance what I could dance! And join with everyone! I wandered with a reckless heart beneath the newborn sun. First stepping through the blushing dawn, I crossed beneath a garden bower, counting every hermit thrush, counting every hour. When morning's light was ripe at last, I stumbled on with reckless feet; and found two nymphs engaged in play, approaching them stirred no retreat. With naked skin, their weaving hands, in form akin to Calliope's maids, shook winter currents from their hair to weave within them vernal braids. I grabbed the first, who seemed the stronger by her soft and dewy leg, and swore blind eyes, Lest I find I, before Diana, a hunted stag. But the nymphs they laughed, and shook their heads. and begged I drop beseeching hands. For one was no goddess, the other no huntress, merely two girls at play in the early day. "Please come to us, with unblinded eyes, and raise your ready lips. We will wash your mouth with watery sighs, weave you springtime with our fingertips." So the nymphs they spoke, we kissed and laid, by noontime's hour, our love was made, Like braided chains of crocus stems, We lay entwined, I laid with them, Our breath, one glassy, tideless sea, Our bodies draping wearily. We slept, I slept so lucidly, with hopes to stay this memory. I woke in dusty afternoon, Alone, the nymphs had left too soon, I searched where perched upon my knees Heard only larks' songs in the trees. "Be you, the larks, my far-flung maids? With lilac feet and branchlike braids... Who sing sweet odes to my elation, in your larking exaltation!" With these, my clumsy, carefree words, The birds they stirred and flew away, "Be I, poor Actaeon," I cried, "Be dead… Before they, like Hippodamia, be gone astray!" Yet these words, too late, remained unheard, By lark, that parting, morning bird. I looked upon its parting flight, and smelled the coming of the night; desirous, I gazed upon its jaunt, as Leander gazes Hellespont. Now the hour was ripe and dark, sensuous memories of sunlight past, I stood alone in garden bowers and asked the value of my hours. Time was spent or time was tossed, Life was loved and life was lost. I kissed the flesh of tender girls, I heard the songs of vernal birds. I gazed upon the blushing light, aware of day before the night. So let me ask and hear a thought: Did I live the spring I’d sought? It's true in joy, I walked along, took part in dance, and sang the song. and never tried to bind an hour to my borrowed garden bower; nor did I once entreat a day to slumber at my feet. Yet days aren't lulled by lyric song, like morning birds they pass along, o'er crests of trees, to none belong; o'er crests of trees of drying dew, their larking flight, my hands, eschew Thus I'll say it once and true… From all that I saw, and everywhere I wandered, I learned that time cannot be spent, It only can be squandered.

There is nothing more comforting than hearing lyrics to a song you could’ve written yourself.

We’d buy brochures of Dylan lyrics and stay up late interpreting them. Dylan’s words struck chords of creative thinking.

You can't choose what stays and what fades away

Happy Christmas and I love your ears tomorrow we’ll untie the package of another year. Twelve more months of summer if you stay winter if you go.

From all the books I read in this series, it is both the most nonsense and severe of them all, I sense a dark turn from now on. I love how David Tennant sings the songs We could be safe at hearth and home Around a fire with loved ones near Instead we brave the cold dark wave The salty kiss of a Hero's grave Looking for a land we saw... Once before... long ago... HO! We could take the easy way Stay at home with loved ones dear But here we are on rocking waves Sails spread out like dragons' wings... Lost out in a hurricane... Looking for a land we saw.. Once before... long ago.. HO! Glory comes not to the weak A treasure land shines out so strong We see it clear from far away O Great and Brave and Mighty Thor I hope that that was land I saw Once before... long ago.. HO!

Objectivism is the getting rid of the lyrical interference of the individual as ego, of the “subject” and his soul, that peculiar presumption by which western man has interposed himself between what he is as a creature of nature (with certain instructions to carry out) and those other creations of nature which we may, with no derogation, call objects. For a man is himself an object, whatever he may take to be his advantages, the more likely to recognize himself as such the greater his advantages, particularly at that moment that he achieves an humilitas sufficient to make him of use. It comes to this: the use of a man, by himself and thus by others, lies in how he conceives his relation to nature, that force to which he owes his somewhat small existence. If he sprawl, he shall find little to sing but himself, and shall sing, nature has such paradoxical ways, by way of artificial forms outside of himself. But if he stays inside himself, if he is contained within his nature as he is participant in the larger force, he will be able to listen, and his hearing through himself will give him secrets objects share. And by an inverse law his shapes will make their own way. It is in this sense that the projective act, which is the artist’s act in the larger field of objects, leads to dimensions larger than the man. For a man’s problems, the moment he takes speech up in all its fullness, is to give his work his seriousness, a seriousness sufficient to cause the thing he makes to try to take its place alongside the things of nature. This is not easy.

Yeah, You rocked my world forever I know you still remember How we felt before Yeah, We should be together 'Cause nothing could be better Than the way we were Baby, let's go back to the way we were Let's turn back the clock This time we'll take it slow You can stay the night, This time I won't let go And when the morning comes, We can start all over, over again Why did we say goodbye? Let's go back tonight

She pulled his truck into an open spot and turned the key off, gasping when he pulled her over the console in the middle to sit on his lap. “I don’t give a flying fuck what he is. You are mine. You stay with me. We clear?

I love your eyes when you look away Thinking somewhere else of what ought to be When they’re suddenly blue for a moment of time Then the colour goes when you look at me I love your hands as a part of you As they write a word just by staying still When you talk they move, painting what you say So I understand more than words can tell I love your hair in the dark it's soft In the light it moves, red and green are brown All the time it takes for a night to pass And a lifetime grows as the day comes down I love you now as you don't love me I can't let you know you're too far away But I wonder now just what did you see When you looked at me in that loveless way

All the things you do when you're twenty years old. The desire for constant movement will come after, the impossibility of staying in one place, the hatred of the roots that hold you there, 'Doesn't matter where you go, just change the scenery', says the lyric to a song.

