Vocal Best Quotes

We're neither pure, nor wise, nor good We'll do the best we know. We'll build our house and chop our wood And make our garden grow. And make our garden grow!

with all prayer (Eph. 6:18)" All sorts of prayer- public, private, mental, vocal. Do not be diligent in one kind of prayer and negligent in others... let us use all.

If I knew what I was doing, I'd be doing it right now. I would be the best damn poet, silver words out of my mouth. My words might not be magic, but they cut straight to the truth. So if you need a lover and a friend, baby, I'm in.

the best people in life are free

With you I'd dance in the rain in my best dress, fearless

I listen to the wind, to the wind of my soul Where I end up, well, I think only God really knows

While I was backstage before presenting the Best New Artist award, I talked to George Strait for a while. He's so incredibly cool. So down-to-earth and funny. I think it should be known that George Strait has an awesome, dry, subtle sense of humor. Then I went back out into the crowd and watched the rest of the show. Keith Urban's new song KILLS ME, it's so good. And when Brad Paisley ran down into the front row and kissed Kimberley's stomach (she's pregnant) before accepting his award, Kellie, my mom, and I all started crying. That's probably the sweetest thing I've ever seen. I thought Kellie NAILED her performance of the song we wrote together "The Best Days of Your Life". I was so proud of her. I thought Darius Rucker's performance RULED, and his vocals were incredible. I'm a huge fan. I love it when I find out that the people who make the music I love are wonderful people. I love Faith Hill and how she always makes everyone in the room feel special. I love Keith Urban, and how he told me he knows every word to "Love Story" (That made my night). I love Nicole Kidman, and her sweet, warm personality. I love how Kenny Chesney always has something hilarious or thoughtful to say. But the real moment that brought on this wave of gratitude was when Shania Twain HERSELF walked up and introduced herself to me. Shania Twain, as in.. The reason I wanted to do this in the first place. Shania Twain, as in.. the most impressive and independent and confident and successful female artist to ever hit country music. She walked up to me and said she wanted to meet me and tell me I was doing a great job. She was so beautiful, guys. She really IS that beautiful. All the while, I was completely star struck. After she walked away, I realized I didn't have my camera. Then I cried. You know, last night made me feel really great about being a country music fan in general. Country music is the place to find reality in music, and reality in the stars who make that music. There's kindness and goodness and....honesty in the people I look up to, and knowing that makes me smile. I'm proud to sing country music, and that has never wavered. The reason for the being.. nights like last night.

You never miss the water til the well runs dry...

I know you were on my side, even when I was wrong. And I love you for giving me your eyes, and for staying back and watching me shine.

I made my bed and I sleep like a baby with no regrets and I don't mind saying it's a sad, sad story when a mother will teach her daughter that she ought to hate a perfect stranger. And how in the world can the words that I said send somebody so over the edge that they'd write me a letter saying that I better shut up and sing or my life will be over?

How is Mia, anyway?” I ask. Ansel looks up at me with the most goofy, dimpled smile I’ve ever seen. “Perfect.” “Ugh,” Oliver says, setting his fork down. “Do not get him started. Lola says she’s had to start warning them before she comes over. Last time she could hear them all the way down Julianne’s driveway.” Ansel only shrugs, looking disgustingly pleased with himself. “What can I say? I am quite the vocal lover, and would never stifle the loud, satisfied cries of my wife during what is possibly the best sex anyone has ever had.” He leans in, looks us both in the eye in turn, and repeats, “Ever”.

The sa ta na ma chant, one of the best-known techniques in Kundalini yoga, also takes six seconds to vocalize, followed by six seconds to inhale.

Hold on tight to your dream

It is America (or Israel) at war, not just any war, that disturbs the Left. That is why there have been few demonstrations, and none of any size, against the mass murder of Sudan’s blacks; the genocides in Rwanda, Cambodia, or Congo; China’s crushing of Tibet; or Saddam Hussein’s wars against Iran, Kuwait, and Iraq’s own Kurds. Though there are always admirable individual exceptions, the Left has not been nearly as vocal about these large scale atrocities as it is about America’s wars. One additional reason is that, in general, atrocities committed by non-whites rarely interest the Left—and therefore ‘world opinion,’ which is essentially the same thing as Leftist opinion.

