Stuck Song Quotes

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

Miss Mary Mack, Mack, Mack, all dressed in black, black, black. She has a knife, knife, knife, stuck in her back, back, back. She cannot breathe, breathe, breathe. She cannot cry, cry, cry. Thats why she begs, begs, begs. She begs to die, die ,die..

who are you really? you are not a name or a height, or a weight or a gender you are not an age and you are not where you are from you are your favorite books and the songs stuck in your head you are your thoughts and what you eat for breakfast on Saturday mornings you are a thousand things but everyone chooses to see the million things you are not you are not where you are from you are where you are going and i'd like to go there too

When you wake up with a song stuck in your head, it means an angel sang you to sleep.

If what's always distinguished bad writing--flat characters, a narrative world that's clichéd and not recognizably human, etc.--is also a description of today's world, then bad writing becomes an ingenious mimesis of a bad world. If readers simply believe the world is stupid and shallow and mean, then [Bret] Ellis can write a mean shallow stupid novel that becomes a mordant deadpan commentary on the badness of everything. Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it. Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. There's some great essay somewhere that has a line about irony being the song of the prisoner who's come to love his cage… The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years. We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent. You burn with hunger for food that does not exist. A U. S. of modern A. where the State is not a team or a code, but a sort of sloppy intersection of desires and fears, where the only public consensus a boy must surrender to is the acknowledged primacy of straight-line pursuing this flat and short-sighted idea of personal happiness.

If your Birthday is on Christmas day and you're not Jesus, you should start telling people your birthday is on June 9 or something. Just read up on the traits of a Gemini. Suddenly you're a multitasker who loves the color yellow. Because not only do you get stuck with them combo gift, you get the combo song. "We wish you a merry Christmas - and happy birthday, Terry - we wish you a merry Christmas - happy birthday, Terry - we wish you a merry Christmas and a happy New Ye - Birthday, Terry!

You wouldn't think the touch of someone's hand could blow your mind. It's nothing, right? People don't right songs and poems about holding hands - they write them about kisses and sex and eternal love. I mean, when you're a little kid you hold hands with your parents to cross the street. Who's going to write an ode to that? We were alone in the dark, even though the enormous theater was filled with probably a thousand people. We were a tiny island in a sea of other people who didn't matter, who had no meaning, who were so stupid, so oblivious, so stuck in their own boring lives that they didn't even notice the huge, momentous, life-shattering event that was taking place right there in row L, between seats 102 and 104. Derek Edwards was holding my hand.

Everything Syrio Forel had ever taught her vanished in a heartbeat. In that instant of sudden terror, the only lesson Arya could remember was the one Jon Snow had given her, the very first. She stuck him with the pointy end, driving the blade upward with a wild, hysterical strength.

Fireflies are stars that could not journey to the sky.

There were moments like this that Alix tried to breeze over, but they got stuck somewhere between her heart and ears. She knew Emira had gone to college. She knew Emira had majored in English. But sometimes, after seeing her paused songs with titles like "Dope Bitch" and "Y'all Already Know," then hearing her use words like connoisseur, Alix was filled with feelings that went from confused and highly impressed to low and guilty in response to the first reaction. There was no reason for Emira to be unfamiliar with this word. And there was no reason for Alix to be impressed.

Two people, two hands, and two songs, in this case "Big Shot" and "Bette Davis Eyes." The lyrics of the two songs provided no commentary, honest or ironic, on the proceedings. They were merely there and always underfoot, the insistent gray muck that was pop culture. It stuck to our shoes and we tracked it through our lives.

That girl in the backseat of the beater, I wonder if she's bored d restless, stuck in this small town, hating the slow, stoned laughter and the same rock song on the radio. I hope she caught a glimpse of me through the steam. Even if she only saw my tear widen and my legs kick off the ground, she might think I know where I'm going. She might think I've found a way.

We are all beautiful instruments of God. He created many notes in music so that we would not be stuck playing the same song. Be music always. Keep changing the keys, tones, pitch, and volume of each of the songs you create along your journey and play on. Nobody will ever reach ultimate perfection in this lifetime, but trying to achieve it is a full-time job. Start now and don't stop. Make your book of life a musical. Never abandon obligations, but have fun leaving behind a colorful legacy. Never allow anybody to be the composer of your own destiny. Take control of your life, and never allow limitations implanted by society, tell you how your music is supposed to sound — or how your book is supposed to be written.

Song of myself I am of old and young, of the foolish as much as the wise, Regardless of others, ever regardful of others, Maternal as well as paternal, a child as well as a man, Stuff'd with the stuff that is coarse and stuff'd with the stuff that is fine, One of the Nation of many nations, the smallest the same and the largest the same, A Southerner soon as a Northerner, a planter nonchalant and hospitable down by the Oconee I live, A Yankee bound my own way ready for trade, my joints the limberest joints on earth and the sternest joints on earth, A Kentuckian walking the vale of the Elkhorn in my deer-skin leggings, a Louisianian or Georgian, A boatman over lakes or bays or along coasts, a Hoosier, Badger, Buckeye; At home on Kanadian snow-shoes or up in the bush, or with fishermen off Newfoundland, At home in the fleet of ice-boats, sailing with the rest and tacking, At home on the hills of Vermont or in the woods of Maine, or the Texan ranch, Comrade of Californians, comrade of free North-Westerners, (loving their big proportions,) Comrade of raftsmen and coalmen, comrade of all who shake hands and welcome to drink and meat, A learner with the simplest, a teacher of the thoughtfullest, A novice beginning yet experient of myriads of seasons, Of every hue and caste am I, of every rank and religion, A farmer, mechanic, artist, gentleman, sailor, quaker, Prisoner, fancy-man, rowdy, lawyer, physician, priest. I resist any thing better than my own diversity, Breathe the air but leave plenty after me, And am not stuck up, and am in my place.

All I'd done for the past ten years was talk about it. I was sick of talking...sick of analyzing...sick of reliving it...sick of the screaming in my head that replayed over and over like a song stuck on repeat.

Just more of that endless, useless knowledge you absorb when you're in a relationship, with no meaning or relevance outside of that relationship. When the relationship's gone, you're stuck knowing all this garbage.

That’s why I liked the Suzuki method of teaching piano. There are seven books, and everybody has to start with Book One. Each book includes ten to fifteen songs, and you have to go in order. Kids who practice hard get assigned new songs each week, whereas kids who don’t practice get stuck on the same song for weeks, even months, and sometimes just quit because they’re bored out of their minds.

Sometimes you can see a person’s inside face—but only for a second or two—if you look close and hard enough. The eyes give away the inside face, and likely as not it’s a whole lot different than the mask that’s stuck on the outside.

And tonight I'm feelin like an astronaut, sending sos from this tiny box,and i lost the signal when i lifted off, now i'm stuck up here and the world forgot, can i please come down? Cuz i'm tired of drifting round and round....can i please come down? Now I lie awake and scream in my zero gravity...and its starting to weigh down on me....lets abort this mission now....CAN I PLEASE COME DOWN? So tonight I'm calling all the astronauts, all the lonely people that the world forgot, if you hear my voice, come pick me up, cuz ur all i've got...

Keep creating new chapters in your personal book and never stop re-inventing and perfecting yourself. Try new things. Pick up new hobbies and books. Travel and explore other cultures. Never stay in the same city or state for more than five years of your life. There are many heavens on earth waiting for you to discover. Seek out people with beautiful hearts and minds, not those with just beautiful style and bodies. The first kind will forever remain beautiful to you, while the other will grow stale and ugly. Learn a new language at least twice. Change your career at least thrice, and change your location often. Like all creatures in the wild, we were designed to keep moving. When a snake sheds its old skin, it becomes a more refined creature. Never stop refining and re-defining yourself. We are all beautiful instruments of God. He created many notes in music so we would not be stuck playing the same song. Be music always. Keep changing the keys, tones, pitch, and volume of each of the songs you create along your journey and play on. Nobody will ever reach ultimate perfection in this lifetime, but trying to achieve it is a full-time job. Start now and don't stop. Make your book of life a musical. Never abandon obligations, but have fun leaving behind a colorful legacy. Never allow anybody to be the composer of your own destiny. Take control of your life, and never allow limitations implanted by society, tell you how your music is supposed to sound — or how your book is supposed to be written.

I broke with the sun and stars. I let the world go. I went far and deep with the knapsack of things I know. I made the journey, bought the useless, found the indefinite, And my heart is the same as it was: a sky and a desert. I failed in what I was, in what I wanted, in what I discovered. I’ve no soul left for light to arouse or darkness to smother. I’m nothing but nausea, nothing but reverie, nothing but longing. I’m something very far removed, and I keep going Just because my I feels cozy and profoundly real, Stuck like a wad of spit to one of the world’s wheels.