As far as I was concerned, I wrote songs; chords and beats and lyrics, verses. and bridges and hooks. But then, as we got bigger, people began to dissect the songs, like a frog from biology class until there was nothing left but guts- tiny parts, so much less than the sum.

We are at stake to each other...We are all lichens, so we can be scraped off the rocks by the Furies, who still erupt to avenge crimes against the Earth. Alternatively, we can join in the metabolic transformations between and among rocks and critters, for living and dying well. "Do you realize," the phytolinguists will say to the aesthetic critic, "that once upon a time, they couldn't even read eggplant?" And they will smile at our ignorance, as they pick up their rucksacks and hike on up to read the newly deciphered lyrics of the lichen on the north face of Pike's Peak.

There's a stranger in a car Driving down your street Acts like he knows who you are Slaps his hand on the empty seat and says "Are you gonna get in Or are you gonna stay out?" Just a stranger in a car Might be the one they told you about Well you never were one for cautiousness You open the door He gives you a tender kiss And you can't even hear them no more -- All the voices of choices Now only one road remains And strangers in a car Two hearts Two souls Tonight Two lanes You don't know where you're goin' You don't know what you're doin' Hell it might be the highway to heaven And it might be the road to ruin But this is a song For strangers in a car Baby maybe that's all We really are Strangers in a car (Driving down your street) Just strangers in a car (Driving down your street) Strangers in a car

2. i got 14 fevers/ i got 5 believers...dressed up like men tell your mama not to worry/ 2. (a) tell your mama & your pappa i'm trying to keep from dying too 3. tell your mamma & your pappa that there's nothing wrong with my jugular vein tell your mama i love her & tell your sister Alice the same 4. when you sleep on windows & you stay up all night swallowing rocks 5. i should've sent her to Hong Kong instead of leaving

What’s it all about, Alfie?” Its lyrics are not particularly profound, but the question has stayed with me. What’s it all about? What’s life all about? What’s Christianity all about? What’s salvation all about? My answer to that question now, my conviction now: “it”—Christianity and salvation—is about transformation this side of death. The natural effect of growing up, beginning in childhood, is that we fall into bondage to cultural messages and conventions; experience separation and exile from the one in whom we live and move and have our being; become blinded by habituated ways of seeing and live in the dark, even dead in the midst of life; and hunger and thirst for something more. Salvation is about liberation, reconnection, seeing anew, acceptance, and the satisfaction of our deepest yearnings. Christianity at its best—like all of the enduring religions of the world at their best—is a path of transformation.

In the Garden I come to the garden alone While the dew is still on the roses And the voice I hear falling on my ear The Son of God discloses. Refrain And He walks with me, and He talks with me, And He tells me I am His own And the joy we share as we tarry there, None other has ever known. He speaks, and the sound of His voice, Is so sweet the birds hush their singing, And the melody that He gave to me Within my heart is ringing. Refrain I’d stay in the garden with Him Though the night around me be falling, But He bids me go through the voice of woe His voice to me is calling. Refrain

Fine." My fingers felt cold and clumsy as I fumbled to untie the straps that held my sword to the side of the pack. Suddenly I felt something harshly cold against my neck. I turned my head in slow motion and looked up the length of a very sharp blade. "Lovely." Kieran's voice dripped with sarcasm. "I'm sure an enemy would have too much honor to attack you until you're ready. That must be why you're completely unprotected and paying no attention whatsoever." He glared at me for a long punishing moment. Then he eased the sword back and inch. "Lesson one. Stay on guard." Reaching past me, he flicked the tip of his sword and easily sliced the ties on my pack.

Little do you know How I'm breaking while you fall asleep Little do you know I'm still haunted by the memories Little do you know I'm trying to pick myself up piece by piece Little do you know I need a little more time Underneath it all I'm held captive by the hole inside I've been holding back for the fear that you might change your mind I'm ready to forgive you but forgetting is a harder fight Little do you know I need a little more time I'll wait, I'll wait I love you like you've never felt the pain, I'll wait I promise you don't have to be afraid, I'll wait The love is here and here to stay So lay your head on me Little do you know I know you're hurting while I'm sound asleep Little do you know All my mistakes are slowly drowning me Little do you know I'm trying to make it better piece by piece Little do you know I, I love you 'til the sun dies Oh wait, just wait I love you like I've never felt the pain, Just wait I love you like I've never been afraid, Just wait Our love is here and here to stay So lay your head on me I'll wait (I'll wait), I'll wait (I'll wait) I love you like you've never felt the pain, I'll wait (I'll wait) I promise you don't have to be afraid, I'll wait The love is here and here to stay So lay your head on me Lay your head on me So lay your head on me 'Cause little do you know I, I love you 'til the sun dies

When He Returns The iron hand it ain’t no match for the iron rod The strongest wall will crumble and fall to a mighty God For all those who have eyes and all those who have ears It is only He who can reduce me to tears Don’t you cry and don’t you die and don’t you burn For like a thief in the night, He’ll replace wrong with right When He returns Truth is an arrow and the gate is narrow that it passes through He unleashed His power at an unknown hour that no one knew How long can I listen to the lies of prejudice? How long can I stay drunk on fear out in the wilderness? Can I cast it aside, all this loyalty and this pride? Will I ever learn that there’ll be no peace, that the war won’t cease Until He returns? Surrender your crown on this blood-stained ground, take off your mask He sees your deeds, He knows your needs even before you ask How long can you falsify and deny what is real? How long can you hate yourself for the weakness you conceal? Of every earthly plan that be known to man, He is unconcerned He’s got plans of His own to set up His throne When He returns

The danger was not gone—Helen knew that. Each day spent together, the existence of this tiny charge was in her hands. It suddenly seemed the most perplexing fact of life—it was up to flawed, bruised, broken adults to bring up angels. Helen wanted to offer the child a place of safety, but no matter where Lyric went, that could not be found. Not for sure. If she stayed, they would each risk hurt, loss, and suffering. But it was no more than anyone else could offer. Helen realized, as she brushed a strand from the girl’s face and tucked it behind her small ear, that if she didn’t take that risk, she could be risking even more. For both of them. Lyric blinked, yet the look in her eyes never left. Helen closed her own eyes and leaned forward, placing a soft kiss on the child’s forehead. I will fail. She knew. I will fail you thousands of times more. But if we stay together, I will spend every day we have doing all I can to keep you from losing that look in your eyes. She nodded slowly to herself, to the unspoken words inside her. When you see me, I hope you always see a home.

