Twice Song Quotes

‎[Melisandre] "His Grace is growing fond of you." [Jon] "I can tell. He only threatened to behead me twice." Page 58

Hang on – what are you wearing?” Keefe asked as she threw back her covers, revealing the sparkly slogans on her tunic. “Is that a Bangs Boy reference? Because you know I haven’t let him into the Foster Fan Club, right?” Sophie rolled her eyes. “It’s an inside joke – and Linh made this for me.” ”Yeah, well, it still breaks the fan club rules. As penance, I’m giving you a tunic that says, ‘Empaths Give Me All the Feels,” and I expect to see you wear it twice as much as Bang Boys.

Oh, you've outdone me twice now, you queen of forgiveness. The ring's a promise of peace and I'm greedy with hope. It's a song that we sing in a tongue that we share. And though you say it's a gift from a king to a king, I say it's a sign from a queen to a queen.

It was the easiest thing in the world for Arya to step up behind him and stab him. “Is there gold hidden in the village?” she shouted as she drove the blade up through his back. “Is there silver? Gems?” She stabbed twice more. “Is there food? Where is Lord Beric?” She was on top of him by then, still stabbing. “Where did he go? How many men were with him? How many knights? How many bowmen? How many, how many, how many, how many, how many, how many? is there gold in the village?

And our safe word?" "Wonderwall." Lindsey turned around and cast Luc a sardonic look. " Your safe word is the name of an Oasis song?" "Blondie, I am the arbiter of all things fashionable in this House. Why not music?" "Spoken by a man wearing cowboy boots. I mean, seriously. Who wears cowboy boots ?

People are always breaking through, like in the Doors song 'Break on Through (To the Other Side)'. But I really had. I had broken through twice now, and my feeling about the universe was that it was porous and radical and you could turn it on, you could even fuck around with the universe.

Okay, I said. But remember, you can’t fix everything in the world for everybody. “However,” said Ricky, “you can’t do anything at all unless you begin. Haven’t I heard you say that once or twice, or maybe a hundred times?

I believed the reason there was a God was to prevent such atrocities from happening to the same person twice. But nothing prepared me for this: I have done what I've sworn I could never do; I have become my own nightmare... I have lost control.

Older than sin and twice as mean

I believe that you can fall in love many times with many different people. However, I don't think that you can fall in love the same way twice. One type of relationship may be steady. Another may be fire and brimstone. Who is to say if one of these is better that the other? The deciding factor is how it all fits together. Your love, I mean, and your life.

We had to throw rocks," she said miserably. "I told her to run, to go be free, that I didn't want her anymore. There were other wolves for her to play with, we heard them howling, and Jory said the woods were full of game, so she'd have deer to hunt. Only she kept following and finally we had to throw rocks. I hit her twice. She whined and looked at me and I felt so 'shamed, but it was right, wasn't it? The queen would have killed her." "It was right," her father said. "And even the lie was... not without honour.

The most work he did on [the urinals] was to run a brush once or twice apiece, singing some song as loud as he could in time to the swishing brush; then he'd splash in some Clorox and he'd be through. ... And when the Big Nurse...came in to check McMurphy's cleaning assignment personally, she brought a little compact mirror and she held it under the rim of the bowls. She walked along shaking her head and saying, "Why, this is an outrage... an outrage..." at every bowl. McMurphy sidled right along beside her, winking down his nose and saying in answer, "No; that's a toilet bowl...a TOILET bowl.

Unable to rid myself of it, since I heard your song humming ever in my head, beheld your feet dancing always on my breviary, felt even at night, in my dreams, your form in contact wih my own, I desired to see you again, to touch you, to know who you were, to see whether I should really find you like the ideal image which I had retained of you, to shatter my dream, perchance with reality. At all events, I hoped that a new impression would efface the first, and the first had become insupportable. I sought you. I saw you once more. Calamity! When I had seen you twice, I wanted to see you a thousand times, I wanted to see you always. Then - how stop myself on that slope of hell? - then I no longer belonged to myself.

Marathon 2. Song of the River Once we were happy, we had no memories. For all the repetition, nothing happened twice. We were always walking parallel to a river with no sense of progression though the trees across from us were sometimes birch, sometimes cypress- the sky was blue, a matrix of blue glass. While, in the river, things were going by- a few leaves, a child's boat painted red and white, its sail stained by the water- As they passed, on the surface we could see ourselves; we seemed to drift apart and together, as the river linked us forever, though up ahead were other couples, choosing souvenirs.

Half as big but twice as mad.

What if sometimes there is no choice about what to love? What if the temple comes to Mohammed? What if you just love? Without deciding? You just do: you see her and in that instant are lost to sober account-keeping and cannot choose but to love? Marath's sniff held disdain: "Then in such a case your temple is self and sentiment. Then in such an instance you are a fanatic of desire, a slave to your individual subjective narrow self's sentiments; a citizen of nothing. You become a citizen of nothing. You are by yourself and alone, kneeling to yourself. In a case such as this you become the slave who believes he is free. The most pathetic of bondage. Not tragic. No songs. You believe you would die twice for another but in truth would die only for your alone self, its sentiment".

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 probably won’t play a song the same way tomorrow as I play it today. Only a pitchman says the same thing the same way twice, without varying a word. If music is a language, why don’t people use it with the same subtlety, nuance, and facility as they do the spoken language? Probably because they don’t verbalize with the same vocabulary and tone they once did. It has been said that a people’s character is reflected in their music. Our culture is a perfect example. If people here walk around using one-syllable words with no color, no variety, no shading, how can we expect our musical language to be any different? It’s like the emperor’s new clothes – sure they can sit and make wild noises on their synthesizers and call it music – who questions? But ask them to pull up a chair and play ‘Gal in Calico’ or Temptation,’ or even a straight dramatic version of ‘The Star-Spangled Banner’ and they can’t do it. They’re too pretentious. They can’t just play songs.

We've changed kins since then, some of us twice. No one cares, no one remembers.

snatch of an old Bob Dylan lyric occurred to him, something about the price you had to pay to keep from going through everything twice.

[339] Vita femina. To see the ultimate beauties in a work-all knowledge and good-will is not enough; it requires the rarest, good chance for the veil of clouds to move for once from the summits, and for the sun to shine on them. We must not only stand at precisely the right place to see this, our very soul itself must have pulled away the veil from its heights, and must be in need of an external expression and simile, so as to have a hold and remain master of itself. All these, however, are so rarely united at the same time that I am inclined to believe that the highest summit of all that is good, be it work, deed, man, or nature, has hitherto remained for most people, and even for the best, as something concealed and shrouded-that, however, which unveils itself to us, unveils itself to us but once. The Greeks indeed prayed: "Twice and thrice, everything beautiful!" Ah, they had their good reason to call on the Gods, for ungodly actuality does not furnish us with the beautiful at all, or only does so once! I mean to say that the world is overfull of beautiful things, but it is nevertheless poor, very poor, in beautiful moments, and in the unveiling of those beautiful things. But perhaps this is the greatest charm of life: it puts a gold- embroidered veil of lovely potentialities over itself, promising, resisting, modest, mocking, sympathetic, seductive. Yes, life is a woman!

Firm the whole fabric stood, Or seemed to stand, and sound As it had stood before. But nothing backward climbs, And when I looked around As at the former times, There was Life—pale and hoar; And slow it said to me, ‘Twice-over cannot be!

Twice in his life Eugene Victor Debs took the long leap to the Ultima Thule of prison, passing beyond the realm of the acceptable into the nonacceptable, from respectability into the criminal community of the monster who was an enemy to the people.

He's not my lover," Isolfr said. She raised an eyebrow, a long feathery, shaggy sweep. "You're his beloved. Both of them. I saw enough on the war-trail to know." Then she laughed, and took her hand off his and pushed his chest like a wolf-cub nudging playfully. "We don't get to pick who loves us, you know. And better to get him to write the song than be remembered forever as 'fair Isolfr, the cold.'" He scrubbed a hand across his face, roughness of beard and scars and the smooth skin of the unmarked cheek. "Is that really what they call me?" She smiled. "You frighten them, Viradechtisbrother. You went down under the mountain and came out again, twice, and the alfar call you friend. They'll have you among the heroes before you know it. And you can seem quite untouchable—'ice-eyes, and ice-heart, and ice-hard, his will.'" "Othinn help me. It is a song already.

Who will believe my verse in time to come, If it were fill'd with your most high deserts? Though yet, heaven knows, it is but as a tomb Which hides your life and shows not half your parts. If I could write the beauty of your eyes And in fresh numbers number all your graces, The age to come would say 'This poet lies: Such heavenly touches ne'er touch'd earthly faces.' So should my papers yellow'd with their age Be scorn'd like old men of less truth than tongue, And your true rights be term'd a poet's rage And stretched metre of an antique song: But were some child of yours alive that time, You should live twice; in it and in my rhyme.