I always hated...all sad songs. I thought they made happy people miserable. Now I think I understand them better. Bards write them because they can't hold them back. Sadness has got to flow out or it gets stuck and turns bitter.

For half an hour, the machine that regulates my feeding tube has been beeping out into the void. I cannot imagine anything so inane or nerve-racking as this piercing beep beep beep pecking away at my brain. As a bonus, my sweat has unglued the tape that keeps my right eyelid closed, and the stuck-together lashes are tickling my pupil unbearably. And to crown it all, the end of my urinary catheter has become detached and I am drenched. Awaiting rescue, I hum an old song by Henri Salvador: "Don't you fret baby, it'll be all right.

WILLIAMS: The phrase, of course, is a variation of a line from the song "MacArthur Park." Any idea why the terrorists picked that particular song, Elizabeth? BURGER: Brian, one theory is that it was chosen specifically to demoralize the United States, because it gets stuck in your head and everybody hates it.

one naked girl with a mud up to her knees could not seem to take her eyes off Tyrion. She has never seen a dwarf before, he realized, much less a dwarf without a nose. He made a face and stuck his tongue out and the girl began to cry

Song " I am stuck in traffic in a taxicab which is typical and not just of modern life mud clambers up the trellis of my nerves must lovers of Eros end up with Venus muss es sein? es muss nicht sein, I tell you how I hate disease, it’s like worrying that comes true and it simply must not be able to happen in a world where you are possible my love nothing can go wrong for us, tell me

Do you think about Everything you've been through You never thought you'd be so depressed Are you wondering Is it life or death Do you think that there's no one like you We are We are We are We are the ones We get knocked down We get back up and stand above the crowd We are one We are the ones We get knocked down We get back up and stand above the crowd We are one The life I think about Is so much better than this I never thought I'd be stuck in this mess I'm sick of wondering Is it life or death I need to figure out who's behind you We are We are We are We are the ones We get knocked down We get back up and stand above the crowd We are one We are the ones We get knocked down We get back up and stand above the crowd We are one The life I think about Is so much better than this I never thought I'd be stuck in this mess I'm sick of wondering Is it life or death? We are the ones We get knocked down We get back up and stand above the crowd We are one We are the ones We get knocked down We get back up and stand above the crowd We are one We stand above the crowd We stand above the crowd We stand above the crowd (Crowd) (We stand) We stand above the crowd We stand above the crowd (We Stand) We stand above the crowd (We are the ones) We stand above the crowd (We get knocked down get back up) We stand above the crowd (We are the ones) We stand above the crowd (We get knocked down get back up) We stand above the crowd We stand above the crowd We stand above the crowd We stand above the crowd

If I'm a bad person, you don't like me Well I guess I'll make my own way It's a circle A mean cycle I can't excite you anymore Where's your gavel? Your jury? What's my offense this time? You're not a judge but if you're gonna judge me Well sentence me to another life Don't wanna hear your sad songs I don't wanna feel your pain When you swear it's all my fault Cause you know we're not the same (no) We're not the same (no) Oh we're not the same Yeah the friends who stuck together We wrote our names in blood But I guess you can't accept that the change is good (hey) It's good (hey) It's good Well you treat me just like another stranger Well it's nice to meet you sir I guess I'll go I best be on my way out You treat me just like another stranger Well it's nice to meet you sir I guess I'll go I best be on my way out Ignorance is your new best friend Ignorance is your new best friend This is the best thing that could've happened Any longer and I wouldn't have made it It's not a war no, it's not a rapture I'm just a person but you can't take it The same tricks that, that once fooled me They won't get you anywhere I'm not the same kid from your memory Well now I can fend for myself Don't wanna hear your sad songs I don't wanna feel your pain When you swear it's all my fault Cause you know we're not the same (no) We're not the same (no) Oh we're not the same Yeah we used to stick together We wrote our names in blood But I guess you can't accept that the change is good (hey) It's good (hey) It's good Well you treat me just like another stranger Well it's nice to meet you sir I guess I'll go I best be on my way out You treat me just like another stranger Well it's nice to meet you sir I guess I'll go I best be on my way out Ignorance is your new best friend Ignorance is your new best friend Ignorance is your new best friend Ignorance is your new best friend Well you treat me just like another stranger Well it's nice to meet you sir I guess I'll go I best be on my way out You treat me just like another stranger Well it's nice to meet you sir I guess I'll go I best be on my way out

I was reading a poem by my idol, Wallace Stevens, in which he said, ‘The self is a cloister of remembered sounds.’ My first response was, Yesss! How did he know that? It’s like he’s reading my mind. But my second response was, I need some new sounds to remember. I’ve been stuck in my little isolation chamber for so long I’m spinning through the same sounds I’ve been hearing in my head all my life. If I go on this way, I’ll get old too fast, without remembering any more sounds than I already know now. The only one who remembers any of my sounds is me. How do you turn down the volume on your personal-drama earphones and learn how to listen to other people? How do you jump off one moving train, marked Yourself, and jump onto a train moving in the opposite direction, marked Everybody Else? I loved a Modern Lovers song called, ‘Don’t Let Our Youth Go to Waste,’ and I didn’t want to waste mine.

Then [the dinosaurs] sang me a song called, "Don't Go Down to the Tar Pits, Dear, Because I'm Getting Stuck on You.

You think I got over you? I just got older.

Have you ever had a lyric from a really crappy song or advertising jingle get stuck in your head? Something that just won't go away, no matter how much you don't want it to be there? Imagine if, instead of a silly piece of music, it was an image. Imagine that image was something you found disturbing; say, rivers of rich burgundy blood gushing from slashes in your forearms. What if, instead of this being a fleeting, irritating image, it took hold in your mind. It would be there on waking, it would push itself into your thoughts while you were watching television, driving, sitting at your desk. What if, gradually, your mind became your own personal continuously screening horror movie, starring yourself. What would you do? Would you feel compelled to act on these thoughts? Do you think, if you did, it would help? Would you think yourself mad? Would you tell anyone?

It is far too easy to stay stuck in simply describing, telling one’s story over and over again, which can be a way of holding on to grief about the past or holding on to a narrative that places blame on others.

She has never seen a dwarf before, he realized, much less a dwarf without a nose. He made a face, and stuck his tongue out, and the girl began to cry. 'What did you do to her?' Duck asked. 'I blew her a kiss. All girls cry when I kiss them.

I felt that the magical people must be in the hidden back roads and dusty cubby holes of life; on highways, in hostels, and in shabby, smoky cafes. These enchanting people are in trees, around fires and under hand-knit hats and street lamps reflecting gold on rain soaked pavement. They dance while others dangle; they vibrantly sing the songs that get jumbled and stuck in the subconscious of others who only wish to catch tune. They are the rare ones whose uncommon experiences touch your heart through just a wink of their eye, the stories stitched in the holes of their shoes, invoking a longing for the unknown, taking others to a place of missing what they've never even had -- they do not settle, they do not compromise.

Hi Miss Alice With your glass eyes What kind of dream Can you see? Are you fascinated with? Stilll My heart tears And drifts Stuck in the patched crevices Are memories Hi Miss Alice With that fruitful lips To whom does love Is cast away? Is lamented? Already I spin my words Feverish tongue Has turned cold The song to love Can't be sung either Still you do not answer

It was hard to accept that the doorbell was just a dream, because I could still hear it in my memory, like the last song on the radio or an annoying TV commercial stuck in my head. It wasn’t a faint memory of an innocuous doorbell – it was an exact “ding dong” sound, with a particular pitch, volume and rhythm.

Here, you carry these. I may need my hands free. Why the hell are we taking ‘The Dream of the Red Chamber?’ Light reading, if we get stuck on the subway? No, in case we get stopped by some of Qing Song’s minions who can’t read Chinese. Oh. Right. Hey, that’s not a bad thought. Though if we’re going to be throwing them away anyhow, why not take ‘The Investiture of the Gods’... Because I like ‘The Investiture of the Gods’ and I don’t like ‘The Dream of the Red Chamber’.

He stared at me as if I had a really good book stuck to my face.

Keeping a song stuck in his head didn't block telepaths, but he knew who had been snooping in his brain when they started humming the tune.

It was like trying not to get a song stuck in your head.

I could feel myself sliding into a role I would probably suffer from for the rest of my life. One I'd be stuck with if I never made it out of this shit-hole town at least.