[J.Ivy:] We are all here for a reason on a particular path You don't need a curriculum to know that you are part of the math Cats think I'm delirious, but I'm so damn serious That's why I expose my soul to the globe, the world I'm trying to make it better for these little boys and girls I'm not just another individual, my spirit is a part of this That's why I get spiritual, but I get my hymns from Him So it's not me, it's He that's lyrical I'm not a miracle, I'm a heaven-sent instrument My rhythmatic regimen navigates melodic notes for your soul and your mental That's why I'm instrumental Vibrations is what I'm into Yeah, I need my loot by rent day But that is not what gives me the heart of Kunte Kinte I'm tryina give us "us free" like Cinque I can't stop, that's why I'm hot Determination, dedication, motivation I'm talking to you, my many inspirations When I say I can't, let you or self down If I were of the highest cliff, on the highest riff And you slipped off the side and clinched on to your life in my grip I would never, ever let you down And when these words are found Let it been known that God's penmanship has been signed with a language called love That's why my breath is felt by the deaf And why my words are heard and confined to the ears of the blind I, too, dream in color and in rhyme So I guess I'm one of a kind in a full house Cuz whenever I open my heart, my soul, or my mouth A touch of God reigns out [Chorus] [Jay-Z (Kanye West)] Who else you know been hot this long, (Oh Ya, you know we ain't finished) Started from nothing but he got this strong, (The ROC is in the building) Built the ROC from a pebble, pedalled rock before I met you, Pedalled bikes, got my nephews pedal bikes because they special, Let you tell that man I'm falling, Well somebody must've caught him, Cause every fourth quarter, I like to Mike Jordan 'em, Number one albums, what I got like four of dem, More of dem on the way, The Eight Wonder on the way, Clear the way, I'm here to stay, Y'all can save the chitter chat, this and that, this and Jay, Dissin' Jay 'ill get you mased, When I start spitting them lyrics, niggas get very religious, Six Hail Maries, please Father forgive us, Young, the Archbishop, the Pope John Paul of y'all niggas, The way y'all all follow Jigga, Hov's a living legend and I tell you why, Everybody wanna be Hov and Hov still alive.

Covenant Woman Covenant woman got a contract with the Lord Way up yonder, great will be her reward Covenant woman, shining like a morning star I know I can trust you to stay where you are And I just got to tell you I do intend To stay closer than any friend I just got to thank you Once again For making your prayers known Unto heaven for me And to you, always, so grateful I will forever be I’ve been broken, shattered like an empty cup I’m just waiting on the Lord to rebuild and fill me up And I know He will do it ’cause He’s faithful and He’s true He must have loved me so much to send me someone as fine as you And I just got to tell you I do intend To stay closer than any friend I just got to thank you Once again For making your prayers known Unto heaven for me And to you, always, so grateful I will forever be Covenant woman, intimate little girl Who knows those most secret things of me that are hidden from the world You know we are strangers in a land we’re passing through I’ll always be right by your side, I’ve got a covenant too And I just got to tell you I do intend To stay closer than any friend I just got to thank you Once again For making your prayers known Unto heaven for me And to you, always, so grateful I will forever be

• The trick to staying out of resentment is maintaining better boundaries—blaming others less and holding myself more accountable for asking for what I need and want. • There is no integrity in blaming and turning to “it’s not fair” and “I deserve.” I need to take responsibility for my own well-being. If I believed I was not being treated fairly or not getting something I deserved, was I actually asking for it, or was I just looking for an excuse to assign blame and feel self-righteous? • I am trying not to numb my discomfort for myself, because I think I’m worth the effort. It’s not something that’s happening to me—it’s something I’m choosing for myself. • This rumble taught me why self-righteousness is dangerous. Most of us buy into the myth that it’s a long fall from “I’m better than you” to “I’m not good enough”—but the truth is that these are two sides of the same coin. Both are attacks on our worthiness. We don’t compare when we’re feeling good about ourselves; we look for what’s good in others. When we practice self-compassion, we are compassionate toward others. Self-righteousness is just the armor of self-loathing. In Daring Greatly, I talk about how the lyrics of Leonard Cohen’s song “Hallelujah”—“Love is not a victory march, it’s a cold and it’s a broken hallelujah”—capture how daring greatly can feel more like freedom with a little battle fatigue than a full-on celebration. The same is true for rising strong. What