I listened to sad songs in the shower and cried along. Sometimes I would stop and see myself as from the outside and even laugh at such trite performances of heartbreak. I took the train to the south coast of Dublin once or twice a week to swim and walk around the brambly masses on the outskirts of Shankill. When I tried one day to stand at the pier on Dun Laoghaire and look out to the sea and reflect on my misfortune, I lasted only a few minutes before becoming self-conscious and retreating. The feelings were real, but they could find no natural expression.

Unable to rid myself of it, since I heard your song humming ever in my head, beheld your feet dancing always on my breviary, felt even at night, in my dreams, your form in contact with my own, I desired to see you again, to touch you, to know who you were, to see whether I should really find you like the ideal image which I had retained of you, to shatter my dream, perchance, with reality. At all events, I hoped that a new impression would efface the first, and the first had become insupportable. I sought you. I saw you once more. Calamity! When I had seen you twice, I wanted to see you a thousand times, I wanted to see you always.

I start songs all the time. If I weren't so lazy, I would finish them. It's like when I have a deadline I have to. I always feel very lucky that I am forced to make records at certain times. If I was forced to make 2 records a year, I would write twice as many songs. I can't make myself finish something unless I am forced

The children in my dreams speak in Gujarati turn their trusting faces to the sun say to me care for us nurture us in my dreams I shudder and I run. I am six in a playground of white children Darkie, sing us an Indian song! Eight in a roomful of elders all mock my broken Gujarati English girl! Twelve, I tunnel into books forge an armor of English words. Eighteen, shaved head combat boots - shamed by masis in white saris neon judgments singe my western head. Mother tongue. Matrubhasha tongue of the mother I murder in myself. Through the years I watch Gujarati swell the swaggering egos of men mirror them over and over at twice their natural size. Through the years I watch Gujarati dissolve bones and teeth of women, break them on anvils of duty and service, burn them to skeletal ash. Words that don't exist in Gujarati : Self-expression. Individual. Lesbian. English rises in my throat rapier flashed at yuppie boys who claim their people “civilized” mine. Thunderbolt hurled at cab drivers yelling Dirty black bastard! Force-field against teenage hoods hissing F****ing Paki bitch! Their tongue - or mine? Have I become the enemy? Listen: my father speaks Urdu language of dancing peacocks rosewater fountains even its curses are beautiful. He speaks Hindi suave and melodic earthy Punjabi salty rich as saag paneer coastal Kiswahili laced with Arabic, he speaks Gujarati solid ancestral pride. Five languages five different worlds yet English shrinks him down before white men who think their flat cold spiky words make the only reality. Words that don't exist in English: Najjar Garba Arati. If we cannot name it does it exist? When we lose language does culture die? What happens to a tongue of milk-heavy cows, earthen pots jingling anklets, temple bells, when its children grow up in Silicon Valley to become programmers? Then there's American: Kin'uh get some service? Dontcha have ice? Not: May I have please? Ben, mane madhath karso? Tafadhali nipe rafiki Donnez-moi, s'il vous plait Puedo tener….. Hello, I said can I get some service?! Like, where's the line for Ay-mericans in this goddamn airport? Words that atomized two hundred thousand Iraqis: Didja see how we kicked some major ass in the Gulf? Lit up Bagdad like the fourth a' July! Whupped those sand-niggers into a parking lot! The children in my dreams speak in Gujarati bright as butter succulent cherries sounds I can paint on the air with my breath dance through like a Sufi mystic words I can weep and howl and devour words I can kiss and taste and dream this tongue I take back.

The Red Keep was full of cats: lazy old cats dozing in the sun, cold-eyed mousers twitching their tails, quick little kittens with claws like needles, ladies’ cats all combed and trusting, ragged shadows prowling the midden heaps. One by one Arya had chased them down and snatched them up and brought them proudly to Syrio Forel … all but this one, this one-eared black devil of a tomcat. “That’s the real king of this castle right there,” one of the gold cloaks had told her. “Older than sin and twice as mean. One time, the king was feasting the queen’s father, and that black bastard hopped up on the table and snatched a roast quail right out of Lord Tywin’s fingers. Robert laughed so hard he like to burst. You stay away from that one, child.” He had run her halfway across the castle; twice around the Tower of the Hand, across the inner bailey, through the stables, down the serpentine steps, past the small kitchen and the pig yard and the barracks of the gold cloaks, along the base of the river wall and up more steps and back and forth over Traitor’s Walk, and then down again and through a gate and around a well and in and out of strange buildings until Arya didn’t know where she was. Now at last she had him. High walls pressed close on either side, and ahead was a blank windowless mass of stone. Quiet as a shadow, she repeated, sliding forward, light as a feather. When she was three steps away from him, the tomcat bolted. Left, then right, he went; and right, then left, went Arya, cutting off his escape. He hissed again and tried to dart between her legs. Quick as a snake, she thought.

you can't listen to any song twice , even if you play that song , for hundred times !

Men love to complain about their wives and lords. Those without wives complain twice as much about their lords.

A snatch of an old Bob Dylan lyric occurred to him, something about the price you had to pay to keep from going through everything twice.

I came to see that Penelope was twice as clever as her cousins and just as beautiful. So—” “As beautiful as Helen?” Diomedes interrupted. “Is that why she was twenty and unmarried?

If I was as half as good as I was. I'm still twice as good as you'll ever be.

The Apocalypse is gone. War has left. So let’s be cheery. We need not worry. The end never comes twice …

Hodor twice as big, twice as strong, and half as clever.

Her friend - and her partner on the stage. You will not believe me, but making love to Kitty - a thing done in passion, but always, too, in shadow and silence, and with an ear half-cocked for the sound of footsteps on the stairs - making love to Kitty and posing at her side in a shaft of limelight, before a thousand pairs of eyes, to a script I knew by heart, in an attitude I had laboured for hours to perfect - these things were not so very different. A double act is always twice the act that the audience thinks it; beyond our songs, our steps, our bits of business with coins and canes and flowers, there was a private language, in which we held an endless, delicate exchange of which the crowd knew nothing. This was a language not of the tongue but of the body, its vocabulary the pressure of a finger or a palm, the nudging of a hip, the holding or breaking of a gaze, that said, You are too slow - you got too fast - not there but here - that's good - that's better! It was as if we walked before the crimson curtain, lay down upon the boards and kissed and fondled - and were clapped, and cheered, and paid for it!

In my mind, past, present and future became a blur as I stood in the middle of the celestial room, in the middle of forever. It was as if I were to take a rope that went on forever in both directions and cut it anywhere then the cut would always be exactly in the middle. And if I cut it twice I would have a beginning and an end, but eternity would continue in both directions.

One can never call me a quitter I take something right and see it through till it’s wrong Auctioning myself off to the lowest bidder Going once, going twice Gone Sold to the man for the price of disdain Some are sold for a song I don’t rate a refrain I guess it was all going just a little too well If I wasn’t careful I’d be happy pretty soon Heaven’s no place for one who thrives on hell, One who prefers the bit to the silver spoon. Then just when I’d almost resigned myself to winning When it seemed my bright future would never dim When my luck looked as though it was only beginning I met him. Sullen and scornful; a real Marlboro man The type who pours out the beer and eats the can A tall guy with a cultivated leer One you can count on to diaprove or disappear I knew right away that he was a find Given this, he was the kindest man I’d ever met Back came my sense of worthlessness And my long lost pangs of regret I was my old self again, lost and confused Reunited with that old feeling Of being misunderstood and misused. Sold to the man for the price of disdain All of this would be interesting If it weren’t so mundane

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

I 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?

If you’ve heard the deafening wall of sound cicadas create in southern climes, bear in mind that it would be twice as loud if the ladies joined in. But as an ancient Greek saying has it, “Blessed are the cicadas, for they have voiceless wives.” Controversial as we may find this statement in modern society, let me just add that it may be pretty smart of the females to keep their lips zipped. Lovesick fellow cicadas aren’t the only ones attracted by the song. Scary parasites lie in wait listening, then sneak up to lay a tiny egg on the soloist. And although it might look quite innocent, it’s game over for the singer. The egg hatches into a hungry larva, which eats up the cicada from the inside out.