If I was set an essay on Friday, I’d spend three hours on Saturday morning in the library. Was that normal? I didn’t know. What I did know was that I felt less prone to depression and more normal walking through Venice or staring out over the lake in Zurich. At home I wrestled continually with my moods. The black thing inside me gnawed like a rat at my self-esteem and self-confidence. I felt there was a happy person inside me too, who wanted to enjoy life, to be normal, but my feelings of self-loathing and the deep distrust I had towards my father wouldn’t allow that sunny person to come out. When the black thing had an iron grip on me, I couldn’t even look at my father: Did you do bad things to me when I was little? Like a line from a song stuck in your brain, the words ran through my head and never once came out of my mouth. Not that I needed to say what was in my mind. I was sure Father could read my thoughts in my moods, in the blank, dead stare of my eyes. It was hardly surprising that there was always an atmosphere of strain and awkwardness in the house, and the blame was always mine: Alice and her moods, Alice and her anorexia; Alice and her low self-esteem; Alice and her inescapable feelings of loss and emptiness.

There wasn’t a change in the world order that didn’t echo other changes in the world order. And the news stopped being new. The very word ‘news’ became a joke. It was all just a cycle. A slowly rotating downward one. And your tolerance for human beings, making the same mistakes over and over and over and over again, began to fade. It was like being stuck in the same song, with a chorus you had once liked but now made you want to rip your ears off.

Put on the music and dance now. Your unrestricted, luscious, rich joy serves not only you but the planet. So move those lower chakras, open your heart, and let your life force express itself like the most succulent, juicy fruit, the most redolent and colorful flower, or the loudest and most raucous song. After that, make a commitment to getting rid of all the old emotional toxins that have become stuck inside you so you can live freely and agelessly.

The prayer sank deep in her luggage, and for years she had longed for a robin’s song unpacked – none the time to utter. Madam, yani, her soul got stuck between your teeth; piece by piece a treat or a banquet; wrapped in a raw whole foods diet.

In Banaras, I asked a monk, “To hold onto human character, one must have at least one desire. What is your desire.” He replied, “I have only one desire: Moksha or liberation from mortal bodies.” I said, “You are using the desire to leave the body to hold on to the body. Isn’t that contradiction? Aren’t you stuck in a loop of contradiction?” Recently, I met an old man in Chamundi Hills. He was singing praise of Maa Chamundi. I asked him, “Baba, what is your one desire that you are using to hold onto this body?” He replied, “Desire to sing songs in praise of Maa Chamundi.” I asked, “What about the desire of Moksha? Don’t you want to be free from this bondage?” He replied, “There is just one soul who is free- the Paramatma. I am that.” I said, “But how come you are stuck in this human body?” He said, “Young man! My mortal form is only in your mind. When you let go of your mind, you can meet me as Paramatma - the free soul. Then there is no you and me. There is just Paramatma.

She was running out the clock on Florence, on the person she currently was. It was a pleasant thought. She was sick to death of herself. That was one of the problems of always being stuck in your own head; the outside world isn’t loud enough to drown out the constant monologue on the inside. The same shit, day after day. Does she like me? Do I look okay? Will I ever be happy? Will I ever be successful? It was like listening to the same song over and over every day for years. Didn’t they torture people that way?

Are you ready, sir? Orsino. Ay; prithee, sing. [Music] 945 SONG. Feste. Come away, come away, death, And in sad cypress let me be laid; Fly away, fly away breath; I am slain by a fair cruel maid. 950 My shroud of white, stuck all with yew, O, prepare it! My part of death, no one so true Did share it. Not a flower, not a flower sweet 955 On my black coffin let there be strown; Not a friend, not a friend greet My poor corpse, where my bones shall be thrown: A thousand thousand sighs to save, Lay me, O, where 960 Sad true lover never find my grave, To weep there! Orsino. There's for thy pains. Feste. No pains, sir: I take pleasure in singing, sir. Orsino. I'll pay thy pleasure then. 965 Feste. Truly, sir, and pleasure will be paid, one time or another.

We were in Mississippi. We’d been playing this music, and it had all been very respectful, but then we were actually there sniffing it. You want to be a blues player, the next minute you fucking well are and you’re stuck right amongst them, and there’s Muddy Waters standing next to you. It happens so fast that you really can’t register all of the impressions that are coming at you. It comes later on, the flashbacks, because it’s all so much. It’s one thing to play a Muddy Waters song. It’s another thing to play with him.

It occurred to me that human beings didn’t live beyond a hundred because they simply weren’t up for it. Psychologically, I mean. You kind of ran out. There wasn’t enough self to keep going. You grew too bored of your own mind. Of the way life repeated itself. How, after a while, there wasn’t a smile or gesture that you hadn’t seen before. There wasn’t a change in the world order that didn’t echo other changes in the world order. And the news stopped being new. The very word ‘news’ became a joke. It was all just a cycle. A slowly rotating downward one. And your tolerance for human beings, making the same mistakes over and over and over and over again, began to fade. It was like being stuck in the same song, with a chorus you had once liked but now made you want to rip your ears off.

life is like this record…. There are ups and downs… crests and troughs … and both are necessary in life to make a beautiful song…. But sometimes we get stuck up with some incidents in life and like the music record the incident keeps repeating itself in our minds…..

BOWLS OF FOOD Moon and evening star do their slow tambourine dance to praise this universe. The purpose of every gathering is discovered: to recognize beauty and love what’s beautiful. “Once it was like that, now it’s like this,” the saying goes around town, and serious consequences too. Men and women turn their faces to the wall in grief. They lose appetite. Then they start eating the fire of pleasure, as camels chew pungent grass for the sake of their souls. Winter blocks the road. Flowers are taken prisoner underground. Then green justice tenders a spear. Go outside to the orchard. These visitors came a long way, past all the houses of the zodiac, learning Something new at each stop. And they’re here for such a short time, sitting at these tables set on the prow of the wind. Bowls of food are brought out as answers, but still no one knows the answer. Food for the soul stays secret. Body food gets put out in the open like us. Those who work at a bakery don’t know the taste of bread like the hungry beggars do. Because the beloved wants to know, unseen things become manifest. Hiding is the hidden purpose of creation: bury your seed and wait. After you die, All the thoughts you had will throng around like children. The heart is the secret inside the secret. Call the secret language, and never be sure what you conceal. It’s unsure people who get the blessing. Climbing cypress, opening rose, Nightingale song, fruit, these are inside the chill November wind. They are its secret. We climb and fall so often. Plants have an inner Being, and separate ways of talking and feeling. An ear of corn bends in thought. Tulip, so embarrassed. Pink rose deciding to open a competing store. A bunch of grapes sits with its feet stuck out. Narcissus gossiping about iris. Willow, what do you learn from running water? Humility. Red apple, what has the Friend taught you? To be sour. Peach tree, why so low? To let you reach. Look at the poplar, tall but without fruit or flower. Yes, if I had those, I’d be self-absorbed like you. I gave up self to watch the enlightened ones. Pomegranate questions quince, Why so pale? For the pearl you hid inside me. How did you discover my secret? Your laugh. The core of the seen and unseen universes smiles, but remember, smiles come best from those who weep. Lightning, then the rain-laughter. Dark earth receives that clear and grows a trunk. Melon and cucumber come dragging along on pilgrimage. You have to be to be blessed! Pumpkin begins climbing a rope! Where did he learn that? Grass, thorns, a hundred thousand ants and snakes, everything is looking for food. Don’t you hear the noise? Every herb cures some illness. Camels delight to eat thorns. We prefer the inside of a walnut, not the shell. The inside of an egg, the outside of a date. What about your inside and outside? The same way a branch draws water up many feet, God is pulling your soul along. Wind carries pollen from blossom to ground. Wings and Arabian stallions gallop toward the warmth of spring. They visit; they sing and tell what they think they know: so-and-so will travel to such-and-such. The hoopoe carries a letter to Solomon. The wise stork says lek-lek. Please translate. It’s time to go to the high plain, to leave the winter house. Be your own watchman as birds are. Let the remembering beads encircle you. I make promises to myself and break them. Words are coins: the vein of ore and the mine shaft, what they speak of. Now consider the sun. It’s neither oriental nor occidental. Only the soul knows what love is. This moment in time and space is an eggshell with an embryo crumpled inside, soaked in belief-yolk, under the wing of grace, until it breaks free of mind to become the song of an actual bird, and God.