Then I’ll sing, though that will likely have the child holding his ears and you running from the room.” This, incongruously, had her lips quirking up. “My father isn’t very musical. You hold the baby, I’ll sing.” She took the rocking chair by the hearth. Vim settled the child in his arms and started blowing out candles as he paced the room. “He shall feed his flock, like a shepherd…” More Handel, the lilting, lyrical contralto portion of the aria, a sweet, comforting melody if ever one had been written. And the baby was comforted, sighing in Vim’s arms and going still. Not deathly still, just exhausted still. Sophie sang on, her voice unbearably lovely. “And He shall gather the lambs in his arm… and gently lead those that are with young.” Vim liked music, he enjoyed it a great deal in fact—he just wasn’t any good at making it. Sophie was damned good. She had superb control, managing to sing quietly even as she shifted to the soprano verse, her voice lifting gently into the higher register. By the second time through, Vim’s eyes were heavy and his steps lagging. “He’s asleep,” he whispered as the last notes died away. “And my God, you can sing, Sophie Windham.” “I had good teachers.” She’d sung some of the tension and worry out too, if her more peaceful expression was any guide. “If you want to go back to your room, I can take him now.” He didn’t want to leave. He didn’t want to leave her alone with the fussy baby; he didn’t want to go back to his big, cold bed down the dark, cold hallway. “Go to bed, Sophie. I’ll stay for a while.” She frowned then went to the window and parted the curtain slightly. “I think it’s stopped snowing, but there is such a wind it’s hard to tell.” He didn’t dare join her at the window for fear a chilly draft might wake the child. “Come away from there, Sophie, and why haven’t you any socks or slippers on your feet?” She glanced down at her bare feet and wiggled long, elegant toes. “I forgot. Kit started crying, and I was out of bed before I quite woke up.” They shared a look, one likely common to parents of infants the world over. “My Lord Baby has a loyal and devoted court,” Vim said. “Get into bed before your toes freeze off.” She gave him a particularly unreadable perusal but climbed into her bed and did not draw the curtains. “Vim?” “Hmm?” He took the rocker, the lyrical triple meter of the aria still in his head. “Thank you.” He

Sky's The Limit" [Intro] Good evening ladies and gentlemen How's everybody doing tonight I'd like to welcome to the stage, the lyrically acclaimed I like this young man because when he came out He came out with the phrase, he went from ashy to classy I like that So everybody in the house, give a warm round of applause For the Notorious B.I.G The Notorious B.I.G., ladies and gentlemen give it up for him y'all [Verse 1] A nigga never been as broke as me - I like that When I was young I had two pair of Lees, besides that The pin stripes and the gray The one I wore on Mondays and Wednesdays While niggas flirt I'm sewing tigers on my shirts, and alligators You want to see the inside, I see you later Here comes the drama, oh, that's that nigga with the fake, blaow Why you punch me in my face, stay in your place Play your position, here come my intuition Go in this nigga pocket, rob him while his friends watching And hoes clocking, here comes respect His crew's your crew or they might be next Look at they man eye, big man, they never try So we rolled with them, stole with them I mean loyalty, niggas bought me milks at lunch The milks was chocolate, the cookies, butter crunch 88 Oshkosh and blue and white dunks, pass the blunts [Hook: 112] Sky is the limit and you know that you keep on Just keep on pressing on Sky is the limit and you know that you can have What you want, be what you want Sky is the limit and you know that you keep on Just keep on pressing on Sky is the limit and you know that you can have What you want, be what you want, have what you want, be what you want [Verse 2] I was a shame, my crew was lame I had enough heart for most of them Long as I got stuff from most of them It's on, even when I was wrong I got my point across They depicted me the boss, of course My orange box-cutter make the world go round Plus I'm fucking bitches ain't my homegirls now Start stacking, dabbled in crack, gun packing Nickname Medina make the seniors tote my Niñas From gym class, to English pass off a global The only nigga with a mobile can't you see like Total Getting larger in waists and tastes Ain't no telling where this felon is heading, just in case Keep a shell at the tip of your melon, clear the space Your brain was a terrible thing to waste 88 on gates, snatch initial name plates Smoking spliffs with niggas, real-life beginner killers Praying God forgive us for being sinners, help us out [Hook] [Verse 3] After realizing, to master enterprising I ain't have to be in school by ten, I then Began to encounter with my counterparts On how to burn the block apart, break it down into sections Drugs by the selections Some use pipes, others use injections Syringe sold separately Frank the Deputy Quick to grab my Smith & Wesson like my dick was missing To protect my position, my corner, my lair While we out here, say the Hustlers Prayer If the game shakes me or breaks me I hope it makes me a better man Take a better stand Put money in my mom's hand Get my daughter this college grant so she don't need no man Stay far from timid Only make moves when your heart's in it And live the phrase sky's the limit Motherfuckers See you chumps on top [Hook]

Mate, I’ve only been here for a few weeks, but I don’t think anyone even knows my name. I’ve already slipped three spots down the batting order. I’ve got no idea what the lyrics to the club song are. And every time I get a hit at training, I hear the faint sound of blokes whispering that one word under their breath: “Yuck.” What am I doing wrong?’ I began, nervously. Nuggsy paused, took a long swig of his Reschs schooner, and reclined languidly into his seat. He scratched his bald head for a moment, seemingly in deep thought, before embarking on the long-winded response that would indeed shape my cricketing future. ‘Listen, bud. You’re a grade cricketer now. And it’s time you learned a little bit about what that means. This isn’t club cricket, “Shires” cricket, or that stupid school shit that you wasted your time on for all those years. This is grade cricket: the highest level of amateur cricket in the world,’ he said with pride. Just for those who don’t already know, I should quickly provide a bit of background on the grade cricket competition. Grade cricket (or ‘Premier cricket’, as it is known in some states/territories) is the level directly below the state competition.  Despite this close proximity to the professional arena, it is nonetheless an amateur competition. Sure, one or two first graders might get paid a little bit under the table, but everyone else must pay a registration fee in order to play. Normally, each club has four to five grades — first grade being the strongest; fifth grade the weakest. Those in first grade enjoy a status that the fifth graders can only dream about. Being a first grader is like being a celebrity to 50 blokes whose names you’ll never know — or never even need to know — unless you end up playing with them after a severe run of poor form (or a serious disciplinary breach). The rest of the club — seconds, thirds, and fourth grade — is basically an assortment of talented youngsters and ageing desperates. The common denominator between the young and old brigade is that they were all once told they were ‘good enough to play for Australia’. In many cases, it was the first and last compliment they ever received — and the reason why they’re still playing. In all cases, it was the worst thing that could have ever happened to them. The ultimate grade cricketer, therefore, will possess the perfect balance of good and not good enough that will haunt them for all of their playing days. All this of course, is something that can only be learned with experience. At this early stage in my grade cricket career, I considered these young players to be ‘cool’ and the older players worthy of my respect. Nuggsy tilted his head to one side as he lit up a cigarette. He took a deep drag, holding it in for what seemed like hours, before launching his head back to expel a thick plume of smoke towards the ceiling. ‘Listen, great man,’ he began. ‘Success in grade cricket has nothing to do with skill, ability, or even results. It’s all about the social ladder, bud. You’ve got the big dogs up top, the peasants down the bottom, and everyone in between is just trying to stay relevant,’ he offered. In many ways, grade cricket social hierarchy bears great similarity to the feudal systems that first appeared in the Middle Ages in Europe — something I’d learned a bit about at high school. As I remembered, kings and monarchs sat at the top, enjoying their pick of the land, women and food. They were the ones who established the rules that everyone had to live under. The barons leased their land from the king; the knights leased their land from the barons; and the knights granted the lowly peasants their land.  The peasants were not allowed to marry, nor could they even leave the manor without permission. Basically, they were the fifth graders of the 8-12th Century.