There's a song that I hear at the back of my heart that I feared for so long, when I sensed you were there. And I think of those times when you crept into my dreams and I thought you a threat to curse my sweet king. But it was the boy in your belly that whispered to mine, and even before that, you lived in my spirit. Because I think of those times when I was a child. I prayed to the gods and I begged for a sign. I know that they sent you, despite the blood of all those you loved shed at the hands of my kin. For you were the one who found him in exile and though it took time, you led Froi to his home. And you've sent me this trinket that hardened my heart, because I wanted your words and a sign of true peace. But I’ve opened it now after all these long weeks, and Froi stares at it, speechless, when I hold out my hand. And we see it before us, our spirits shaking. The brilliance of color: the same ruby ring. Oh, you’ve outdone me twice now, you queen of forgiveness. The ring’s a promise of peace, and I’m greedy with hope. It’s a song that we sing in a tongue that we share. And though you say it’s a gift from a king to a king, I say it’s a sign from a queen to a queen.

You chide yourself for walking too far ahead, for regressing into 80s song lyrics territory so soon. But then he says, "The supermassive black hole at the center of the milky way recently sparked 75 times brighter over the course of a 2 hour period, and twice as bright as it's ever been in the 20 years astronomers have been monitoring it." By now you're used to him talking Science, but you're not sure where he's going with this. "One theory," he continues "is that the event was caused by a star about 15 times bigger than the sun getting close to the edge of the black hole disturbing some gasses, heating things up, increasing the infrared radiation from the edge. But get this, we observed that star getting close to the black hole about a year before we observed the affects on the black hole." "That just shows how vast the universe is, how enormous the distance," you say. "Exactly! Distances, plural. The distance between the star and the edge of the black hole, and the distance between the black hole and Earth. So, I say all of this to say that sometimes wheels are set in motion long before the spark is manifest. Is that the same thing as fate? I don't know but...I do know that rare brilliant events take time.

Harrison brought along a copy of a new record he was obsessed with, The Freewheelin’ Bob Dylan. On only his second album, Dylan turned in an all-original breakout with meteors like “Don’t Think Twice, It’s All Right” and “A Hard Rain’s A-Gonna Fall.” Lennon and McCartney sponged it up as only two songwriters could while they hammered out sound-track songs for their movie, which would begin filming in March.

Her voice never stops: even when I sleep, it is a shining silver thread running through most of my dreams and all my nightmares, whispering, beseeching, threatening: One word from you is all I want. Just speak one word, and we'll begin. Name, rank, and serial number, perhaps the misquoted lyrics from a popular song: anything will do. From there we'll move with slow cautious steps to gentle verbal sparring, twice-told tales, descriptions of the scarred and darkest places of our old and worn-out souls. I'll love you back; I'll tell you secrets—

When I grew up in the church, once or twice a year one of the women in our choir would sing a song that really tore the house down called “I Am Not Ashamed.” This was an emotional song for everybody in the room. Our chins would quiver, and we’d close our eyes and put our hands in the air, really feeling it. But looking back, I think what made that song so overpowering to me was that I was ashamed. And I don’t think I was the only one. That’s why we had that song! You don’t have to sing “I am not ashamed of the Gospel of Jesus Christ” if you’re really not ashamed. No one has ever sang “I am not ashamed of ice cream.” There’s no need.

WHO will believe my verse in time to come If it were fill’d with your most high deserts? Though yet, heaven knows, it is but as a tomb Which hides your life and shows not half your parts. If I could write the beauty of your eyes   5 And in fresh numbers number all your graces, The age to come would say, ‘This poet lies; Such heavenly touches ne’er touch’d earthly faces.’ So should my papers, yellow’d with their age, Be scorn’d, like old men of less truth than tongue,   10 And your true rights be term’d a poet’s rage And stretched metre of an antique song:   But were some child of yours alive that time,   You should live twice, — in it and in my rime.

HUNTING-SONG OF THE SEEONEE PACK As the dawn was breaking the Sambhur belled Once, twice, and again! And a doe leaped up—and a doe leaped up From the pond in the wood where the wild deer sup. This I, scouting alone, beheld, Once, twice, and again! As the dawn was breaking the Sambhur belled Once, twice, and again! And a wolf stole back—and a wolf stole back To carry the word to the waiting Pack; And we sought and we found and we bayed on his track Once, twice, and again! As the dawn was breaking the Wolf pack yelled Once, twice, and again! Feet in the jungle that leave no mark! Eyes that can see in the dark—the dark! Tongue—give tongue to it! Hark! O Hark! Once, twice, and again!

I’d like to go to one,” she said. “It might not be my thing even, but I’d like to go at least once to say I’ve done it. Sometimes I feel cheated. I know it’s selfish, but sometimes I wonder what it would’ve been like if my grandfather didn’t get himself exiled. Who knows, I might have been a lady.” He didn’t have much use for ladies. A lady was someone else’s wife or daughter or sister. They were not real, almost like trophies forever out of his reach. She was real. And strong. She looked about to cry. “Would you like to dance?” Her eyes opened wide. “Are you serious?” Once he learned something, he never forgot it. William took a step forward and executed a perfect deep bow, his left arm out. “Would you do me the honor of dancing with me, Lady Cerise?” She cleared her throat and curtsied, holding imaginary skirts. “Certainly, Lord Bill. But we have no music.” “That’s fine.” He stepped to her, sliding one arm around her waist. She put her hand on his shoulder. Her body touched his, and he spun with her around the attic, light on his feet, leading her. It took her a moment and then she caught his rhythm and followed him. She was flexible and quick, and he kept picturing her naked. “You dance really well, Lord Bill.” “Especially if I have a knife.” She laughed. They circled the attic once, twice, and he brought them to the center of the room, shifting from a quick dance to a smooth swaying. “Why are we slowing down?” she asked. “It’s a slow song.” “Ah.” She leaned against him. They were almost hugging.

The real loser in the eastern forests has been the songbird. One of the most striking losses was the Carolina parakeet, a lovely, innocuous bird whose numbers in the wild were possibly exceeded only by the unbelievably numerous passenger pigeon. (When the first pilgrims came to America there were an estimated nine billion passenger pigeons—more than twice the number of all birds found in America today.) Both were hunted out of existence—the passenger pigeon for pig feed and the simple joy of blasting volumes of birds from the sky with blind ease, the Carolina parakeet because it ate farmers’ fruit and had a striking plumage that made a lovely ladies’ hat. In 1914, the last surviving members of each species died within weeks of each other in captivity. A similar unhappy fate awaited the delightful Bachman’s warbler. Always rare, it was said to have one of the loveliest songs of all birds. For years it escaped detection, but in 1939, two birders, operating independently in different places, coincidentally saw a Bachman’s warbler within two days of each other. Both shot the birds (nice work, boys!), and that, it appears, was that for the Bachman’s warbler. But there are almost certainly others that disappeared before anyone much noticed. John James Audubon painted three species of bird—the small-headed flycatcher, the carbonated warbler, and the Blue Mountain warbler—that have not been seen by anyone since. The same is true of Townsend’s bunting, of which there is one stuffed specimen in the Smithsonian Institution in Washington. Between the 1940s and 1980s, the populations of migratory songbirds fell by 50 percent in the eastern United States (in large part because of loss of breeding sites and other vital wintering habitats in Latin America) and by some estimates are continuing to fall by 3 percent or so a year. Seventy percent of all eastern bird species have seen population declines since the 1960s. These days, the woods are a pretty quiet place.

5And David went out  fand was successful wherever Saul sent him, so that Saul set him over the men of war. And this was good in the sight of all the people and also in the sight of Saul’s servants. Saul’s Jealousy of David 6As they were coming home, when David returned from striking down the Philistine,  gthe women came out of all the cities of Israel, singing and dancing, to meet King Saul, with tambourines, with songs of joy, and with musical instruments. [1] 7And the women  hsang to one another as they celebrated, i“Saul has struck down his thousands, and David his ten thousands.” 8And Saul was very angry, and this saying displeased him. He said, “They have ascribed to David ten thousands, and to me they have ascribed thousands, and what more can he have but  jthe kingdom?” 9And Saul eyed David from that day on. 10The next day  ka harmful spirit from God rushed upon Saul, and  lhe raved within his house while David was  mplaying the lyre, as he did day by day.  nSaul had his spear in his hand. 11And Saul  ohurled the spear, for he thought, “I will pin David to the wall.” But David evaded him twice. 12