―When you kick out for yourself, Stephen―as I daresay you will one of these days―rememer, whatever you do, to mix with gentlemen. When I was a young fellow I tell you I enjoyed myself. I mixed with fine decent fellows. Everyone of us could lo something. One fellow had a good voice, another fellow was a good actor, another could sing a good comic song, another was a good oarsman or a good racket player, another could tell a good story and so on. We kept the ball rolling anyhow and enjoyed ourselves and saw a bit of life and we were none the worse of it either. But we were all gentlemen, Stephen―at least I hope we were―and bloody good honest Irishmen too. That's the kind of fellows I want you to associate with, fellows of the right kidney. I'm talking to you as a friend, Stephen. I don't believe a son should be afraid of his father. No, I treat you as your grandfather treated me when I was a young chap. We were more like brothers than father and son. I`ll never forget the first day he caught me smoking. I was standing at the end of the South Terrace one day with some maneens like myself and sure we thought we were grand fellows because we had pipes stuck in the corners of our mouths. Suddenly the governor passed. He didn't say a word, or stop even. But the next day, Sunday, we were out for a walk together and when we were coming home he took out his cigar case and said:―By the by, Simon, I didn't know you smoked, or something like that.―Of course I tried to carry it off as best I could.―If you want a good smoke, he said, try one of these cigars. An American captain made me a present of them last night in Queenstown.

Roller Boogie is a relic from - when else? - the '70s. This is a tape I made for the eight-grade dance. The tape still plays, even if the cogs are a little creaky and the sound quality is dismal. It's a ninety-minute TDK Compact Cassette, and like everything else made in the '70s, it's beige. It takes me back to the fall of 1979, when I was a shy, spastic, corduroy-clad Catholic kid from the suburbs of Boston, grief-stricken over the '78 Red Sox. The words "douche" and "bag" have never coupled as passionately as they did in the person of my thirteen-yer-old self. My body, my brain, my elbows that stuck out like switchblades, my feet that got tangled in my bike spokes, but most of all my soul - these formed the waterbed where douchitude and bagness made love sweet love with all the feral intensity of Burt Reynolds and Rachel Ward in Sharkey's Machine.

First, I was like, “I know it! It’s dun-dun-DA-dun, dun, DA-DUN, dun DA-DUN.” WYATT The rest of us were like, “Reese, dude: that’s the Darth Vader song.” But that got the Darth Vader song stuck in everybody’s head. So whenever somebody tried to sing Beethoven’s Fifth, it came out sounding like Darth Vader.

Rebecca and I walk through the saltwater exhibits, where fish congregate in bright splashes like kites against an open sky. They come in the most incredible colors; I have always been amazed by this. What is the point of being fuchsia, or lemon, or violet, when you are stuck under the water where no one can see you?

While 'Rap Trax!' recorded, Neel found some scrap paper and we started writing our first lyrics. Bandying about subject matter and title, we got stuck on the idea of 'cool', so my first rap song became 'Pretty Cool'. It was a symbol of our confidence. We weren't awesome cool or mega cool. We were only... pretty cool.

I’m a big fan of Disney’s animated movies, or at least of most of them. I don’t know what it is, but the songs get stuck in my head. There is a Disney song for every situation you encounter in life. Some people quote The Godfather. Some quote Monty Python and the Holy Grail. I quote Walt Disney. Those are the true classics.

I look in the jewelry box where Joanie found the drugs. She showed me a miniature Ziploc bag filled with a clear, hard rock. “What is this?” I said. I never did drugs, so I had no idea. Heroin? Cocaine? Crack? Ice? “What is this?” I screamed at Alex, who screamed back, “It’s not like I shoot it!” A plastic ballerina pops up and slowly twirls to a tinkling song whose sound is discordant and deformed. The pink satin liner is dirty, and other than a black pearl necklace, the box holds only rusty paper clips and rubber bands noosed with Alex’s dark hair. I see a note stuck to the mirror and pick up the jewelry box and move the ballerina aside. She twirls against my finger. The note says, I wouldn’t hide them in the same place twice. I let out a short breath through my nose. Good one, Alex. I close the jewelry box and shake my head, missing her tremendously. I wish she never went back to boarding school, and I don’t understand her sudden change of plans. What did they fight about? What could have been so bad?

I am slowly learning to disregard the insatiable desire to be special. I think it began, the soft piano ballad of epiphanic freedom that danced in my head, when you mentioned that "Van Gogh was her thing" while I stood there in my overall dress, admiring his sunflowers at the art museum. And then again on South Street, while we thumbed through old records and I picked up Morrissey and you mentioned her name like it was stuck in your teeth. Each time, I felt a paintbrush on my cheeks, covering my skin in grey and fading me into a quiet, concealed background that hummed everything you've ever loved has been loved before, and everything you are has already been on an endless loop. It echoed in your wrists that I stared at, walking (home) in the middle of the street, and I felt like a ghost moving forward in an eternal line, waiting to haunt anyone who thought I was worth it. But no one keeps my name folded in their wallet. Only girls who are able to carve their names into paintings and vinyl live in pockets and dust bunnies and bathroom mirrors. And so be it, that I am grey and humming in the background. I am forgotten Sundays and chipped fingernail polish and borrowed sheets. I'm the song you'll get stuck in your head, but it will remind you of someone else. I am 2 in the afternoon, I am the last day of winter, I am a face on the sidewalk that won't show up in your dreams. And I am everywhere, and I am nothing at all.

had an intolerance for what I perceived to be self-generated problems. In the past I’ve rushed to wrongheaded judgments. I could get angry if I saw people in corners of the world begging for a breath, fighting for their life through hunger or illness, and then see privileged people throwing their life away. I know this is deeply unsound thinking. I know people can be in such a dark place that they’ll do anything to escape it, including escaping this life itself. I know it’s not a loving response, but that was the furious me writing the lyric of “Stuck in a Moment You Can’t Get Out Of.” I will not forsake, the colours that you bring The nights you filled with fireworks They left you with nothing I am still enchanted by the light you brought to me I listen through your ears, And through your eyes I can see.

And here lies our conundrum: we hate the world when we talk about it, but if all of us hate the world for being mean, there is no world to hate. We’re stuck in theory and are entertaining an invisible villain. Up close, you get along with those supposed monsters. The world is made up of individual people who despise the world, but when meeting, they get along all the same. There is no evil society, only people we haven’t met yet.

How about whatever song comes on next, that’s our song. It’ll be fate.” “We can’t just make our own fate.” “Sure we can.” Peter reaches over to turn on the radio. “Wait! Just any radio station? What if it’s not a slow song?” “Okay so we’ll put on Lite 101.” Peter hits the button. “Winnie the Pooh doesn’t know what to do, got a honey jar stuck on his nose,” a woman croons. Peter says, “What the hell?” as I say, “This can’t be our song.” “Best out of three?” he suggests.

Pushing through the market square, So many mothers sighing. News had just come over, We had five years left to cry in. News guy wept and told us, Earth was really dying. Cried so much his face was wet, then I knew he was not lying. I heard telephones, opera house, favourite melodies. I saw boys, toys, electric irons and T.V.s. My brain hurt like a warehouse, It had no room to spare. I had to cram so many things To store everything in there. And all the fat-skinny people. And all the tall-short people. And all the nobody people. And all the somebody people. I never thought I'd need so many people. A girl my age went off her head, hit some tiny children. If the black hadn't a-pulled her off, I think she would have killed them. A soldier with a broken arm Fixed his stare to the wheel of a Cadillac. A cop knelt and kissed the feet of a priest, and a queer threw up at the sight of that. I think I saw you in an ice-cream parlour, Drinking milk shakes cold and long. Smiling and waving and looking so fine, Don't think you knew you were in this song. And it was cold and it rained so I felt like an actor, And I thought of Ma and I wanted to get back there. Your face, your race, the way that you talk, I kiss you, you're beautiful, I want you to walk. We've got five years, Stuck on my eyes. Five years, What a surprise! We've got five years, My brain hurts a lot. Five years, That's all we've got. - Five Years

If the population is dissatisfied with the condition of society, then the leaders will invariably find a symbolic issue to channel the people’s focus away from any action that threatens the powerful. 'You’re poor? That’s a real shame. Well, look at that rich NFL player who won’t kneel for the national anthem! Doesn’t that disgust you? Aren’t you pissed off about that? Pay no attention to the system that keeps you in poverty, even though you work 40 hours a week and so does your spouse. Instead, focus on Colin Kaepernick not respecting our national theme song and refusing to grovel before our national rag! Don’t be disobedient in your own interest, instead turn on someone being disobedient in his own interest! That’s the American way!' Make no mistake, for the people upset at Colin Kaepernick and other NFL players taking a knee during the national anthem, that fight is a moral issue. They’re genuinely incensed that someone doesn’t show proper respect for the very same country that’s fucking them over, especially when it’s someone who has it better than them. 'What does he have to complain about? He makes 20 million a year! I’m stuck in a shitty job! Fuck him!' No. Fuck the corporation who doesn’t compensate you fairly for your shitty job. Fuck the country that lets them get away with it. And most of all, fuck you for being so easily distracted by symbols and pageantry that you don’t stop to take a look at who your real enemies are.