Aristotle tells us that the high-pitched voice of the female is one evidence of her evil disposition, for creatures who are brave or just (like lions, bulls, roosters and the human male) have large deep voices…. High vocal pitch goes together with talkativeness to characterize a person who is deviant from or deficient in the masculine ideal of self-control. Women, catamites, eunuchs and androgynes fall into this category. Their sounds are bad to hear and make men uncomfortable…. Putting a door on the female mouth has been an important project of patriarchal culture from antiquity to the present day. Its chief tactic is an ideological association of female sound with monstrosity, disorder and death…. Woman is that creature who puts the inside on the outside. By projections and leakages of all kinds—somatic, vocal, emotional, sexual—females expose or expend what should be kept in…. [As Plutarch comments,] “…she should as modestly guard against exposing her voice to outsiders as she would guard against stripping off her clothes. For in her voice as she is blabbering away can be read her emotions, her character and her physical condition.”… Every sound we make is a bit of autobiography. It has a totally private interior yet its trajectory is public. A piece of inside projected to the outside. The censorship of such projections is a task of patriarchal culture that (as we have seen) divides humanity into two species: those who can censor themselves and those who cannot…. It is an axiom of ancient Greek and Roman medical theory and anatomical discussion that a woman has two mouths. The orifice through which vocal activity takes place and the orifice through which sexual activity takes place are both denoted by the wordstoma in Greek (os in Latin) with the addition of adverbs ano and kato to differentiate upper mouth from lower mouth. Both the vocal and the genital mouth are connected to the body by the neck (auchen in Greek, cervix in Latin). Both mouths provide access to a hollow cavity which is guarded by lips that are best kept closed.

BILLIE EILISH, n. A young woman who never went to school, but at age eighteen became the youngest person in history and the first female artist to win Record of the Year, Album of the Year, Song of the Year, Best New Artist, and the Best Pop Vocal Album all at once, at the 62nd Annual Grammy Awards. See UNSCHOOLING.

I’m not your boyfriend!” I snapped, trying to gently move her hands away from my body. “How can you say that?” Sara asked in horror. “It’s shockingly effortless,” I replied. “My vocal chords vibrate, and my mouth and tongue articulate. I can even do it without thinking.” I had to remind myself to stay calm, and sarcasm was the best way to do that. “When are you going to give me a key to your house so I don’t have to knock like some guest?” Sara asked, coming at me again. I backed away. “How about never? Is never good for you?” Sara, undeterred, said, “You’re the reason I go to therapy on Fridays.” “The plot thickens!” Gabby exclaimed for comedic relief.

Those who succeeded did not spend their precious moments in the spotlight worrying about how they were doing or what others thought of them. No spirit under the stairs awaited them, because they knew they were doing their best. In other words, those who succeeded were fully present, and their presence was palpable. It came through mostly in nonverbal ways—vocal qualities, gestures, facial expressions, and so on.

Brutality is boring. Over and over, hell night after hell night, the same old dumb, tedious, bestial routine: making men crawl; making men groan, hanging men from the bars; shoving men; slapping men; freezing men in the showers; running men into walls; displaying shackled fathers to their sons and sons to their fathers. And if it turned out that you'd been given the wrong man, when you were done making his life unforgettably small and nasty, you allowed him to be your janitor and pick up the other prisoners' trash. There was always another prisoner, and another. Faceless men under hoods: you stripped them of their clothes, you stripped them of their pride. There wasn't much more you could take away from them, but people are inventive: one night some soldiers took a razor to one of Saddam's former general in Tier 1A and shaved off his eyebrows. He was an old man. "He looked like a grandfather and seemed like a nice guy," Sabrina Harman said, and she had tried to console him, telling him he looked younger and slipping him a few cigarettes. Then she had to make him stand at attention facing a boom box blasting the rapper Eminem, singing about raping his mother, or committing arson, or sneering at suicides, something like that⁠—these were some of the best-selling songs in American history. "Eminem is pretty much torture all in himself, and if one person's getting tortured, everybody is, because that music's horrible," Harman said. The general maintained his bearing against the onslaught of noise. "He looked so sad," Harman said. "I felt so bad for the guy." In fact, she said, "Out of everything I saw, that's the worst." This seems implausible, or at least illogical, until you think about it. The MI block was a place where a dead guy was just a dead guy. And a guy hanging from a window frame or a guy forced to drag his nakedness over a wet concrete floor⁠—well, how could you relate to that, except maybe to take a picture? But a man who kept his chin up while you blasted him with rape anthems, and old man shorn of his eyebrows whose very presence made you think of his grandkids--you could let that get to you, especially if you had to share in his punishment: "Slut, you think I won't choke no whore / til the vocal cords don't work in her throat no more!..." or whatever the song was.