Gangsta Rap Made Me Do It" [Female Insert] Maestro!!! [Ice Cube] Blame me [Intro: Ice Cube] You niggas know my pyroclastic flow You niggas know my pyroclastic flow flow You niggas know my pyroclastic flow it's R-A-W, R-A-W [Ice Cube] You looking at the grand wizard, war lord vocal chord so vicious And I don't have to show riches to pull up pull off with some bad bitches And it ain't about chivalry It's about dope lyrics and delivery It's about my persona ain't nothing like a man that can do what he wanna Ain't nothing like man on that you knew on the corner See 'em come up and fuck up the owner See 'em throw up Westside California Nigga I'm hot as Phoenix Arizona I'm Utah I got multiple bitches It's a new law keep a hold of yo riches Dumb nigga don't spend it as soon as you get it And recognize I'm a captain and you a lieutenant [Chorus 1] I can say what I want to say ain't nothing to it gangsta rap made me do it If I call you a nigga ain't nothing to it gangsta rap made me do it I can act like an animal ain't nothing to it gangsta rap made me do it If I eat you like a cannibal ain't nothing to it gangsta rap made me do it [Ice Cube] I'm raw as a dirty needle Choke an eagle Just to feed all my people Lyrically I'm so lethal Plant thoughts in they mind just to defeat you Ice Cube is a saga y'all spit saliva And I spit lava I got the fearless flow Don't get near this ho If you sacred to go I keep it gangsta and why should change that fuck you all you motherfuckers trying to change rap But aren't you the same cat that sat back when they brought cocaine back I'm trying to get me a Maybach how you motherfuckers gonna tell me don't say that you the ones that we learned it from I heard nigga back in 1971 [Chorus 2] So if I act like a pimp ain't nothing to it gangsta rap made me do it If I call you a nappy headed ho ain't nothing to it gangsta rap made me do it If I shoot up your college ain't nothing to it gangsta rap made me do it If I rob you of knowledge ain't nothing to it gangsta rap made me do it [Ice Cube] Thank God when I bless the mic You finally get to hear the shit that you like A nigga talking bout real life so you can try to get this shit right Use your brain not your back use your brain not a gat It's a party not a jack (for real) Don't be scared of them people Walk up in there and show them that you equal (fuck them fuck them) Don't be material a nigga grew up on milk and cereal I never for got vaness and imperial Look at my life Ice Cube is a miracle It could be you if you was this lyrical It could be her if she was this spiritual Cause me and Allah go back like cronies I don't got to be fake cause he is my homie [Chorus 3] If I sell a little crack ain't nothing to it gangsta rap made me do it If I die in Iraq ain't nothing to it gangsta rap made me do it If I take you for granted ain't nothing to it gangsta rap made me do it If I fuck up the planet ain't nothing to it gangsta rap made me do it [Intro] [Ice Cube] Oh yeah and another thing For all ya niggas that don't do gangsta rap Don't get on TV talking about gangsta rap Cause 9 times at a 10 you don't know the fuck you talk about Talk about that bullshit rap you do Stay the fuck out of mine

broken praise job Lyrics from Music Inspired by The Story If one more person takes my hand And tries to say they understand, Tells me there's a bigger plan that I'm not meant to see. If one more person dares suggest That I held something unconfessed, Tries to make the dots connect from righteousness to easy street… Well I, I won't deny that I've relied on some assumptions. A man's honest life entitles him to something, But who am I to make demands of the God of Abraham? And who are you that you would choose to answer me with mercy new? How many more will wander past To find me here among the ashes? Will you hold me? Will you stay So I can raise this broken praise to you? Who else will see my suffering As one more opportunity To educate; to help me see all my flawed theology? If one more well-intentioned friend tries to tie up my loose ends Hoping to, with rug and broom, sweep awkward moments from the room… But I, I can't forget that I have begged just like a madman For my chance to die and never have to face the morning. But you were the One who filled my cup And you were the One who let it spill. So blessed be your holy name if you never fill it up again. If this is where my story ends, just give me one more breath to say hallelujah.

When they entered the gym, the loud blaring lyrics of Bee Gees hit “Staying Alive” and a blinding disco ball greeted them.