Who do you think made this world an' the things 'at's in it? Maybe it's your notion 'at somebody about your size whittled it from a block o' wood, scattered a little sand for earth, stuck a few seeds for trees, an' started the oceans with a waterin' pot! I don't know what paved streets an' stall feedin' do for a man, but any one 'at's lived sixty year on the ground knows 'at this whole old earth is jest teemin' with work 'at's too big for anything but a God, an' a mighty BIG God at that!

Guess what song they picked for their first dance.” “What song?” “‘From This Moment On’ by Shania Twain.” He frowns. “I never heard of that before.” “It’s really cheesy, but they love it, apparently. Do you realize that we don’t have a song? Like, a song that’s ours.” “Okay, then let’s pick one.” “It doesn’t work like that. You don’t just pick your song. The song picks you. Like the Sorting Hat.” Peter nods sagely. He finally finished reading all seven Harry Potter books and he’s always eager to prove that he gets my references. “Got it.” “It has to just…happen. A moment. And the song transcends the moment, you know? My mom and dad’s song was ‘Wonderful Tonight’ by Eric Clapton. They danced to it at their wedding.” “So how did it become their song, then?” “It was the first song they ever slow danced to in college. It was at a dance, not long after they first started dating. I’ve seen pictures from that night. Daddy’s wearing a suit that was too big on him and my mom’s hair is in a French twist.” “How about whatever song comes on next, that’s our song. It’ll be fate.” “We can’t just make our own fate.” “Sure we can.” Peter reaches over to turn on the radio. “Wait! Just any radio station? What if it’s not a slow song?” “Okay so we’ll put on Lite 101.” Peter hits the button. “Winnie the Pooh doesn’t know what to do, got a honey jar stuck on his nose,” a woman croons. Peter says, “What the hell?” as I say, “This can’t be our song.” “Best out of three?” he suggests.

How about whatever song comes on next, that’s our song. It’ll be fate.” “We can’t just make our own fate.” “Sure we can.” Peter reaches over to turn on the radio. “Wait! Just any radio station? What if it’s not a slow song?” “Okay so we’ll put on Lite 101.” Peter hits the button. “Winnie the Pooh doesn’t know what to do, got a honey jar stuck on his nose,” a woman croons. Peter says, “What the hell?” as I say, “This can’t be our song.” “Best out of three?” he suggests. “Let’s not force it. We’ll know it when we hear it, I think.” “Maybe we’ll hear it at the prom,” Peter offers. “Oh, that reminds me. What color is your dress? My mom’s going to ask her florist friend to make your corsage.” “It’s dusty pink.” It came in the mail yesterday, and when I tried it on for everybody, Trina said it was “the most Lara Jean” dress she’d ever seen. I texted a picture to Stormy, who wrote back, “Ooh-la-la,” with a dancing woman emoji. “What the heck is dusty pink?” Peter wants to know. “It’s like a rose gold color.” Peter still looks confused, so I sigh and say, “Just tell your mom. She’ll know.

I`m stuck I`m here on the inside Longing to be seen on the outside Wanting to step up not ready to step out Finding my feet but unable to walk Knowing my song yet cannot sing Filled with LOVE ready to share Healed on the outside still scarred on the inside Feeling my passion bursting to be expressed Trusting my SOUL with EGO still present Aware of the TRUTH yet lying to myself Ready to change I must LET GO If I let go who will catch me Confined by FEAR beliefs and thoughts I hold myself prisoner I am stuck where is the KEY to set myself FREE

-You think the Shkeen have found the answer to the mysteries of creation. But look at them....they've been stuck in the Bronze Age for fourteen thousand years... Where are their spaceships? Where are their towers? -Where are our bells?...And our joy? They're happy, Dino. Are we? Maybe they've found what we're still looking for. Why the hell is man so driven, anyway? Why is he out to conquer the galaxy, the universe, whatever? Looking for God, maybe…? Maybe. He can't find him anywhere, though, so on he goes, on and on, always looking. But always back to the same darkling plain in the end.

There was Bonnie, the rabbit. His fur was a bright blue, his squared-off muzzle held a permanent smile, and his wide and chipped pink eyes were thick-lidded, giving him a perpetually worn-out expression. His ears stuck up straight, crinkling over at the top, and his large feet splayed out for balance. He held a red bass guitar, blue paws poised to play, and around his neck was a bow tie that matched the instrument’s fiery color. Chica the Chicken was more bulky and had an apprehensive look, thick black eyebrows arching over her purple eyes and her beak slightly open, revealing teeth, as she held out a cupcake on a platter. The cupcake itself was somewhat disturbing, with eyes set into its pink frosting and teeth hanging out over the cake, a single candle sticking out the top. “I always expected the cupcake to jump off the plate.” Carlton gave a half laugh and cautiously stepped up to Charlie’s side. “They seem taller than I remember,” he added in a whisper. “That’s because you never got this close as a kid.” Charlie smiled, at ease, and stepped closer. “You were busy hiding under tables,” Jessica said from behind them, still some distance away. Chica wore a bib around her neck with the words LET’S EAT! set out in purple and yellow against a confetti-covered background. A tuft of feathers stuck up in the middle of her head. Standing between Bonnie and Chica was Freddy Fazbear himself, namesake of the restaurant. He was the most genial looking of the three, seeming at ease where he was. A robust, if lean, brown bear, he smiled down at the audience, holding a microphone in one paw, sporting a black bow tie and top hat. The only incongruity in his features was the color of his eyes, a bright blue that surely no bear had ever had before him. His mouth hung open, and his eyes were partially closed, as though he had been frozen in song.

Hyla Brook" By June our brook's run out of song and speed. Sought for much after that, it will be found Either to have gone groping underground (And taken with it all the Hyla breed That shouted in the mist a month ago, Like ghost of sleigh bells in a ghost of snow)— Or flourished and come up in jewelweed, Weak foliage that is blown upon and bent, Even against the way its waters went. Its bed is left a faded paper sheet Of dead leaves stuck together by the heat— A brook to none but who remember long. This as it will be seen is other far Than with brooks taken otherwhere in song. We love the things we love for what they are.

Fly with those who lift you up and thrust you forward A pilot friend of mine told me there are four main principles to master when flying airplanes: lift, thrust, weight, and drag. You have to take all these into account to make sure the plane will fly. It struck me that these same principles apply to specific types of people. There are some who lift you, brighten your day, cheer you up, and make you feel better about yourself. You meet them and you have a spring in your step. They’re a lift. Then there are people who thrust you. They inspire you, motivate you, challenge you to move forward and pursue your dreams. The third group are weights. They pull you down, dump their problems on you, so that you leave feeling heavier, negative, discouraged, and worse than you did before. Finally, there are those who are a drag. They’ve always got a sad song. The dishwasher broke. The goldfish died. They didn’t get invited to a party. They’re stuck in a pit. They expect you to cheer them up, fix their problems, and carry their loads. We all encounter people from each of these four groups. You have to make sure you’re spending the majority of your time with lifters and thrusters. If you’re only hanging out with weights and drags, it will keep you from becoming everything you were created to be.

We drove through a few more neighborhoods after that, searching for the lost truck, listening to a CD of old Khmer songs, the same CD that had been stuck in the stereo since the Honda had belonged to mom. I barely understood the lyrics, aside from a few phrases in the choruses, but I knew the melodies, the voices, the weird mix of mournful, psychedelic tones. When I tried articulating my feelings about home, my mind inevitably returned to these songs, the way the incomprehensible intertwined with what made me feel so comfortable. I’d lived with misunderstanding for so long, I’d stopped even viewing it as bad. It was just there, embedded in everything I loved.