Love it or hate it, thrive in it or still getting the hang of it, the recording studio is the place where your main product is going to be captured, recorded, mixed and created. You need a clear platform from preproduction to the schedule, tracking to the overdubs, vocals to the final mix. The best-laid studio planning will save you the most money and greatly reduce stress.

When I am in a situation where I feel uncomfortable about speaking but it is necessary for me to speak, or if I feel 'put on the spot' my voice sounds strained, really weird, and it feels as if I have no control over how I sound in these situations. Sometimes then my voice is barely audible and I am frequently asked to repeat myself. Attempts at speaking are often embarrassing, shaming experiences for me. I sound quite different when speaking with someone I am more relaxed with, but I don't like the way my voice sounds at the best of times; I was horrified when I heard a recording of myself. Because of this inhibition about speaking, I have never learned to project my voice or to use it effectively. I often feel that I could no more use my vocal cords to break a silence, to get somebody's attention or to initiate an interaction than I could run through fire or do something dangerous in my life.

Carl Franzoni perhaps summed it up best when he declared rather bluntly that, “the Byrds’ records were manufactured.” The first album in particular was an entirely engineered affair created by taking a collection of songs by outside songwriters and having them performed by a group of nameless studio musicians (for the record, the actual musicians were Glen Campbell on guitar, Hal Blaine on drums, Larry Knechtel on bass, Leon Russell on electric piano, and Jerry Cole on rhythm guitar), after which the band’s trademark vocal harmonies, entirely a studio creation, were added to the mix. As would be expected, the Byrds’ live performances, according to Barney Hoskyns’ Waiting for the Sun, “weren’t terribly good.” But that didn’t matter much; the band got a lot of assistance from the media, with Time being among the first to champion the new band. And they also got a tremendous assist from Vito and the Freaks and from the Young Turks, as previously discussed.

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

A reflection on Robert Lowell Robert Lowell knew I was not one of his devotees. I attended his famous “office hours” salon only a few times. Life Studies was not a book of central importance for me, though I respected it. I admired his writing, but not the way many of my Boston friends did. Among poets in his generation, poems by Elizabeth Bishop, Alan Dugan, and Allen Ginsberg meant more to me than Lowell’s. I think he probably sensed some of that. To his credit, Lowell nevertheless was generous to me (as he was to many other young poets) just the same. In that generosity, and a kind of open, omnivorous curiosity, he was different from my dear teacher at Stanford, Yvor Winters. Like Lowell, Winters attracted followers—but Lowell seemed almost dismayed or a little bewildered by imitators; Winters seemed to want disciples: “Wintersians,” they were called. A few years before I met Lowell, when I was still in California, I read his review of Winters’s Selected Poems. Lowell wrote that, for him, Winters’s poetry passed A. E. Housman’s test: he felt that if he recited it while he was shaving, he would cut himself. One thing Lowell and Winters shared, that I still revere in both of them, was a fiery devotion to the vocal essence of poetry: the work and interplay of sentences and lines, rhythm and pitch. The poetry in the sounds of the poetry, in a reader’s voice: neither page nor stage. Winters criticizing the violence of Lowell’s enjambments, or Lowell admiring a poem in pentameter for its “drill-sergeant quality”: they shared that way of thinking, not matters of opinion but the matter itself, passionately engaged in the art and its vocal—call it “technical”—materials. Lowell loved to talk about poetry and poems. His appetite for that kind of conversation seemed inexhaustible. It tended to be about historical poetry, mixed in with his contemporaries. When he asked you, what was Pope’s best work, it was as though he was talking about a living colleague . . . which in a way he was. He could be amusing about that same sort of thing. He described Julius Caesar’s entourage waiting in the street outside Cicero’s house while Caesar chatted up Cicero about writers. “They talked about poetry,” said Lowell in his peculiar drawl. “Caesar asked Cicero what he thought of Jim Dickey.” His considerable comic gift had to do with a humor of self and incongruity, rather than wit. More surreal than donnish. He had a memorable conversation with my daughter Caroline when she was six years old. A tall, bespectacled man with a fringe of long gray hair came into her living room, with a certain air. “You look like somebody famous,” she said to him, “but I can’t remember who.” “Do I?” “Yes . . . now I remember!— Benjamin Franklin.” “He was a terrible man, just awful.” “Or no, I don’t mean Benjamin Franklin. I mean you look like a Christmas ornament my friend Heather made out of Play-Doh, that looked like Benjamin Franklin.” That left Robert Lowell with nothing to do but repeat himself: “Well, he was a terrible man.” That silly conversation suggests the kind of social static or weirdness the man generated. It also happens to exemplify his peculiar largeness of mind . . . even, in a way, his engagement with the past. When he died, I realized that a large vacuum had appeared at the center of the world I knew.