The next week, Finian’s Rainbow began a twelve-week filming schedule. Jerry Jackson recalled that when Coppola was unhappy with Pan’s choreography he would ask him (Jackson) to change it rather than approach Pan directly—so poor was the working relationship between director and choreographer. Michael Goodwin and Naomi Wise suggest that the tension between them may have had less to do with Pan’s work and more to do with the challenge he presented to Coppola’s authority: “Coppola described Pan as ‘a disaster.’ That probably means that Pan disagreed with him or insisted that the camera serve the choreography, not vice versa, or asked for more rehearsal time for the numbers” (Goodwin 1989, 79). After the filming of “That Great Come-and-Get-It Day” in which Pan makes his final on-screen appearance shining shoes in a barbershop vignette, his twenty-week guarantee was up and he was released from the film. Since Jackson refused to stay on after Pan left, a young choreographer named Claude Thompson was hired to stage the remaining numbers. Even before Pan had been released, his work was subverted by Coppola who continually interrupted the choreography with cutaway shots of vignettes that were neither entertaining nor dramatically effective. The director had no choreographic training or experience and staged musical numbers based on concepts that often had no relationship to the sound of the music or the sense of the lyrics. For example, he filmed “Something Sort of Grandish” on a hill with Petula Clark hanging white bed sheets on a clothesline and conceptualized “If This Isn’t Love” as a series of children’s games. The director’s method of staging was little more than playing the music for a dance routine and telling the actors to “move with

The next week, Finian’s Rainbow began a twelve-week filming schedule. Jerry Jackson recalled that when Coppola was unhappy with Pan’s choreography he would ask him (Jackson) to change it rather than approach Pan directly—so poor was the working relationship between director and choreographer. Michael Goodwin and Naomi Wise suggest that the tension between them may have had less to do with Pan’s work and more to do with the challenge he presented to Coppola’s authority: “Coppola described Pan as ‘a disaster.’ That probably means that Pan disagreed with him or insisted that the camera serve the choreography, not vice versa, or asked for more rehearsal time for the numbers” (Goodwin 1989, 79). After the filming of “That Great Come-and-Get-It Day” in which Pan makes his final on-screen appearance shining shoes in a barbershop vignette, his twenty-week guarantee was up and he was released from the film. Since Jackson refused to stay on after Pan left, a young choreographer named Claude Thompson was hired to stage the remaining numbers. Even before Pan had been released, his work was subverted by Coppola who continually interrupted the choreography with cutaway shots of vignettes that were neither entertaining nor dramatically effective. The director had no choreographic training or experience and staged musical numbers based on concepts that often had no relationship to the sound of the music or the sense of the lyrics. For example, he filmed “Something Sort of Grandish” on a hill with Petula Clark hanging white bed sheets on a clothesline and conceptualized “If This Isn’t

It’s kind of ridiculous to blame and complain, while refugees are surviving this inhuman game. We still have a roof and a safe place to stay at in lockdown. What about those who are already lower than down? What about those?" Lyrics from the song "80 Million People!" written by Lily Amis

The horrible side effects of this pandemic is nothing in comparison to surviving in refugee camps. 80 million people are struggling to survive, to stay alive. Unhygienic and unsanitary conditions is all they know while the majority of us is worrying about toilet papers, disinfection soaps, and co! Lyrics from the song 80 Million People! Written by Lily Amis

With the shower on full blast, I crank my Wet Tunes, the hope being that I can drown out one song in my head with another. Better yet, maybe they’ll play the same song, so I can hear the lyrics and figure out what it is. Somehow, I don’t imagine myself being that lucky. The shower does feel good, though, so I stay in there for a while. As the water cascades over my head, I begin to relax. I’ve got the radio tuned to WFUV, the college radio station out of Fordham, and they’re playing “Alison” by Elvis Costello, one of my favorites. Before I know it — and just as I hoped — it’s the only thing I hear between my ears. That is, until the song ends and some guy comes on reading the news. I whip back my head from the shower spray. I could swear he said something about a tragedy at the Fálcon Hotel. But that’s not what has me shaking like a leaf as I try to towel myself dry. The radio newsman didn’t say it happened yesterday. He said it happened this morning. Thirty minutes later, Michael hasn’t called, but I’m heading out the door of my place. I turn my key to double-lock it. And — “Ms. Burns? Ms. Burns?” Not again. It’s way too early to face the Wicked Witch on Nine. I turn — and it’s even worse than I thought. Mrs. Rosencrantz has brought a bald old man, who towers over her despite his being no more than five-foot-five, six tops. “You were screaming and screaming,” she practically screams in my face. “You woke up my Herbert. He heard it. Ask him, Ms. Burns.” I don’t ask Herbert.

I'd been dumped before. In first grade, a doe-eyed beauty named Shauna cut me loose. She never said why, but she did ask to move desks. In sixth grade, I'd been dumped by a sweet little Southern Baptist with gorgeous brown hair. When I asked why, she quoted a series of Janet Jackson lyrics prepared for this purpose. 'What have you done for me lately?' she said, with a snap of her chin, and ran away. I was blindsided, not by a self-reflection of my flaws, but by the stunning realization that Baptists were allowed to listen to Janet Jackson.

No light, no light in your bright blue eyes I never knew daylight could be so violent A revelation in the light of day You can't choose what stays and what fades away

The lyrics said to show him what I was feeling, and for some unexplainable reason, I wanted to be close to him. Around Ollie, I actually had a feeling, and it overwhelmed me. I couldn’t remember the last time I had hugged anyone. But I didn’t want to hug anyone else. I wanted his arms around me, and to keep this satisfying feeling inside me for as long as possible.