and confused if someone does not appreciate their niceness. Others often sense this and avoid giving them feedback not only, effectively blocking the nice person’s emotional growth, but preventing risks from being taken. You never know with a nice person if the relationship would survive a conflict or angry confrontation. This greatly limits the depths of intimacy. And would you really trust a nice person to back you up if confrontation were needed? 3. With nice people you never know where you really stand. The nice person allows others to accidentally oppress him. The “nice” person might be resenting you just for talking to him, because really he is needing to pee. But instead of saying so he stands there nodding and smiling, with legs tightly crossed, pretending to listen. 4. Often people in relationship with nice people turn their irritation toward themselves, because they are puzzled as to how they could be so upset with someone so nice. In intimate relationships this leads to guilt, self-hate and depression. 5. Nice people frequently keep all their anger inside until they find a safe place to dump it. This might be by screaming at a child, blowing up a federal building, or hitting a helpless, dependent mate. (Timothy McVeigh, executed for the Oklahoma City bombing, was described by acquaintances as a very, very nice guy, one who would give you the shirt off his back.) Success in keeping the anger in will often manifest as psychosomatic illnesses, including arthritis, ulcers, back problems, and heart disease. Proper Peachy Parents In my work as a psychotherapist, I have found that those who had peachy keen “Nice Parents” or proper “Rigidly Religious Parents” (as opposed to spiritual parents), are often the most stuck in chronic, lowgrade depression. They have a difficult time accessing or expressing any negative feelings towards their parents. They sometimes say to me “After all my parents did for me, seldom saying a harsh word to me, I would feel terribly guilty complaining. Besides, it would break their hearts.” Psychologist Rollo May suggested that it is less crazy-making to a child to cope with overt withdrawal or harshness than to try to understand the facade of the always-nice parent. When everyone agrees that your parents are so nice and giving, and you still feel dissatisfied, then a child may conclude that there must be something wrong with his or her ability to receive love. -§ Emotionally starving children are easier to control, well fed children don’t need to be. -§ I remember a family of fundamentalists who came to my office to help little Matthew with his anger problem. The parents wanted me to teach little Matthew how to “express his anger nicely.” Now if that is not a formula making someone crazy I do not know what would be. Another woman told me that after her stinking drunk husband tore the house up after a Christmas party, breaking most of the dishes in the kitchen, she meekly told him, “Dear, I think you need a breath mint.” Many families I work with go through great anxiety around the holidays because they are going to be forced to be with each other and are scared of resuming their covert war. They are scared that they might not keep the nice garbage can lid on, and all the rotting resentments and hopeless hurts will be exposed. In the words to the following song, artist David Wilcox explains to his parents why he will not be coming home this Thanksgiving: Covert War by David Wilcox

Exaggeration is another way of saying you’re afraid someone won’t listen to the truth. But the truth’s enough, Laramie. We never know that because we never dare to speak it. Look at how we talk. Or text, in all caps. Thumbs stuck on CAPS lock because we’re scared they won’t get the idea. The media. Everyone begs to be interesting. And questioning what people have always questioned is suddenly an “existential crisis.” And we’re so numb to it. Laughing is called “dying.” Any brief moment of sadness is called “crying.” A great moment is called "iconic." We call our boyfriends and girlfriends our ‘kings’ and ‘queens.’ Who can measure up to that? All of these words, it’s impatient and rudimentary. We are desensitized, Laramie. As if it’s the internet’s information overload that causes us to dramatize our opinions.

IX. Drunk With Pines" Drunk with pines and long kisses, like summer I steer the fast sail of the roses, bent towards the death of the thin day, stuck into my solid marine madness. Pale and lashed to my ravenous water, I cruise in the sour smell of the naked climate, still dressed in grey and bitter sounds and a sad crest of abandoned spray. Hardened by passions, I go mounted on my one wave, lunar, solar, burning and cold, all at once, becalmed in the throat of the fortunate isles that are white and sweet as cool hips. In the moist night my garment of kisses trembles charged to insanity with electric currents, heroically divided into dreams and intoxicating roses practicing on me. Upstream, in the midst of the outer waves, your parallel body yields to my arms like a fish infinitely fastened to my soul, quick and slow, in the energy under the sky.

So let’s imagine for now that our love for our children and our thankfulness for their existence is a given. Let’s imagine that no one can possibly doubt the depths of our feelings for our sons and daughters. Let’s imagine that everyone in the world knows exactly how much we love all the many things there are to love about our children and the relationships we have with them. Let’s imagine that we are all most definitely Good Moms, and, with all that on our side, admit for a moment what we don’t love. I’ll give you my list, you add your own. I don’t love every minute of going to the playground. I don’t love every minute of going to the museums. I don’t love every minute of watching Elmo. I don’t love every minute of having to wake up early in the morning. I don’t love every minute of having interrupted sleep at night. I don’t love every minute of having to be the one to make the rules and the one who must enforce them. I don’t love every minute of laundry. I don’t love every minute of changing diapers. I don’t love every minute of having to endure the stares of people when my child freaks out in public. I don’t love every minute of making food that my kid ends up throwing on the floor. I don’t love every minute that I have the Barney song stuck in my head. I don’t love every minute of having to reason with a tantrum-throwing toddler. I don’t love every minute of being peed on, pooped on, and thrown-up on. I don’t love every minute of weaning. I don’t love every minute of sidewalk chalk. I don’t love every minute of having to pick up the blocks fifteen times a day. I don’t love every minute of putting my life on hold. I don’t love every minute of tantrums. I don’t love every minute of going to story time at the library. I HATE the Teletubbies. I don’t love every minute of being chained to someone else’s routine. I don’t love every minute of not being able to go to the bathroom without company. I don’t love every minute of being a mother.

Yoo hoo! Mr Nobody! Mr Nameless! Mr Master of Illusion! Mr Sleight of Hand, grandson of thieves and liars! We're here too, the ones without names. The other ones without names. The ones with shame stuck onto us by others. The ones pointed at, the ones fingered. The chore girls, the bright-cheeked girls, the juicy gigglers, the cheeky young wigglers, the young bloodscrubbers. Twelve of us. Twelve moon-shaped bums, twelve yummy mouths, twenty-four feather-pillow tits, and best of all, twenty-four twitching feet. Remember us? Of course you do! We brought the water for you to wash your hands, we bathed your feet, we rinsed your laundry, we oiled your shoulders, we laughed at your jokes, we ground your corn, we turned down your cosy bed. You roped us in, you strung us up, you left us dangling like clothes on a line. What hijinks! What kicks! How virtuous you felt, how righteous, how purified, now that you'd got rid of the plump young dirty dirt-girls inside your head! You should have buried us properly. You should have poured wine over us. You should have prayed for our forgiveness. Now you can't get rid of us, wherever you go: in your life or your afterlife or any of your other lives. We can see through all your disguises: the paths of day, the paths of darkness, whichever paths you take -- we're right behind you, following you like a trail of smoke, like a long tail, a tail made of girls, heavy as memory, light as air: twelve accusations, toes skimming the ground, hands tied behind our backs, tongues sticking out, eyes bulging, songs choked in out throats, Why did you murder us? What had we done to you that required our deaths? You never answered that. It was an act of grudging, it was an act of spite, it was an honour killing. Yoo hoo, Mr Thoughtfulness, Mr Goodness, Mr Godlike, Mr Judge! Look over your shoulder! Here we are, walking behind you, close, close by, close as a kiss, close as your own skin. We're the serving girls, we're here to serve you. We're here to serve you right. We'll never leave you, we'll stick to you like your shadow, soft and relentless as glue, Pretty maids, all in a row.

Being unable to deal with the complexity of the world has seen us retreat into what Curtis calls a “static world”. Instead of looking to change the world for the better, we look either to change small things (our bodies, our own rights as an individual), or we fall back into the past. “This obsession with risk that politicians, terror experts and finance people have, it’s about going back into the past, looking for patterns – which computers now allow you to do – and adjusting everything to make sure things are stable. “When I was working with Massive Attack, I used an old Bauhaus song called Bela Lugosi’s Dead and [on the big screens] I constantly repeated the phrase, ‘If you like this, then you’ll love that.’ I think in a way that’s the motto of our time. We’ll give you tomorrow something very similar to what you had yesterday. And then the world will be stable. And that’s true in politics, finance and culture. “Look at the way culture plays it,” he continues. “I mean, look at me. Look at Edgar Wright: he makes movies constantly referencing things. We constantly play yesterday back to you in a slightly altered form, to try and make you feel stable and happy. And the world stays stuck and everyone gets ratty, which is why they all snark at each other on the internet.

Looking upon nature as if it were a proof of a benevolent and protective deity; interpreting history as a tribute to divine reason, as a constant testimony to the existence of a moral world order and moral teleology; interpreting personal experiences as pious men have long interpreted them, as if everything were a dispensation or intimation of Providence, as if everything had been contrived and ordained for the sake of the salvation of the soul: all that is over now, it has the conscience against it, it is regarded by all the subtler consciences as indecent and dishonest, as chicanery, femininity, weakness and cowardice — by virtue of this rigour, if by nothing else, we are good Europeans, the heirs of Europe’s longest and bravest self-conquest. When we thus reject the Christian interpretation and condemn its "meaning" as counterfeit, we are immediately confronted in a formidable manner with the Schopenhauerian question: does existence have any meaning at all? This is a question which will take a few centuries to be fully understood in all its profundity. Schopenhauer’s own answer to this question was — forgive me — something premature and juvenile, a mere half-measure, a way of remaining stuck in the very same Christian and ascetic perspectives of morality, faith in which had been annulled along with the faith in God … But he raised the question — as a good European, as I said, and not as a German.