The Dawning Ah! what time wilt Thou come? when shall that cry, The Bridegroom’s coming! fill the sky; Shall it in the evening run When our words and works are done? Or will Thy all-surprising light Break at midnight, When either sleep or some dark pleasure Possesseth mad man without measure? Or shall these early, fragrant hours Unlock Thy bow’rs, And with their blush of light descry Thy locks crown’d with eternity? Indeed, it is the only time That with Thy glory doth best chime; All now are stirring, ev’ry field Full hymns doth yield; The whole Creation shakes off night, And for Thy shadow looks the light; Stars now vanish without number, Sleepy Planets set and slumber, The pursy Clouds disband and scatter, All expect some sudden matter; Not one beam triumphs but from far That morning-star; O at what time soever thou (Unknown to us,) the heavens wilt bow, And, with Thy angels in the van, Descend to judge poor careless man, Grant, I may not like puddle lie In a corrupt security, Where if a traveller water crave, He finds it dead, and in a grave. But as this restless, vocal spring All day and night doth run, and sing, And though here born, yet is acquainted Elsewhere, and flowing keeps untainted; So let me all my busy age In Thy free services engage; And though (while here) of force I must Have commerce sometimes with poor dust, And in my flesh, though vile and low, As this doth in her channel flow, Yet let my course, my aim, my love, And chief acquaintance be above; So when that day and hour shall come, In which Thyself will be the sun, Thou’lt find me drest and on my way, Watching the break of Thy great day.

is well known, the article began, in nature, usually the males with the most prominent secondary sexual characteristics, such as the biggest antlers, deepest voices, broadest chests, and superior knowledge secure the best territories because they have fended off weaker males. The females choose to mate with these imposing alphas and are thereby inseminated with the best DNA around, which is passed on to the female’s offspring—one of the most powerful phenomena in the adaptation and continuance of life. Plus, the females get the best territory for their young. However, some stunted males, not strong, adorned, or smart enough to hold good territories, possess bags of tricks to fool the females. They parade their smaller forms around in pumped-up postures or shout frequently—even if in shrill voices. By relying on pretense and false signals, they manage to grab a copulation here or there. Pint-sized male bullfrogs, the author wrote, hunker down in the grass and hide near an alpha male who is croaking with great gusto to call in mates. When several females are attracted to his strong vocals at the same time, and the alpha is busy copulating with one, the weaker male leaps in and mates one of the others. The imposter males were referred to as “sneaky fuckers.

Some of our smartest students might be our quietest. How do we give them an opportunity to be vocal in classroom discussions without calling them out or making them feel uncomfortable? Some of our unsung superstars may need time to think about their answer before speaking up. How do we shift from a culture of calling on and praising the student who raises their hand first? The truth is, some of our brightest students may feel as if they aren’t measuring up because they need time to process their thoughts before responding. How can we shift from a first is best culture to one that sends the message that everyone’s voice matters—and that everyone has the potential to excel in the classroom?