If talking pictures could be said to have a father, it was Lee De Forest, a brilliant but erratic inventor of electrical devices of all types. (He had 216 patents.) In 1907, while searching for ways to boost telephone signals, De Forest invented something called the thermionic triode detector. De Forest’s patent described it as “a System for Amplifying Feeble Electric Currents” and it would play a pivotal role in the development of broadcast radio and much else involving the delivery of sound, but the real developments would come from others. De Forest, unfortunately, was forever distracted by business problems. Several companies he founded went bankrupt, twice he was swindled by his backers, and constantly he was in court fighting over money or patents. For these reasons, he didn’t follow through on his invention. Meanwhile, other hopeful inventors demonstrated various sound-and-image systems—Cinematophone, Cameraphone, Synchroscope—but in every case the only really original thing about them was their name. All produced sounds that were faint or muddy, or required impossibly perfect timing on the part of the projectionist. Getting a projector and sound system to run in perfect tandem was basically impossible. Moving pictures were filmed with hand-cranked cameras, which introduced a slight variability in speed that no sound system could adjust to. Projectionists also commonly repaired damaged film by cutting out a few frames and resplicing what remained, which clearly would throw out any recording. Even perfect film sometimes skipped or momentarily stuttered in the projector. All these things confounded synchronization. De Forest came up with the idea of imprinting the sound directly onto the film. That meant that no matter what happened with the film, sound and image would always be perfectly aligned. Failing to find backers in America, he moved to Berlin in the early 1920s and there developed a system that he called Phonofilm. De Forest made his first Phonofilm movie in 1921 and by 1923 he was back in America giving public demonstrations. He filmed Calvin Coolidge making a speech, Eddie Cantor singing, George Bernard Shaw pontificating, and DeWolf Hopper reciting “Casey at the Bat.” By any measure, these were the first talking pictures. However, no Hollywood studio would invest in them. The sound quality still wasn’t ideal, and the recording system couldn’t quite cope with multiple voices and movement of a type necessary for any meaningful dramatic presentation. One invention De Forest couldn’t make use of was his own triode detector tube, because the patents now resided with Western Electric, a subsidiary of AT&T. Western Electric had been using the triode to develop public address systems for conveying speeches to large crowds or announcements to fans at baseball stadiums and the like. But in the 1920s it occurred to some forgotten engineer at the company that the triode detector could be used to project sound in theaters as well. The upshot was that in 1925 Warner Bros. bought the system from Western Electric and dubbed it Vitaphone. By the time of The Jazz Singer, it had already featured in theatrical presentations several times. Indeed, the Roxy on its opening night in March 1927 played a Vitaphone feature of songs from Carmen sung by Giovanni Martinelli. “His voice burst from the screen with splendid synchronization with the movements of his lips,” marveled the critic Mordaunt Hall in the Times. “It rang through the great theatre as if he had himself been on the stage.

Get off your horse, Jack." "Why don't you just ride outta here, missy, and I'll forget this ever happened." Willow's voice trembled with fury. "Get off your horse," she repeated. "Slow and easy." Still grinning his contempt, he did as he asked. "That's good. Now, real slow like, take your gunbelt off and toss it my way." "Like hell!" A shot rang out and nicked a chunk of leather from his boot. Cursing, he unbuckled his gun and tossed it at her mare's feet. "Now,strip them britches off, underwear, too," she ordered. "You little shi-" Bang! Jack's hat whizzed off his head. He dropped his pants in a puddle over his boots, trying his best to shelter his privates from her view. "My,my,Jack." Willow laughed humorlessly. "Is that puny thing you're trying to hide the same thing you were threatening me with?" If looks could kill, Willow would have been dead and buried ten times over, then and there. "Take them confounded boots off so's you can get your pants clear off," she ordered in mock exasperation. He wheeled around, gaining a modicum of privacy while he complied. "You're puny all over, Jack. You got the boniest bee-hind I ever did see. You sure you ain't picked up a worm somewheres?" "You're gonna pay for this,you little slut!" "Shut your filthy mouth and pick them pants off the ground and toss 'em over here at my horse's feet. Then you can put your boots back on." He gave the pants a toss, put his boots on, and turned around to face her, cuping his privates in his hands. "Okay,Jack, finish the job. You've been real generous but I'm a greedy cuss. Give me the shirt off your back, too." Cursing, he again turned around and obeyed. "Oh,ah,Jack, you better reach behind you there,and get your hat. I'll let you keep it. We wouldn't want your bald spot to get sunburned." Scofield now stood in nothing but his boots, using his hat to shield his lower half. Humiliated, the gunslinger's eyes burned with bloody intent. Willow suddenly regretted her damnable quick temper and realized the folly of her reckless retaliation. No doubt,the heinous man would seek revenge. But the damage was done and the man was so mad that backing off now would be the same as signing her death warrant. "Step away from your horse and start walking toward the ranch, Scofield." "You're out of your mind!" "Maybe,but I bet you'll think twice before threatening to poke that puny thing at another lady." "You? A lady? Ha!" Willow's temper flared anew. "Walk, Jack. Real fast. Cuz if you don't, I'm gonna use your puny thing for target practice." Her bullet kicked up the dust at his feet and started him on his way.

remember the evening as a wonderful blur of warm emotion, tinged in bitter. Fiddles, lutes, and drums, everyone played and danced and sang as they wished. I dare say we rivaled any faerie revel you can bring to mind. I got presents. Trip gave me a belt knife with a leather grip, claiming that all boys should have something they can hurt themselves with. Shandi gave me a lovely cloak she had made, scattered with little pockets for a boy’s treasures. My parents gave me a lute, a beautiful thing of smooth dark wood. I had to play a song of course, and Ben sang with me. I slipped a little on the strings of the unfamiliar instrument, and Ben wandered off looking for notes once or twice, but it was nice. Ben opened up a small keg of mead he had been saving for “just such an occasion.” I remember it tasting the way I felt, sweet and bitter and sullen. Several people had collaborated to write “The Ballad of Ben, Brewer Supreme.” My father recited it as gravely as if it were the Modegan royal lineage while accompanying himself on a half harp. Everyone laughed until they hurt, and Ben twice as much as everyone else. At some point in the night, my mother swept me up and danced around in a great spinning circle. Her laughter sang out like music trailing in the wind. Her hair and skirt spun around me as she twirled. She smelled comforting, the way only mothers do. That smell, and the quick laughing kiss she gave me did more to ease the dull ache of Ben’s leaving than all the entertainments combined.

They came from over the hill to slay, the monsters, beasts and bullies. The princesses came with their shiny crowns, two beauties in their flowing gowns. And so they shouted, away away away!” “Away away away!” the A.S.S. sang in response like they knew the words and my jaw dropped. “The monsters said we’re here to stay, raising forks and sticks and sharpened picks. The princesses came with their silver blades, two beauties with their loyal maids. And so they shouted, away away away!” She started up a dance, stamping her foot twice to the left, then twice to the right before jumping up and clapping above her head. “Away away away!” Tory and I joined in between our laughter as Justin Masters produced a flute from his bag and started piping out the tune. Oh my god this is actually happening. Geraldine reached out to us and I shrugged at Tory before climbing up to join her on the table. She started the dance again and I copied her, picking it up as Tory joined her other side, laughing as Geraldine continued the song. “The beasts they laughed with their hearts so black, they pushed, they fought and they attacked. But the princesses came with a swirl and a swoosh, and pushed those beasties in the Lake of Multush. And so they shouted, away away away!” “Away away away!” I cried with everyone else, wiping tears of laughter from my eyes as more and more people crowded around our table and joined in. “The bullies they smiled and they jeered the town, they jibed, they battered and made everyone frown. The princesses showed them the strength of their souls, no bully could make a dent on their walls. And so they shouted, away away away!” We clapped above our heads in time with Geraldine and everyone continued on singing that last line again and again, pointing over at the Heirs who were staring at us with their jaws slack like they couldn’t quite believe what was happening. “Away away away!

Rather, I found through this experience that there is significant similarity between meditating under a waterfall and tidying. When you stand under a waterfall, the only audible sound is the roar of water. As the cascade pummels your body, the sensation of pain soon disappears and numbness spreads. Then a sensation of heat warms you from the inside out, and you enter a meditative trance. Although I had never tried this form of meditation before, the sensation it generated seemed extremely familiar. It closely resembled what I experience when I am tidying. While not exactly a meditative state, there are times when I am cleaning that I can quietly commune with myself. The work of carefully considering each object I own to see whether it sparks joy inside me is like conversing with myself through the medium of my possessions. For this reason, it is essential to create a quiet space in which to evaluate the things in your life. Ideally, you should not even be listening to music. Sometimes I hear of methods that recommend tidying in time to a catchy song, but personally, I don’t encourage this. I feel that noise makes it harder to hear the internal dialogue between the owner and his or her belongings. Listening to the TV is, of course, out of the question. If you need some background noise to relax, choose environmental or ambient music with no lyrics or well-defined melodies. If you want to add momentum to your tidying work, tap the power of the atmosphere in your room rather than relying on music. The best time to start is early morning. The fresh morning air keeps your mind clear and your power of discernment sharp. For this reason, most of my lessons commence in the morning. The earliest lesson I ever conducted began at six thirty, and we were able to clean at twice the usual speed. The clear, refreshed feeling gained after standing under a waterfall can be addictive. Similarly, when you finish putting your space in order, you will be overcome with the urge to do it again. And, unlike waterfall meditation, you don’t have to travel long distances over hard terrain to get there. You can enjoy the same effect in your own home. That’s pretty special, don’t you think?