Besides,I like working outdoors. Pa and the boys have always let me help with the ranch chores." This was received with a raised eyebrow. "Indeed. How kind of them. Willow,the men in your family treat you more like a slave than the young lady you are. It's a sin, I tell you, a deplorable sin!" Willow shrugged. "Hell...er, ah, heck, I'd rather round up cows than be stuck in the house all day. Besides, there ain't much house work with Pa and the boys gone." "Humph! Too bad your pa didn't teach you more about the joys of being a lady." The girl bristled. "I am a lady! I may not wear those fancy, highfalutin clothes, or walk around looking helpless, but that ain't what really makes a lady, you know." "And what, pray tell, in your opinion, makes a lady, Willow?" "A woman is a lady as long as she keeps her distance from horny critters of the opposite sex." She grinned proudly and declared, "I do.That makes me a lady!" "Horny crit-" Shocked, Mrs. Brigham stared a moment, then nodded firmly. "My dear, someone needs to take you in hand, and I know my duty when I see it. Now listen to me, young lady-mind you, I use the term lightly. There's much more to being a lady than avoiding the opposite sex. For instance, ladies don't wear men's pants. Ladies don't herd cattle. And ladies don't smoke, curse, or sneak whiskey. I have it on good authority that you've done all those things and more. And, furthermore, ladies don't know the meaning of...horny!" Willow's lips pursed in annoyance. "Mrs. Brigham, I live with five men. They don't mince words just because I'm a woman." "Your father took the easy way out by raising you as another son. He's done you a terrible injustice.

Driving alone along the Northway, feeling more haunted than I really had the courage to be, I cried in the car the way one does when leaving someone in a bitter and unbearable way. I don't know why I should have picked that time to grieve, to summon everything before me--my own monsterousness, my two-bit affections, three-bit, four. It could have been sooner, it could have been later, it could have been one of the hot, awkward funerals (my grandmother's, LaRoue's, my father who one morning in Vero Beach clutched his fiery arm and fell dead off his chair mouthing to my mother, "Help. Heart. I love you" --how every death makes the world a lonelier place), it oculd have been some other time when the sun wasn't so bright, and there was no news on the raido, and my arms were not laced in a bird's nest on the steering wheel, my life going well, I believed, pretty well. It could have been any other time. But it was then: I cried for Sils and LaRoue, all that devotion and remorse, stars streaming light a million years after dying; I cried for the boyfriends I was no longer with, the people and places I no longer knew very well, for my parents and grandmother ailing and stuck in Florida, their rough, unchanging forms conjured only in memory; a jewel box kept in the medicine cabinet in the attic of a house on the moon; that's where their unchanging forms were kept. I cried for everyone and for all the scrabbly, funny love one sent out into the world like some hit song that enters space and bounds off to another galaxy, a tune so pretty you think the words are true, you do! There was never any containing a song like that, keeping it. It went off and out, speeding out of earshot or imagining or any reach at all, like a rocket invented in sleep.

Holy s——!” someone shouted from outside. A few guests reacted with good-natured titters. The children hardly noticed, they were so absorbed in their music. The song ended. All the little eyes were on Mr. Kangana, who counted them into their next song, “One, two, three—” “F——!” someone else shouted. This was not OK. I dashed through the laundry room to the back door, with the intention of shushing the raucous caterers. I turned the handle. A strong, dull, consistent pressure pushed the door toward me. Immediately sensing a terrible force of nature on the other side, I attempted to close the door. The inhuman force wouldn’t allow it. I stuck my foot against the bottom of the door. I heard an ominous creak. The hinges began pulling loose from the frame. Before I could compute any of this, the marimba music suddenly stopped. A series of pops and pings erupted from the sunroom. A child squealed in distress. I abandoned the threat at the door and hurtled to the sunroom, where I was met by the shattering of glass. The children were running, screaming, from their instruments. With none of their own parents to run to for comfort, the kindergarteners collectively burrowed into the crowd of prospective parents, who in turn were trying to squeeze through the one small door leading to the living room. It’s a small miracle nobody was trampled. My daughter, Ginny, ran to me and hugged my legs. Her back was wet… and muddy. I looked up. The shades were now eerily raised of their own accord. And then came the mud. In it sloshed, through the broken windows. Thick mud, watery mud, rocky mud, mud with beveled-glass shards, mud with window muntins, mud with grass, mud with barbecue utensils, mud with a mosaic birdbath. In a flash, the sunroom windows were gone, and in their place, a gaping, mud-oozing hole.

WILLPOWER EXPERIMENT: FEEL WHAT YOU FEEL, BUT DON’T BELIEVE EVERYTHING YOU THINK When an upsetting thought comes to mind, try the technique that Goldin teaches his subjects. Instead of instantly trying to distract yourself from it, let yourself notice the thought. Oftentimes, our most disturbing thoughts are familiar—the same worry, the same self-criticism, the same memory. “What if something goes wrong?” “I can’t believe I did that. I’m so stupid.” “If only that hadn’t happened. What could I have done differently?” These thoughts pop up like a song that gets stuck in our heads, seemingly out of nowhere, but then is impossible to get rid of. Let yourself notice whether the upsetting thought is an old, familiar tune—that’s your first clue that it is not critically important information you need to believe. Then shift your attention to what you are feeling in your body. Notice if there is any tension present, or changes to your heart rate or breathing. Notice if you feel it in your gut, your chest, your throat, or anywhere else in your body. Once you’ve observed the thought and feelings, shift your attention to your breathing. Notice how it feels to breathe in and breathe out. Sometimes the upsetting thought and feelings naturally dissipate when you do this. Other times, they will keep interrupting your attention to your breath. If this happens, imagine the thought and feelings like clouds passing through your mind and body. Keep breathing, and imagine the clouds dissolving or floating by. Imagine your breath as a wind that dissolves and moves the clouds effortlessly. You don’t need to make the thought go away; just stay with the feeling of your breath. Notice that this technique is not the same thing as believing or ruminating over a thought. The opposite of thought suppression is accepting the presence of the thought—not believing it. You’re accepting that thoughts come and go, and that you can’t always control what thoughts come to mind. You don’t have to automatically accept the content of the thought. In other words, you might say to yourself, “Oh well, there’s that thought again—worries happen. That’s just the way the mind works, and it doesn’t necessarily mean anything.” You’re not saying to yourself, “Oh well, I guess it’s true. I am a terrible person and terrible things are going to happen to me, and I guess I need to accept it.” This same practice can be used for any distracting thought or upsetting emotion, including anger, jealousy, anxiety, or shame. After trying this technique a few times, compare it with the results you get from trying to push away upsetting thoughts and emotions. Which is more effective at giving you peace of mind? A

Yet in 2012, he returned. Plenty of the speechwriters were livid. The club was the embodiment of everything we had promised to change. Was it really necessary to flatter these people, just because they were powerful and rich? In a word, yes. In fact, thanks to the Supreme Court, the rich were more powerful than ever. In 2010, the court’s five conservative justices gutted America’s campaign finance laws in the decision known as Citizens United. With no more limits to the number of attack ads they could purchase, campaigns had become another hobby for the ultrawealthy. Tired of breeding racehorses or bidding on rare wines at auction? Buy a candidate instead! I should make it clear that no one explicitly laid out a strategy regarding the dinner. I never asked point-blank if we hoped to charm billionaires into spending their billions on something other than Mitt Romney’s campaign. That said, I knew it couldn’t hurt. Hoping to mollify the one-percenters in the audience, I kept the script embarrassingly tame. I’ve got about forty-five more minutes on the State of the Union that I’d like to deliver tonight. I am eager to work with members of Congress to be entertaining tonight. But if Congress is unwilling to cooperate, I will be funny without them. Even for a politician, this was weak. But it apparently struck the right tone. POTUS barely edited the speech. A few days later, as a reward for a job well done, Favs invited me to tag along to a speechwriting-team meeting with the president. I had not set foot in the Oval Office since my performance of the Golden Girls theme song. On that occasion, President Obama remained behind his desk. For larger gatherings like this one, however, he crossed the room to a brown leather armchair, and the rest of us filled the two beige sofas on either side. Between the sofas was a coffee table. On the coffee table sat a bowl, which under George W. Bush had contained candy but under Obama was full of apples instead. Hence the ultimate Oval Office power move: grab an apple at the end of a meeting, polish it on your suit, and take a casual chomp on your way out the door. I would have sooner stuck my finger in an electrical socket. Desperate not to call attention to myself, I took the seat farthest away and kept my eyes glued to my laptop. I allowed myself just one indulgence: a quick peek at the Emancipation Proclamation. That’s right, buddy. Look who’s still here. It was only at the very end of the meeting, as we rose from the surprisingly comfy couches, that Favs brought up the Alfalfa dinner. The right-wing radio host Laura Ingraham had been in the audience, and she was struck by the president’s poise. “She was talking about it this morning,” Favs told POTUS. “She said, ‘I don’t know if Mitt Romney can beat him.