One article on reproductive strategies was titled "Sneaky Fuckers." Kya laughed. As is well known, the article began, in nature, usually the males with the most prominent secondary sexual characteristics, such as the biggest antlers, deepest voices, broadest chests, and superior knowledge secure the best territories because they have fended off weaker males. The females choose to mate with these imposing alphas and are thereby inseminated with the best DNA around, which is passed on to the female's offspring- one of the most powerful phenomena in the adaptation and continuance of life. Plus, the females get the best territory for their young. However, some stunted males, not strong, adorned, or smart enough to hold good territories, possess bags of tricks to fool the females. They parade their smaller forms around in pumped-up postures or shout frequently- even if in shrill voices. By relying on pretense and false signals, they manage to grab a copulation here or there. Pint-sized male bullfrogs, the author wrote, hunker down in the grass and hide near an alpha male who is croaking with great gusto to call in mates. When several females are attracted to his strong vocals at the same time, and the alpha is busy copulating with one, the weaker male leaps in and mates one of the others. The imposter males were referred to as "sneaky fuckers." Kya remembered, those many years ago, Ma warning her older sisters about young men who overrevved their rusted-out pickups or drove jalopies around with radios blaring. "Unworthy boys make a lot of noise," Ma had said. She read a consolation for females. Nature is audacious enough to ensure that the males who send out dishonest signals or go from one female to the next almost always end up alone. Another article delved into the wild rivalries between sperm. Across most life-forms, males compete to inseminate females. Male lions occasionally fight to the death; rival bull elephants lock tusks and demolish the ground beneath their feet as they tear at each other's flesh. Though very ritualized, the conflicts can still end in mutilations. To avoid such injuries, inseminators of some species compete in less violent, more creative methods. Insects, the most imaginative. The penis of the male damselfly is equipped with a small scoop, which removes sperm ejected by a previous opponent before he supplies his own. Kya dropped the journal on her lap, her mind drifting with the clouds. Some female insects eat their mates, overstressed mammal mothers abandon their young, many males design risky or shifty ways to outsperm their competitors. Nothing seemed too indecorous as long as the tick and the tock of life carried on. She knew this was not a dark side to Nature, just inventive ways to endure against all odds. Surely for humans there was more.

The Earn Trust leadership principle exists in part to prevent this behavior from occurring. It states, “Leaders listen attentively, speak candidly, and treat others respectfully. They are vocally self-critical, even when doing so is awkward or embarrassing. Leaders do not believe their or their team’s body odor smells of perfume. They benchmark themselves and their teams against the best.” But these meetings, in the early days, clearly exemplified where we failed to live up to that principle. The original, well-intentioned meeting was set up to improve the software systems from one week to the next. But it gained a life of its own, and sometimes turned a roomful of smart people with probing questions into an angry mob, devouring those who could make a difference and robbing them of their very will to succeed.

We’ve lost our way” is how another manifesto author, Andrew Hunt, put it in a 2015 essay titled “The Failure of Agile.” Hunt tells me the word agile has become “meaningless at best,” having been hijacked by “scads of vocal agile zealots” who had no idea what they were talking about. Agile has split into various camps and methodologies, with names like Large-Scale Scrum (LeSS) and Disciplined Agile Delivery (DAD). The worst flavor, Hunt tells me, is Scaled Agile Framework, or SAFe, which he and some other original manifesto authors jokingly call Shitty Agile for Enterprise. “It’s a disaster,” Hunt tells me. “I have a few consultant friends who are making big bucks cleaning up failed SAFe implementations.” SAFe is the hellspawn brainchild of a company called Scaled Agile Inc., a bunch of mad scientists whose approach consists of a nightmare world of rules and charts and configurations. SAFe itself comes in multiple configurations, which you can find on the Scaled Agile website. Each one is an abomination of corporate complexity and Rube Goldberg-esque interdependencies.

From this experience also, a faith arises to carry back to a human world of small lusts and deceitful pettiness. A faith, naïve and child like perhaps, born as it is from the infinite simplicity of nature. It is a feeling that no matter what the ideas or conduct of others, there is a unique rightness and beauty to life which can be shared in openness, in wind and sunlight, with a fellow human being who believes in the same basic principles. Yet, when such implicit belief is placed in another person, it is indeed shattering to realize that a part of what to you was such a rich, intricate, whole conception of life has been tossed off carelessly, lightly – it is then that a stunned, inarticulate numbness paralyzes words, only to give way later to a deep hurt. It is hard for me to say on paper what I believe would best be reserved for a lucid vocal discussion. But somehow I did want you to know a little of what your surprising and perhaps injudiciously confidential information did to me yesterday. A feeling that there was no right to condemn, but that still somehow there was a crumbling of faith and trust. A feeling that there was a way to rationalize, to condone, if only by relegating a fellow human from the unique to the usual.