Not long after I learned about Frozen, I went to see a friend of mine who works in the music industry. We sat in his living room on the Upper East Side, facing each other in easy chairs, as he worked his way through a mountain of CDs. He played “Angel,” by the reggae singer Shaggy, and then “The Joker,” by the Steve Miller Band, and told me to listen very carefully to the similarity in bass lines. He played Led Zeppelin’s “Whole Lotta Love” and then Muddy Waters’s “You Need Love,” to show the extent to which Led Zeppelin had mined the blues for inspiration. He played “Twice My Age,” by Shabba Ranks and Krystal, and then the saccharine ’70s pop standard “Seasons in the Sun,” until I could hear the echoes of the second song in the first. He played “Last Christmas,” by Wham! followed by Barry Manilow’s “Can’t Smile Without You” to explain why Manilow might have been startled when he first heard that song, and then “Joanna,” by Kool and the Gang, because, in a different way, “Last Christmas” was an homage to Kool and the Gang as well. “That sound you hear in Nirvana,” my friend said at one point, “that soft and then loud kind of exploding thing, a lot of that was inspired by the Pixies. Yet Kurt Cobain” — Nirvana’s lead singer and songwriter — “was such a genius that he managed to make it his own. And ‘Smells Like Teen Spirit’?” — here he was referring to perhaps the best-known Nirvana song. “That’s Boston’s ‘More Than a Feeling.’ ” He began to hum the riff of the Boston hit, and said, “The first time I heard ‘Teen Spirit,’ I said, ‘That guitar lick is from “More Than a Feeling.” ’ But it was different — it was urgent and brilliant and new.” He played another CD. It was Rod Stewart’s “Do Ya Think I’m Sexy,” a huge hit from the 1970s. The chorus has a distinctive, catchy hook — the kind of tune that millions of Americans probably hummed in the shower the year it came out. Then he put on “Taj Mahal,” by the Brazilian artist Jorge Ben Jor, which was recorded several years before the Rod Stewart song. In his twenties, my friend was a DJ at various downtown clubs, and at some point he’d become interested in world music. “I caught it back then,” he said. A small, sly smile spread across his face. The opening bars of “Taj Mahal” were very South American, a world away from what we had just listened to. And then I heard it. It was so obvious and unambiguous that I laughed out loud; virtually note for note, it was the hook from “Do Ya Think I’m Sexy.” It was possible that Rod Stewart had independently come up with that riff, because resemblance is not proof of influence. It was also possible that he’d been in Brazil, listened to some local music, and liked what he heard.

I became expert at making myself invisible. I could linger two hours over a coffee, four over a meal, and hardly be noticed by the waitress. Though the janitors in Commons rousted me every night at closing time, I doubt they ever realized they spoke to the same boy twice. Sunday afternoons, my cloak of invisibility around my shoulders, I would sit in the infirmary for sometimes six hours at a time, placidly reading copies of Yankee magazine ('Clamming on Cuttyhunk') or Reader's Digest (Ten Ways to Help That Aching Back!'), my presence unremarked by receptionist, physician, and fellow sufferer alike. But, like the Invisible Man in H. G. Wells, I discovered that my gift had its price, which took the form of, in my case as in his, a sort of mental darkness. It seemed that people failed to meet my eye, made as if to walk through me; my superstitions began to transform themselves into something like mania. I became convinced that it was only a matter of time before one of the rickety iron steps that led to my room gave and I would fall and break my neck or, worse, a leg; I'd freeze or starve before Leo would assist me. Because one day, when I'd climbed the stairs successfully and without fear, I'd had an old Brian Eno song running through my head ('In New Delhi, 'And Hong Kong,' They all know that it won't be long...'), I now had to sing it to myself each trip up or down the stairs. And each time I crossed the footbridge over the river, twice a day, I had to stop and scoop around in the coffee-colored snow at the road's edge until I found a decent-sized rock. I would then lean over the icy railing and drop it into the rapid current that bubbled over the speckled dinosaur eggs of granite which made up its bed - a gift to the river-god, maybe, for safe crossing, or perhaps some attempt to prove to it that I, though invisible, did exist. The water ran so shallow and clear in places that sometimes I heard the dropped stone click as it hit the bed. Both hands on the icy rail, staring down at the water as it dashed white against the boulders, boiled thinly over the polished stones, I wondered what it would be like to fall and break my head open on one of those bright rocks: a wicked crack, a sudden limpness, then veins of red marbling the glassy water. If I threw myself off, I thought, who would find me in all that white silence? Might the river beat me downstream over the rocks until it spat me out in the quiet waters, down behind the dye factory, where some lady would catch me in the beam of her headlights when she pulled out of the parking lot at five in the afternoon? Or would I, like the pieces of Leo's mandolin, lodge stubbornly in some quiet place behind a boulder and wait, my clothes washing about me, for spring?

All beauty calls you to me, and you seem, Past twice a thousand miles of shifting sea, To reach me. You are as the wind I breathe Here on the ship's sun-smitten topmost deck, With only light between the heavens and me. I feel your spirit and I close my eyes, Knowing the bright hair blowing in the sun, The eager whisper and the searching eyes. Listen, I love you. Do not turn your face Nor touch me. Only stand and watch awhile The blue unbroken circle of sea. Look far away and let me ease my heart Of words that beat in it with broken wing. Look far away, and if I say too much, Forget that I am speaking. Only watch, How like a gull that sparking sinks to rest, The foam-crest drifts along a happy wave Toward the bright verge, the boundary of the world. I am so weak a thing, praise me for this, That in some strange way I was strong enough To keep my love unuttered and to stand Altho' I longed to kneel to you that night You looked at me with ever-calling eyes. Was I not calm? And if you guessed my love You thought it something delicate and free, Soft as the sound of fir-trees in the wind, Fleeting as phosphorescent stars in foam. Yet in my heart there was a beating storm Bending my thoughts before it, and I strove To say too little lest I say too much, And from my eyes to drive love’s happy shame. Yet when I heard your name the first far time It seemed like other names to me, and I Was all unconscious, as a dreaming river That nears at last its long predestined sea; And when you spoke to me, I did not know That to my life’s high altar came its priest. But now I know between my God and me You stand forever, nearer God than I, And in your hands with faith and utter joy I would that I could lay my woman’s soul. Oh, my love To whom I cannot come with any gift Of body or of soul, I pass and go. But sometimes when you hear blown back to you My wistful, far-off singing touched with tears, Know that I sang for you alone to hear, And that I wondered if the wind would bring To him who tuned my heart its distant song. So might a woman who in loneliness Had borne a child, dreaming of days to come, Wonder if it would please its father’s eyes. But long before I ever heard your name, Always the undertone’s unchanging note In all my singing had prefigured you, Foretold you as a spark foretells a flame. Yet I was free as an untethered cloud In the great space between the sky and sea, And might have blown before the wind of joy Like a bright banner woven by the sun. I did not know the longing in the night– You who have waked me cannot give me sleep. All things in all the world can rest, but I, Even the smooth brief respite of a wave When it gives up its broken crown of foam, Even that little rest I may not have. And yet all quiet loves of friends, all joy In all the piercing beauty of the world I would give up– go blind forevermore, Rather than have God blot from out my soul Remembrance of your voice that said my name. For us no starlight stilled the April fields, No birds awoke in darking trees for us, Yet where we walked the city’s street that night Felt in our feet the singing fire of spring, And in our path we left a trail of light Soft as the phosphorescence of the sea When night submerges in the vessel’s wake A heaven of unborn evanescent stars.