I will never make you lonely You'll always be beside me I'll cherish this happiness you gave me I will never make you lonely I will walk with you at your pace

She’s in the rain You wanna hurt yourself, I’ll stay with you You wanna make yourself go through the pain It’s better to be held than holding on

He was making up for it now, even if only to himself, because he still felt impelled to put on a good face for the world, it seemed bad manners to do otherwise. 'If you can't say something nice.', his mother had tutored him, 'then don't say anything at all.' The hair was real. Crystal had no idea who it had once belonged to. She'd worried it might have come from a corpse but her hairdresser said, 'Nah, from a temple in India. The women shave their heads for some kind of religious thing and the monks sell it.' That's how Crystal referred to it - 'Got your head stuck in a book again, Harry?' It would be funny if his head did actually get stuck in a book. Her heart wasn't shattered, just cracked, although cracked was bad enough. "Are you Mrs Bragg?' Reggie asked. "Maybe," the woman said. Well, you either are or you aren't. Reggie thought. You're not Schrodinger's cat. What do you call a nest of lesbians? A dyke eyrie. "Great,' she said, so he knew she wasn't listening. An increasing number of people, Jackson had noticed lately, were not listening to him. Dogs, you know, stay by their master's side after they've died. Fido, Hachiko, Ruswrap, Old Shep, Squeak, Spot. There was a list on Wikipedia. I am the repository of useless knowledge. Jackson had never really seen the point of existential angst. if you didn't like something you changed it and if you couldn't change it you sucked it up and soldiered on, one foot after the other. ('Remind me not to come to you for therapy,' Julia said.) This was better, Jackson thought, all he had to do was utilize the lyrics from country songs, they contained better advice than anything he could conjure up himself. Best to avoid Hank, though - 'I'm so lonesome I could cry. I'll never get out of this world alive. I don't care if tomorrow never comes. Poor old Hank, not good mental fodder of a man who had just tried to jump off a cliff. 'Diaeresis - the two little dots above the "e", its not an umlaut. Reggie thought if a day would ever goes by when she is not disappointed in people. "Jesus Christ, Crystal,' he said, dropping the baseball bat and pulling off his shoes, prepare to jump in and save Tommy. So he could kill him later.

She returned to the floor, and a tray appeared beside her with a sandwich, glass of milk, and some cubes of cantaloupe. She didn't know who brought it in, but she picked up a piece of the cantaloupe and examined it. The color matched some of the roses in the lady's garden, exactly what she needed for the flowers she'd drawn behind her butterfly. Yellow, white, and a dab of red- she combined them on the plate until a soft peach colored her palette. Walter thought she should grow up, like the lady wanted Oliver to do, but grown-ups didn't spend their nights dancing in gardens. Or painting. "I will stay a girl forever," she whispered, changing the lyrics from 'Peter Pan.' "And be banished if I don't." She began to paint her butterfly. "I'll never grow up," she chanted as she worked. It wasn't until the first rays of dawn spilled across her paper that she began to feel sleepy. Her floor was covered with pictures and papers, but where others might see a mess, she saw a new world. There were flowers and trees and butterflies she'd brought to life with her hands. And her heart. A lot of people thought she wasn't good at anything, but it wasn't true. She was good at making things.

Finally, the ethical staying power of the Apocalypse is a product of its imaginative richness. The text throbs with theopoetic energy, expressed in its numerous songs of praise and worship. It is no accident that Milton drew inspiration from Revelation or that Handel found the lyrics for the climactic choruses of the Messiah (“Hallelujah” and “Worthy Is the Lamb”) in the poetry of Revelation: “The kingdom of this world is become the kingdom of our Lord and of his Christ, and he shall reign for ever and ever” (based on Rev. 11:15).

Stella Cameron, New York Times bestselling author “The Girl Who Stayed defies type. Crosby’s tale is honest and sen- sitive, eerie and tragic. It’s a homecoming tale of a past ever with us and irrevocably lost forever. A haunting vision of that chasm between life and death we call ‘missing.’” – Pamela Morsi, bestselling author of Simple Jess “An intense, mesmerizing Southern drama about a young woman who returns to her coastal home to put to rest the haunting ghost of her sister’s tragic past. Told in the rich, lyrical style of Siddons and Conroy, The Girl Who Stayed is a woman’s story of discovery and acceptance, redefined by Tanya Anne Crosby’s dramatic storytelling, sharp characters, and well-defined plot. A must read for any woman who believes she can never go back home. Fabulous, rich and evocative!” – New York Times bestselling author Jill Barnett “Crosby tugs heartstrings in a spellbinding story of a woman trying to move beyond her past.” – New York Times bestselling

mesmerizing Southern drama about a young woman who returns to her coastal home to put to rest the haunting ghost of her sister’s tragic past. Told in the rich, lyrical style of Siddons and Conroy, The Girl Who Stayed is a woman’s story of discovery and acceptance, redefined by Tanya Anne Crosby’s dramatic storytelling, sharp characters, and well-defined plot. A must read for any woman who believes she can never go back home. Fabulous, rich and evocative!” – New York Times bestselling author Jill Barnett “Crosby tugs heartstrings in a spellbinding story of a woman trying to move beyond her past.” – New York Times bestselling

Yes, Hawai'i wanted the change that statehood has brought, but we also wanted everything to stay as it was. That is, what we really wanted was for everything to change but us. -Neil Abercrombie, Hawai'i's rep. to U.S. Congress for 19 years. Originally appeared in Hana Hou! Magazine

I stayed to spy on them. I heard my mother moaning, and crying out for Chris. Then she surprised me. “Momma, where has Momma gone, Chris? It’s been so long since she visited us, months, months, and the twins don’t grow.” “Cathy, Cathy, my poor darling, stop thinking about the past,” said my grandmother. “Please hold on, eat and drink to keep up your strength. Chris will come to save us both.” “Cory, stop playing that same tune over and over. I’m so tired of your lyrics. Why do you write such sad songs? The night will end, it will. Chris, tell Cory the day will begin soon.