His liger roused with a warning growl. Watch yourself. Despite all his warning instincts urging him to turn and face the approaching threat, he didn’t budge when a very large man came to stand beside him. “You Leo?” “Yup.” “You’re the one my daughter’s got her mind set on?” “Yup.” The other man grunted. For a moment, they both stared in silence. “Just so you know, that’s my baby girl.” “I know.” “She’s fucking delicate,” Meena’s father rumbled as his daughter stomped her foot on the ground to a song, got her heel stuck, yanked, broke the heel, teetered, and fell, knocking a tray of drinks from a passing waiter’s hands. “I will keep her from harm.” Even if that harm was sometimes from herself. “If you ever make her cry, I will hunt you down and skin you myself. I can fetch a fine price for liger’s fur on the black market.” The threat didn’t even make him blink. “While I cannot condone the murder and sale of a pride member, I can appreciate your sentiment, sir. But no fears. It is not my intention to make her cry.” Scream, yes, but that would be in pleasure and wasn’t something he felt a need to divulge. “You’ve been warned.” With those final words, the man melted back into the crowd and left Leo to his vigil. For a while longer, he watched Meena, amused at how disaster loved to lurk around her. But despite her mishaps, nothing could ruin the smile on her lips.

pitch axis theory, which I learned in high school from my music teacher Bill Westcott. It is a compositional technique that was actually developed at the turn of the last century, so this is something that had been around for a long time. I remember Bill saying, "I'm going to teach you this very cool compositional technique," and he sat me down at the piano, and he went, "Watch this: I'll hold this C bass note, and then I play these chords, and each chord will put me in a different key, but it will sound like C 'something' to you . . ." I was fascinated by it, because I thought, "That is the sound I'm hearing in my head." To me it sounded very "rock," because rock songs don't travel around in too many keys, and it was the antithesis of the modern pop music that had been around for fifty years. It was the total opposite of most commercial jazz, but not all jazz, as I learned when I started really listening closely to modern jazz. I realized, "Wow, John Coltrane is using pitch axis theory. Not only is he doing that, but he’s going beyond it with his 'sheets of sound' approach," where in addition to building modes in different keys off of one bass note, he was building modes off of notes outside the key structure as well. He had taken it a step further. But that’s not what I was looking for, except for in a song like "The Enigmatic," which has that sort of complete atonal-meetspsycho melodic approach. I was more interested in using the pitch axis where you really could identify with one key bass note, in a rock and R&B sort of fashion. Then all the chords that you put on top would basically put you in different keys. So on Not of This Earth, you have these pounding E eighth notes on the bass, and your audience says, "Okay, we're in the key of E." But the chords on top are saying, "E Lydian, E Minor, E Lydian, E Mixolydian in cyclical form." And I thought, "Well, this gives me great melodic opportunities, I'm not stuck with just the seven notes of one key. I've got seven notes for every different key that I apply on top of this bass note." And I just love that sound, so I applied it to quite a lot of my music.

she’d never finish. Jayne picked up the telephone and punched out Ellen’s number. She wasn’t socializing much either since she’d broken off with Johnny. As the only women in the building who went to bed alone, they really ought to stick together.     Five Minutes before 10:57 AM   Ellen ran for the phone as it rang, hoping it was Walker. She still hadn’t located those mannequin arms. But it was Jayne. “You got to help me, Ellen. I’m writing this song and I’m stuck between a rock and a hard place. What rhymes with

I'd like to go back to five years old again. Just sometimes. To be turning over rocks and looking for pill bugs and holding earthworms, playing dolls, erecting forts, digging through dirt for marbles, burrowing in leaf piles, failing at igloo building, when my biggest concern was going to sleep with the lights off. I wish I was five again, before things got hard, before I was forced to grow up way too early and been stuck in this "adult" thing way too long. I wish I could sit in my Grandpa's lap and let him sing me crazy Irish songs and go over the names of the planets. "Gwampa, tell me about Outer Space." ... "Gwampa, sing the Swimming Song." I wish I could go back there, just for a little while, and pick raspberries by myself in the sun and find secret hideaways and not hurt, not worry, not carry the heavy things. If I could be five years old....just for a few minutes. Remember what it felt like to be free. That would be something.

The Madman's Song Sing me a song that welcomes death to a chorus of raven's caws, Sing it till I'm want of breath and petition God for final pause. Let the screech own join the merriment in my anthem of extinction, Let the stuck pig squeal its accompaniment to my demise, my one true distinction.

Precisely how and why the American South has shaped and nurtured so much successful art is something sociologists and anthropologists will still be bickering about a half century from now. All I know is that it is mostly true. That particular chunk of rock and water and dirt and kudzu, where people speak in warbles—voices stuck in perpetual song, all slow consonants and giggly cadences, singing, always—and eat too much pie and drink Mountain Dew with spoonfuls of sugar stirred in, bears wild and ridiculous fruit.

You’re like a favorite song, Emery.” I squint at him, a smile pulling on my lips. “What do you mean?” He cups my chin, running his thumb across my cheek. “You’re familiar, yet an adventure all at once. You’re forgiving, yet haunting.” His gaze falls on my lips. “You’re stuck in my head 24/7 and I don’t want you to get out.

I’ve been stuck in my little isolation chamber for so long I’m spinning through the same sounds I’ve been hearing in my head all my life. If I go on this way, I’ll get old too fast, without remembering any more sounds than I already know now.

You’re strangely prepared.” “Not for this, no. I just heard condoms were really good for opening a stuck jar. You just pop it on top and instant hand grip. That’s the only reason I’ve been carrying one around.” “You… often come across bottles you can’t open?” “Far too much. And the lube was for greasing up… stuff, obviously. I didn’t at all plan to have you take me to an amusement park and fuck me in the car or something weird,” I say as I tear open the packet of lube. After I squirt some onto my hand, he takes it from me. “I’m surprised you weren’t planning for something R-rated on the carousel or something after dark.” “Ooh, that’s a good one. Especially with that music they play, it’d be the best sex jam ever.” “Would it?” he asks suspiciously. “Of course,” I say, unable to keep the grin off my face. “If I had my phone, I’d play it and you could fuck me to the beat.” “I don’t think carousel songs have a ‘fucking beat,’ but I could be wrong.

I happened to be talking to George at a meeting—we were sorting out some of the Apple business,” Paul later recalled. “Someone said something, and George just said, ‘Well, we’re all prisoners, kind of inside ourselves,’ or, you know, ‘inside every fat man, there’s a thin man trying to get out.’ I just took up that theme of, we’re all prisoners in a way, so I kind of wrote a prison song. And as I say, you can take it symbolically or straight, it works on both levels.”35 Getting from George’s comments to a prison song took some doing, however, and as Paul turned over the remark in his mind, his first thoughts reflected his own sense of still being trapped in the Beatles partnership agreement—and at an Apple legal meeting. The first verse he wrote,36 “If we ever get out of here / Thought of giving it all away / To a registered charity” is the kind of internal bargaining one does when stuck in circumstances—a business meeting, say—and hoping for liberation. Another verse moves closer to the prison metaphor—“Stuck inside these four walls / Sent inside forever / Never seeing no-one nice again.

A day will come when you will be stirred by unexpected events. A part of you will die, and you will begin to search for the elixir that will bring this part of you back to life. You will seek the elixir in friends, lovers, enemies, books, religions, foreign countries, heroes’ songs, rituals, and jobs, but no matter where you look the treasure will evade you. All will seem lost, and you will lose all hope that this magic potion even exits. This will be the darkest of nights, and the promise of certain death will lead you to the abyss of despair. But staring into the abyss you will see the dim light of your own illuminated Soul. Your radiance will transform the abyss into the elusive elixir of life, and for the first time you will realize that all the while it was your own Light that you’ve been searching for. READ THIS FIRST

I hold on to everything. Will you please help me let go? Sometimes I feel overwhelmed by sadness and anger stuck in my body. Sometimes I want to be other people. Sometimes I hate parts of myself. Sometimes I feel like I am different people. Maybe I have multiple personality disorder. Nope, I don’t, I just looked it up.

hundred because they simply weren’t up for it. Psychologically, I mean. You kind of ran out. There wasn’t enough self to keep going. You grew too bored of your own mind. Of the way life repeated itself. How, after a while, there wasn’t a smile or gesture that you hadn’t seen before. There wasn’t a change in the world order that didn’t echo other changes in the world order. And the news stopped being new. The very word ‘news’ became a joke. It was all just a cycle. A slowly rotating downward one. And your tolerance for human beings, making the same mistakes over and over and over and over again, began to fade. It was like being stuck in the same song, with a chorus you had once liked but now made you want to rip your ears off.