All beauty calls you to me, and you seem” All beauty calls you to me, and you seem, Past twice a thousand miles of shifting sea, To reach me. You are as the wind I breathe Here on the ship's sun-smitten topmost deck, With only light between the heavens and me. I feel your spirit and I close my eyes, Knowing the bright hair blowing in the sun, The eager whisper and the searching eyes. Listen, I love you. Do not turn your face Nor touch me. Only stand and watch awhile The blue unbroken circle of the sea. Look far away and let me ease my heart Of words that beat in it with broken wing. Look far away, and if I say too much, Forget that I am speaking. Only watch, How like a gull that sparkling sinks to rest, The foam-crest drifts along a happy wave Toward the bright verge, the boundary of the world. I am so weak a thing, praise me for this, That in some strange way I was strong enough To keep my love unuttered and to stand Altho' I longed to kneel to you that night You looked at me with ever-calling eyes. Was I not calm? And if you guessed my love You thought it something delicate and free, Soft as the sound of fir-trees in the wind, Fleeting as phosphorescent stars in foam. Yet in my heart there was a beating storm Bending my thoughts before it, and I strove To say too little lest I say too much, And from my eyes to drive love's happy shame. Yet when I heard your name the first far time It seemed like other names to me, and I Was all unconscious, as a dreaming river That nears at last its long predestined sea; And when you spoke to me, I did not know That to my life's high altar came its priest. But now I know between my God and me You stand forever, nearer God than I, And in your hands with faith and utter joy I would that I could lay my woman's soul. Oh, my love To whom I cannot come with any gift Of body or of soul, I pass and go. But sometimes when you hear blown back to you My wistful, far-off singing touched with tears, Know that I sang for you alone to hear, And that I wondered if the wind would bring To him who tuned my heart its distant song. So might a woman who in loneliness Had borne a child, dreaming of days to come, Wonder if it would please its father's eyes. But long before I ever heard your name, Always the undertone's unchanging note In all my singing had prefigured you, Foretold you as a spark foretells a flame. Yet I was free as an untethered cloud In the great space between the sky and sea, And might have blown before the wind of joy Like a bright banner woven by the sun. I did not know the longing in the night-- You who have waked me cannot give me sleep. All things in all the world can rest, but I, Even the smooth brief respite of a wave When it gives up its broken crown of foam, Even that little rest I may not have. And yet all quiet loves of friends, all joy In all the piercing beauty of the world I would give up--go blind forevermore, Rather than have God blot from out my soul Remembrance of your voice that said my name. For us no starlight stilled the April fields, No birds awoke in darkling trees for us, Yet where we walked the city's street that night Felt in our feet the singing fire of spring, And in our path we left a trail of light Soft as the phosphorescence of the sea When night submerges in the vessel's wake A heaven of unborn evanescent stars.

The lust of property, and love: what different associations each of these ideas evoke! and yet it might be the same impulse twice named: on the one occasion disparaged from the standpoint of those already possessing (in whom the impulse has attained something of repose, who are now apprehensive for the safety of their "possession"); on the other occasion viewed from the standpoint of the unsatisfied and thirsty, and therefore glorified as "good." Our love of our neighbor, is it not a striving after new property? And similarly our love of knowledge, of truth; and in general all the striving after novelties? We gradually become satiated with the old and securely possessed, and again stretch out our hands; even the finest landscape in which we live for three months is no longer certain of our love, and any kind of more distant coast excites our covetousness: the possession for the most part becomes smaller through possessing. Our pleasure in ourselves seeks to maintain itself by always transforming something new into ourselves, that is just possessing. To become satiated with a possession, that is to become satiated with ourselves. (One can also suffer from excess, even the desire to cast away, to share out, may assume the honorable name of "love.") When we see any one suffering, we willingly utilize the opportunity then afforded to take possession of him; the beneficent and sympathetic man, for example, does this; he also calls the desire for new possession awakened in him, by the name of "love," and has enjoyment in it, as in a new acquisition suggesting itself to him. The love of the sexes, however, betrays itself most plainly as the striving after possession: the lover wants the unconditioned, sole possession of the person longed for by him; he wants just as absolute power over her soul as over the body; he wants to be loved solely, and to dwell and rule in the other soul as what is highest and most to be desired. When one considers that this means precisely to exclude all the world from a precious possession, a happiness, and an enjoyment; when one considers that the lover has in view the impoverishment and privation of all other rivals, and would like to become the dragon of his golden hoard, as the most inconsiderate and selfish of all "conquerors "and exploiters; when one considers finally that to the lover himself, the whole world besides appears indifferent, colorless, and worthless, and that he is ready to make every sacrifice, disturb every arrangement, and put every other interest behind his own, one is verily surprised that this ferocious lust of property and injustice of sexual love should have been glorified and deified to such an extent at all times; yea, that out of this love the conception of love as the antithesis of egoism should have been derived, when it is perhaps precisely the most unqualified expression of egoism. Here, evidently, the non-possessors and desirers have determined the usage of language, there were, of course, always too many of them. Those who have been favored with much possession and satiety, have, to be sure, dropped a word now and then about the "raging demon," as, for instance, the most lovable and most beloved of all the Athenians Sophocles; but Eros always laughed at such revilers, they were always his greatest favorites. There is, of course, here and there on this terrestrial sphere a kind of sequel to love, in which that covetous longing of two persons for one another has yielded to a new desire and covetousness, to a common, higher thirst for a superior ideal standing above them: but who knows this love? Who has experienced it? Its right name — friendship.

Meanwhile, angered by white violence in the South and inspired by the gigantic June 23 march in Detroit, grassroots people on the streets all over the country had begun talking about marching on Washington. “It scared the white power structure in Washington, D.C. to death,” as Malcolm put it in his “Message to the Grassroots” and in his Autobiography.6 So the White House called in the Big Six national Negro leaders and arranged for them to be given the money to control the march. The result was what Malcolm called the “Farce on Washington” on August 28, 1963. John Lewis, then chairman of SNCC and fresh from the battlefields of Georgia, Mississippi, and Alabama where hundreds of blacks and their white student allies were being beaten and murdered simply for trying to register blacks to vote, was forced to delete references to the revolution and power from his speech and, specifically, to take out the sentence, “We will not wait for the President, the Justice Department nor Congress, but we will take matters into our own hands and create a source of power, outside of any national structure, that could and would assure us a victory.” Marchers were instructed to carry only official signs and to sing only one song, “We Shall Overcome.” As a result, many rank-and-file SNCC militants refused to participate.7 Meanwhile, conscious of the tensions that were developing around preparations for the march on Washington and in order to provide a national rallying point for the independent black movement, Conrad Lynn and William Worthy, veterans in the struggle and old friends of ours, issued a call on the day of the march for an all-black Freedom Now Party. Lynn, a militant civil rights and civil liberties lawyer, had participated in the first Freedom Ride from Richmond, Virginia, to Memphis, Tennessee, in 1947 and was one of Robert Williams’s attorneys.8 Worthy, a Baltimore Afro-American reporter and a 1936–37 Nieman Fellow, had distinguished himself by his courageous actions in defense of freedom of the press, including spending forty-one days in the Peoples Republic of China in 1957 in defiance of the U.S. travel ban (for which his passport was lifted) and traveling to Cuba without a passport following the Bay of Pigs invasion in order to help produce a documentary. The prospect of a black independent party terrified the Democratic Party. Following the call for the Freedom Now Party, Kennedy twice told the press that a political division between whites and blacks would be “fatal.

She is that song the one you listen to at least twice every time it comes on and you find something new to love each time and you find you are mesmerized by the beauty and you find you are singing along and smiling.

Rick contacted me about the session, but he didn't know who in hell was coming in. I said, "Who you got?" He said, "Aretha Franklin." I said, "Boy, you better get your damn shoes on. You getting someone who can sing." Even the Memphis guys didn't really know who in the hell she was. I said, "Man, this woman gonna knock you out." They're all going, "Big deal!" When she come in there and sit down at the piano and hit that first chord, everybody was just like little bees just buzzing around the queen. You could tell by the way she hit the piano the gig was up. It was, "Let's get down to serious business." That first chord she hit was nothing we'd been demoing, and nothing none of them cats in Memphis had been, either. We'd just been dumb-dumb playing, but this was the real thing. That's the prettiest session picture I can ever remember. If I'd had a camera, I'd have a great film of that session, because I can still see it in my mind's eye, just how it was - Spooner on the organ, Moman playing guitar, Aretha at the piano - it was beautiful, better than any session I've ever seen, and I seen a bunch of 'em.' Spooner Oldham, the weedy keyboard player who is most known for never playing the same licks twice and who is ordinarily the most reticent of men, speaks in similar superlatives. 'I was hired to play keyboards. She was gonna stand up in front of the microphone and sing. She was showing us this song she had brought down there with her, she hit that magic chord when Wexler was going up the little steps to the control room, and I just stopped. I said, "Now, look, I'm not trying to cop out or nothing. I know I was hired to play piano, but I wish you'd let her play that thing, and I could get on organ and electric." And that's the way it was. It was a good, honest move, and one of the best things I ever done - and I didn't do nothing.