I gravitated towards a patriarch so young predictably I was resigned to spend my life within a maze of misery A boy and a girl befriended me We're bonded through despondency I stayed so long but finally I fled to save my sanity

A place to stay Enough to eat Somewhere old heroes shuffle safely down the street Where you can speak out loud About your doubts and fears And what's more no one disappears You never hear their standard issue kicking in your door You can relax on both sides of the tracks And maniacs don't blow holes in bandsmen by remote control And everyone has recourse to the law And no one kills the children anymore And no one kills the children anymore

And that means—look at me—that means you have to keep doing your job,” said Nate. “And you have to stay safe. And part of that means staying strong against Zyuganov. And if it means in two days you have to go down into the cellars and slap LYRIC across the face, you fucking do it.

Everything’s up in the air--how can I leave and never know the truth? Because in my heart, what I want, more than anything else, is for Luca and me to be together. There’s so much uncertainly, so much confusion. I want to reach out and touch him so badly, but I know I can’t. The space between us is tiny, but right now it feels as wide as the ocean. And as darkness falls, I make a resolution. That whatever the truth is about who I am, whether Luca and I really are related, I’ll stay in Italy until I’ve found it out. I learned another Italian word recently, painstakingly working on the translation of Jovanotti’s lyrics: storia. It means “history,” but it can also mean a relationship. If you say nostra storia, “our story,” that’s like saying “our relationship,” or “our love affair.” I cast a fleeting glance sideways at Luca and realize he’s looking at me, his eyes the dark blue of the night sky. Our story isn’t over. It’s not possible. Not so soon, when it’s barely even begun…

Mid May 2012 Andy wrote in his Email reply: Dear Young, You are still the boy I grew to love and cherish forty-four years ago. The lyrics you sent, to “The Things You Are To Me” brought back many fond memories of our time together. You, young man, do have a way with words. In more ways than one, you always touched the core of my heart with your innocence and childlike approach to life. Walter is a lucky man to have you in his life. I wish I were in his shoes, you little ‘faerie’ boy, stirring up an emotional storm within me which I had kept hidden for so long. Now that our parents are deceased, we can be free from the emotional baggage imposed upon us. You had mentioned briefly that you are writing your memoirs. I hope you are not revealing anything that we pledged to never reveal. My advice to you is to stay clear of those subjects. It is not advisable to tamper with the school or the Society, especially when you swore an oath, a gentlemanly honor of confidentiality to never reveal any of our membership secrets. If the word gets out, the paparazzi will have a field day digging for whatever dirt they can find. I hate to see you being sued by any parties involved. I’m speaking to you as a trusted friend, confidant, and ex- lover. Tread with caution, Young! You are old enough to decide for yourself. I’m sure you don’t need your ex-Valet to tell you what to do. Please send my regards to Walter and maybe we’ll have a chance to meet one day, soon. Let’s continue our regular correspondence. My love always! Andy.

Toby looked so miserable the soldiers gathered around him for support. They sang a revised version of their company song: Buckle for your dust, boys, no flakey diddy-bopping. Stay tight, and fight the Grimhilda Red Alert. The second line was adaptable to any situation: the day before it had included references to grizzly bears.

LYRICS ARE PART OF HIS DNA. HE CAN'T HELP HIMSELF. THE ZEITGEIST FLOWS THROUGH HIM IN A WAY THAT IT DOESN'T WITH OTHER PEOPLE, WHICH IS WHY SO MANY OF HIS LYRICS HAVE PENETRATED SO DEEPLY AND STAYED SO LONG.

(And now I think about it, Doctor, it would appear that I have a growth on one of my testicles sounds like a Morrissey lyric, one he rejected as being too gloomy—that and the fact that finding a plausible rhyme for testicles would have been beyond even his considerable lyrical gifts.)

When the rain came I thought you'd leave 'cause I knew how much you loved the sun But you chose to stay, stay and keep me warm through the darkest nights I've ever known If the mandolin wind couldn't change a thing then I know I love ya

As I mentioned before, life is the existence of a person who has a life, or the life of the person, and is the period when a person lives in this world. On the other hand, a person's life in this world is also called "life". 카톡【AKR331】텔레【RDH705】라인【SPR331】위커【SPR705】 대한민국 어디에도 없는 최저가격 보상제도를 실시 하고있습니다. 100% 정품 4년동안 단 한번도 가품에 대한 구설수에 오른적 없습니다. 그렇기에 믿고 구매하셔도 됩니다. Therefore, just like the lyrics of the previous lesson, "Life is like a stranger" and "Life is tough." Even if you enjoy longevity and riches in the world, you will not go empty-handed when you are old and sick and go to that world. Even if you can not leave a name like this when you leave this world, you will have to live a life like this without going up or down to people's mouths. That is to say, if there is anyone in front of anyone who can live without a shame of one point, there will be no more rewarding life than that. If I go to the 9th, I have lived like a man, but I will be 90 years old by 2016. I look around the periphery of my life today. I can not help feeling that the end point of my life is approaching every moment. However, I think that "every time I eat, I can not stay while eating rice and eating rice for a long time." In that sense, I am doing my own work today while holding down the computer keyboard. Looking back, twenty-five years old, a man who had good limbs in his early ages, became a body that he could not freely walk for a while. But what? This is my destiny ... ... When I was a young, young man, This is the beginning of the poetry of Lee Byung-won (李佛 遠, Joseon third king, Taejong, Taejong). "How are the mountains like these mountains so what?" I use the word and write a word. What about these things and what happened to the country calling and hurting the body to keep it in place? I am lucky though. There are war dead who have lost their lives in the frenzy, and warlords who have been hurt more seriously than I am. But I am not alive. I can not help saying how good it is. There is something to think about with Lee Won - won 's . It is the 心 心 song of Chung Mong-joo of Koryo Koryô. It is not the story of Lee Byeong-won's and Jongmongju's , but rather the story of Jongmongju's tomb in my hometown Yongin.