I don't like your little games Don't like your tilted stage The role you made me play Of the fool, no, I don't like you I don't like your perfect crime How you laugh when you lie You said the gun was mine Isn't cool, no, I don't like you (Oh!) But I got smarter, I got harder in the nick of time Honey, I rose up from the dead, I do it all the time I've got a list of names and yours is in red, underlined I check it once, then I check it twice, oh! Ooh, look what you made me do Look what you made me do Look what you just made me do Look what you just made me Ooh, look what you made me do Look what you made me do Look what you just made me do Look what you just made me do I don't like your kingdom keys They once belonged to me You asked me for a place to sleep Locked me out and threw a feast (What?) The world moves on, another day, another drama, drama But not for me, not for me, all I think about is karma And then the world moves on, but one thing's for sure Maybe I got mine, but you'll all get yours But I got smarter, I got harder in the nick of time Honey, I rose up from the dead, I do it all the time I've got a list of names and yours is in red, underlined I check it once, then I check it twice, oh! Ooh, look what you made me do Look what you made me do Look what you just made me do Look what you just made me Ooh, look what you made me do Look what you made me do Look what you just made me do Look what you just made me do I don't trust nobody and nobody trusts me I'll be the actress starring in your bad dreams I don't trust nobody and nobody trusts me I'll be the actress starring in your bad dreams I don't trust nobody and nobody trusts me I'll be the actress starring in your bad dreams

People often ask me if it’s scary to make up a song onstage, dictating parts, on the fly, to a full orchestra. Well, no. It doesn’t occur to me to worry about that. I have a jazz musician’s view of mistakes. If you play a wrong note, you can always make the same mistake again on purpose and make it sound right. Insistence on the mistake can be quite musical. Indeed, “once is a mistake, twice is jazz,” a quote often attributed to Miles Davis.

This theme—cash before all—is also a hoary one. George Gershwin relied on it in his song “Freud and Jung and Adler” for the 1933 musical Pardon My English. In a repeated refrain, the doctors sing that they practice psychoanalysis because it “pays twice as well” as specialties that deal with bodily ailments. Therapists are inherently comical Luftmenschen, impractical, except on this one front. They like their fees. Lucy’s perky insistence about billing gives the five-cents-please strips their final kick.

Our voices sounded terrible at first when we tried to bring them together, off-key and grating against each other: the working wobbled like a child’s tower made of pebbles. But then I stopped trying to read like him and simply read with him instead, letting instinct guide me: I found myself letting him read the words off the page, and with my own voice almost making a song of them, choosing a single word or line to chant over again twice or three times, sometimes humming instead of words, my foot tapping to give a beat.

Musically, it’s like all the most upbeat, cheerful parts of Smile without even a hint of the darker side – a cascade of different variations on the same basic ideas, with Swanee whistles, popping sound effects and car horns. Astonishingly, this is the shortest song on the album by a good half a minute, but it has more musical ideas than many other tracks on the record have in nearly twice its length. It’s good-natured, fun, and quite, quite beautiful.

So I sat there and listened and started disintegrating. This has happened twice before. The first time was in the Tiki Room at the Bombay Oberoi, listening to a Bengali play guitar and sing 'My Way.' The second time was in a Zapatista village in the mountains of Chiapas, listening to a young woman from Montana play guitar and sing 'Redemption Song.' Both times I was left in little pieces that took a long time to push back together. And there along the river, listening to our music, all about yearning for freedom, I again felt overwhelmed by the same juxtapositions and ironies.

What can you offer me?" she asked. "Hardship, loneliness, long-flowing heartache," he said. She could not see his face, but she liked the sound of his voice: gentle and serious, but with a hint of laughter in it. "That doesn't sound like a good match," she said. "Good matches are not the stuff of stories and songs," he said. "For every pain we endure together, there will be joy twice as great. They will still sing of us in a thousand years.

It takes me about twenty seconds to forget about the staring faces and all that shiny, pulled-back hair and which of the girls on the bleachers may or may not be a better dancer than I am and the fact that I'm twice as big as anyone in this room. After that first thirty seconds, I disappear into the song. I become one with the music, one with the dance.

We rehearsed at the space twice a day regardless of anything else going on in any of our lives. Many of the songs that made up Appetite and Lies—as well as more than a few from Use Your Illusion—came together in this back-alley lair. When

Tex Sample puts it thus: Our senses, our feelings, our bodies, and our ways of engaging life are culturally and historically structured. . . . I really am “wired differently” from my children and grandchildren. What speaks to me does not speak to them. What moves me, entertains me, touches me is not what does so to them. People of my age will not engage younger generations until we recognize this otherness and concede that along with images, sound and especially sound as beat are crucial to that recognition . 64

One reason for the popularity of music with a beat is that, once public schools began to drop music from their curriculum, people found it more and more difficult to access styles of music removed from everyday experience. So they began to ask for worship music that sounded more like what they heard on their radios, televisions, and stereos. 80 Like it or not, in the United States the megachurch movement has changed the way many people think about church music. Nowadays, “thousands of North American Christians simply assume that music in worship is properly rendered by a guitar-led praise band, not an organ; and that the basic genre of liturgical music is not hymnody, but choruses and ballads.” 81

Informality—prepared and practiced informality, not ramshackle casualness—is a keynote of contemporary worship, and worship blossoms when worship space matches worship style.

Not all music should be functional. Any culture, and all cultural levels, need music that challenges conventions and pushes the boundaries. To say that church music is a functional art does not mean that art music and popular music are superior or inferior to it. It means only that church music cannot be free art, an end in itself. “It is art brought to the cross, art which is dedicated to the service of God and the edifying of the church.” 85

To say that church music is a functional art means, on the contrary, that it is composed, played, and sung “ to serve the purposes of God , particularly in the church’s expression of its worship, its fellowship, and its mission.” 86

That is why, as Paul Westermeyer observes, “a group who sings together becomes one and remembers its story, and therefore who it is, in a particularly potent way.

If you accept my analysis, it follows that a “good congregational song” is one that is excellent and has integrity in terms of its own genre , in its words, music, and interaction between them. It makes no sense to compare hymns, choruses, rounds and refrains and declare that one genre is superior or inferior to another. It also follows that a single genre can include varying musical styles, as with “Taizé” and “evangelical” choruses.

Congregational singing requires proximity. “If I am more than three feet away from you, I don’t sing, because you might hear me. If I am less than three feet away, I do sing, because I can hear you.

this is a good rule of thumb: if you can’t hear the congregation, you are probably too loud

On the basis of these definitions, hymns cannot do theology, even when the meaning of “reasoned enquiry” is broadened and qualified. 6 Their brevity and form are ill suited to systematic reasoning, and, though not lacking in rationality, a hymn invites us, not to step back from faith and examine it, but to step into faith and worship God.

Can you sleep?” he asks. “Sometimes.” “Lucky bastard. I piss the bed,” he admits. “Probably twice a month. I don’t ever remember the bloodydamn dreams, but my body sure as hell does.” He was in the thick of the fighting to free Mars. The tunnel wars there were even nastier than the block fighting on Luna. Even the Obsidians don’t sing songs of their victories in the tunnels. The Rat War, they call it. Over the course of three years, Dancer personally liberated over a hundred mines with the Sons of Ares. If Fitchner is the father of the Rising, it’d be fair to call Dancer the favorite uncle, despite the dissolution of the Sons of Ares.

I imagine if you could hear all the morning tears in this place, it would sound like bird song.

Who will believe my verse in time to come, If it were filled with your most high deserts? Though yet heaven knows it is but as a tomb Which hides your life, and shows not half your parts. If I could write the beauty of your eyes, And in fresh numbers number all your graces, The age to come would say 'This poet lies; Such heavenly touches ne'er touched earthly faces.' So should my papers, yellowed with their age, Be scorned, like old men of less truth than tongue, And your true rights be termed a poet's rage And stretched metre of an antique song: But were some child of yours alive that time, You should live twice, in it, and in my rhyme.

Whoa, whoa, Nakano,” someone says, hoisting me up. In an instant, I recognize the “All-American” patch on the sleeve—Frankie. “Are you okay?” Covered in mud, with tears running down my face, I know I’ve never looked worse, but at this moment, I couldn’t care less. I fling myself into Frankie’s arms as he sets me on my feet. “No, I’m not.” He pats my shoulder. “That Tanaka boy break your heart?” With a wail, I bury my face in Frankie’s shoulder. He sighs, and through the haze of my anguish, I feel his arms go around me. “Want me to hit him for you?” he asks. I let out a sound that’s supposed to be a laugh, but it comes out more like a hiccup. “Oh, Frankie.” Leaning back, I smack him lightly in the chest. “That wouldn’t do any good.” He smirks. “But thanks for offering.” As we stand in the ice and mud, the last notes of “Harbor Lights” drift over the empty street. My eyes well up again. “C’mon, Nakano, don’t cry.” Gently, Frankie takes my hand, swaying with me as the next song begins. “What happened?” “He was kissing Gail Johnson.” I hiccup again. “During our song!” “That keto girl?” He has the audacity to laugh—a big, bellowing laugh that would sound harsh if it didn’t have such warmth to it. “Shit, Nakano, you’re twice the girl she is. Dumb boy doesn’t know what he’s missing.” I sniff. In his arms, I feel the chill beginning to ease from my bones. “You really think so?

This neighborhood was mine first. I walked each block twice: drunk, then sober. I lived every day with legs and headphones. It had snowed the night I ran down Lorimer and swore I’d stop at nothing. My love, he had died. What was I supposed to do? I regret nothing. Sometimes I feel washed up as paper. You’re three years away. But then I dance down Graham and the trees are the color of champagne and I remember— There are things I like about heartbreak, too, how it needs a good soundtrack. The way I catch a man’s gaze on the L and don’t look away first. Losing something is just revising it. After this love there will be more love. My body rising from a nest of sheets to pick up a stranger’s MetroCard. I regret nothing. Not the bar across the street from my apartment; I was still late. Not the shared bathroom in Barcelona, not the red-eyes, not the songs about black coats and Omaha. I lie about everything but not this. You were every streetlamp that winter. You held the crown of my head and for once I won’t show you what I’ve made. I regret nothing. Your mother and your Maine. Your wet hair in my lap after that first shower. The clinic and how I cried for a week afterwards. How we never chose the language we spoke. You wrote me a single poem and in it you were the dog and I the fire. Remember the courthouse? The anniversary song. Those goddamn Kmart towels. I loved them, when did we throw them away? Tomorrow I’ll write down everything we’ve done to each other and fill the bathtub with water. I’ll burn each piece of paper down to silt. And if it doesn’t work, I’ll do it again. And again and again and— — Hala Alyan, “Object Permanence

In the fifty years that I have been writing about nature, roughly 60 percent of all individual mammals have been erased from the face of the Earth. The total population of North American red-winged blackbirds and robins have been cut by a third. Half of grassland birds have been lost. As many as one of out five species of organisms may be on the verge of extinction now, and twice that number could be lost by the end of the century…Unless the world acts to stop extinctions, I will write my last nature essay on a planet that is less than half a song-graced and life-drenched as the one where I began to write.

Eventually, he felt an overwhelming urge to meld his voice with the notes, and he began to play his ballad for the wind. Jack sang his verses, his fingers strumming with confidence. He sang to the southern wind with its promise of strength in battle. He sang to the western wind with its promise of healing. He sang to the northern wind with its promise of vindication. The notes rose and fell, undulating like the hills far beneath him. But while the wind carried his music and his voice, the folk of the air didn’t answer. What if they refuse to come? Jack wondered, with a pulse of worry. From the corner of his eye, he watched as Adaira rose to her feet. The wind seemed to be waiting for her to move. To stand and meet it. She stood planted on the rock as Jack continued to play, shielded by Orenna’s essence. Twice, he had played for the spirits and had nearly forgotten he was a man, that he was not a part of them. But this time he held firmly to himself as he watched the folk answer. The southern wind manifested first. They arrived with a sigh and formed themselves from the gust, individualizing into men and women with hair like fire—red and amber with a trace of blue. Great feathered wings bloomed from their backs like those of a bird, and each beat of their pinions emitted a wash of warmth and longing. Jack could taste the nostalgia they offered; he drank it like a bittersweet wine, like the memories of a summer long ago. The east wind was the next to arrive. They manifested in a flurry of leaves, their hair like molten gold. Their wings were fashioned like those of a bat, long and pronged and the shade of dusk. They carried the fragrance of rain in their wings. The west wind spun themselves out of whispers, with hair the shade of midnight, long and jeweled with stars. Their wings were like those of a moth, patterned with moons, beating softly and evoking both beauty and dread as Jack beheld them. The air shimmered at their edges like a dream, as if they might melt at any moment, and their skin smelled of smoke and cloves as they hovered in place, unable to depart as Jack’s music captivated them. Half of the spirits watched him, entranced by his ballad. But half of them watched Adaira, their eyes wide and brimming with light. “It’s her,” some of them whispered. Jack missed a note. He quickly regained his place, pushing his concern aside. It felt like his nails were creating sparks on the brass strings. He sang the verse for the northern wind again. The sky darkened. Thunder rumbled in the distance as the north reluctantly answered Jack’s summoning. The air plunged cold and bitter as the strongest of the winds manifested from wisps of clouds and stinging gales. It answered the music, fragmenting into men and women with flaxen hair, dressed in leather and links of silver webs. Their wings were translucent and veined, reminiscent of a dragonfly’s, boasting every color found beneath the sun. They came reluctantly, defiantly. Their eyes bore into him like needles. Jack was alarmed by their reaction to him. Some of them hissed through their sharp teeth, while others cowered as if awaiting a death blow. His ballad came to its end, and the absence of his voice and music sharpened the terror of the moment. Adaira continued to stand before an audience of manifested spirits, and Jack was stunned by the sight of them. To know that they had rushed alongside him as he walked the east. That he had felt their fingers in his hair, felt them kiss his mouth and steal words from his lips, carrying his voice in their hands. And his music had just summoned them. His voice and song now held them captive, beholden to him. He studied the horde. Some of the spirits looked amused, others shocked. Some were afraid, and some were angry.

Flori believes that everyone has a song within them—even if they don’t think of it as music—and that each life has a rhythm of breaths and a heartbeat, creating a melody that can be drawn on for strength, healing, and comfort. She created the song that finally calmed Sophie’s echoes from the Neverseen’s shadowflux attack by carefully drawing inspiration from vesperlace, dimmetines, respitillis, and hushspurs. The Panakes tree is also believed to sprout twice as many blossoms whenever Flori sings to it.

I love and enjoy writing song lyric’s because you hear your words over and over again while you read a book only once or twice!

My reflection is all jumbled and shadowy. Who is this girl now? Who is Rapunzel? I stare hard into my grass-colored eyes, now splintered in the mirror, and as the question again: WHO AM I?? I take a deep breath. Out loud, I reply, “I am me. I am a singer of songs. I am my parents’ only daughter. I am a friend to my schoolmates and to Steven. I am a mother and protector to Sir Kitty. I am not a child anymore.” A wave of determination passes through me like a hot wind and even with my empty belly, I feel my strength returning. I am NOT going to let the witch destroy what is inside me. It is all I have left.

She dreamed of a man who wore a plain gray cotton tunic. “What can you offer me?” she asked. “Hardship, loneliness, long-flowing heartache,” he said. She could not see his face, but she liked the sound of his voice: gentle and serious, but with a hint of laughter in it. “That doesn’t sound like a good match,” she said. “Good matches are not the stuff of stories and songs,” he said. “For every pain we endure together, there will be a joy twice as great. They will still sing of us in a thousand years.” She saw that he had changed into a yellow silk robe. And he kissed her, and he tasted of salt and wine. And she knew he was the man she was destined to marry.

I can't help but be changed, touched by something otherworldly as we spend the early afternoon in our small corner of paradise. I wouldn't have blinked twice if a mermaid swam past us, singing a siren song. Anything feels possible here.

Olar Ethil, who was this recent ascendant?’ ‘Twice brought into the world of worship. Once, by a tribal people, and named Iskar Jarak. A bringer of wisdom, a saviour. And the other time, as the commander of a company of soldiers—promised to ascension by a song woven by a Tanno Spiritwalker. Yes, the entire company ascended upon death.’ ‘Soldiers?’ Errastas was frowning. ‘Ascended?’ Confused. Frightened by the notion. ‘And what name did he possess among these ascended soldiers?’ Mael asked. ‘Whiskeyjack. He was a Malazan.

A song can't be heard for the first time twice and a book can't be unread so as to be read anew.

John didn’t score his first Number One hit until 1974, the fourth Beatle to reach this milestone (Ringo beat him twice), but he got over with “Whatever Gets You Thru the Night,” with a big assist from Elton John. It’s not a famous song anymore, for the understandable reason that the final line is “Don’t need a gun to blow your mind.” After December 1980, “Whatever Gets You Thru the Night” dropped off the radio and hasn’t been heard since. But the most shocking thing isn’t the gun line—it’s the lush pop feel. The song it really resembles is the Wings hit “Listen to What the Man Said,” with the same yacht-rock studio sheen. Both serve love-is-the-answer platitudes, though attractively warmhearted ones: “Whatever gets you to the light, ’sall right” vs. “I don’t know but I think love is fine.” Both hit Number One, for just one week. John’s sax solo is Bobby Keys, Paul’s is Tom Scott, though they could have traded places without anyone noticing. Yet I loved both songs as a boy, and still do—Elton, always the kindliest-sounding of rock megastars, sings on John’s hit, and sounds like the guiding spirit of Paul’s, as if he’s a yenta nudging them together.