Feeling like a displaced person Laura struggles with being defined by her status as a widow. “Distracted by the word widow, which had taken root, budded and bloomed in her mind like a weed in a vacant lot, Laura opened the dictionary on her desk. Flipping past thousands of words, she used in every-day communication with family, friends, and acquaintances – those little black letters, symbols to express thoughts for the ear to hear and the heart to feel – she wondered, What words gave expression to her pain? What words described the sense of something lurking inside her, or the dark shadows stalking her mind? Widow: a five-letter word, preceded by words like wide, and widget and followed by words like widow’s peak, widow’s weeds, and widower. This little word – widow- in small case, had no business masquerading as a noun: a person, place or thing. In contrast, - widget, a small mechanical object, not a feeling thing, just an object – seemed an honest noun. Widow is not an object, she thought. “It’s a word so thin as to be nothing but a wisp of breath passing through one’s vocal cords and disappearing almost imperceptibly between one’s lips. It has no life of its own. It’s a mere label, and it could just as well be a piece of paper saying, chocolate cookies or best before date.

The VCs were prolific. They talked like nobody I knew. Sometimes they talked their own book, but most days, they talked Ideas: how to foment enlightenment, how to apply microeconomic theories to complex social problems. The future of media and the decline of higher ed; cultural stagnation and the builder’s mind-set. They talked about how to find a good heuristic for generating more ideas, presumably to have more things to talk about. Despite their feverish advocacy of open markets, deregulation, and continuous innovation, the venture class could not be relied upon for nuanced defenses of capitalism. They sniped about the structural hypocrisy of criticizing capitalism from a smartphone, as if defending capitalism from a smartphone were not grotesque. They saw the world through a kaleidoscope of startups: If you want to eliminate economic inequality, the most effective way to do it would be to outlaw starting your own company, wrote the founder of the seed accelerator. Every vocal anti-capitalist person I’ve met is a failed entrepreneur, opined an angel investor. The SF Bay Area is like Rome or Athens in antiquity, posted a VC. Send your best scholars, learn from the masters and meet the other most eminent people in your generation, and then return home with the knowledge and networks you need. Did they know people could see them?

Hold On" They hung a sign up in our town "If you live it up, you won't live it down" So she left Monte Rio, son Just like a bullet leaves a gun With her charcoal eyes and Monroe hips She went and took that California trip Oh, the moon was gold, her hair like wind Said, "don't look back, just come on, Jim" Oh, you got to hold on, hold on You gotta hold on Take my hand, I'm standing right here, you gotta hold on Well, he gave her a dimestore watch And a ring made from a spoon Everyone's looking for someone to blame When you share my bed, you share my name Well, go ahead and call the cops You don't meet nice girls in coffee shops She said, "baby, I still love you" Sometimes there's nothin' left to do Oh, but you got to hold on, hold on Babe, you gotta hold on and take my hand I'm standing right here, you gotta hold on Well, God bless your crooked little heart St. Louis got the best of me I miss your broken China voice How I wish you were still here with me Oh, you build it up, you wreck it down Then you burn your mansion to the ground Oh, there's nothing left to keep you here But when you're falling behind in this big blue world Oh, you've got to hold on, hold on Babe, you gotta hold on Take my hand, I'm standing right here, you gotta hold on Down by the Riverside motel It's ten below and falling By a ninety-nine cent store She closed her eyes and started swaying But it's so hard to dance that way When it's cold and there's no music Oh, your old hometown's so far away But inside your head there's a record that's playing A song called "Hold On", hold on Babe, you gotta hold on Take my hand, I'm standing right there, you gotta hold on

The platform’s recommendation systems were still in their infancy, but the dissonance between users’ vocal disapproval and avid usage led to an inescapable conclusion inside the company: regular people’s opinions about Facebook’s mechanics were best ignored. Users screamed “stop,” Facebook kept going, and everything would work out dandy.

The door opened. I stopped. Beyond it, orks lined both sides of the corridor. They had been watching for me. The moment I appeared, they roared their approval. They did not attack. They simply stood, clashed guns against blades, and hooted brute enthusiasm. I had been subjected to too many celebratory parades on Armageddon not to recognise one when it confronted me. I went numb from the unreality before me. I stepped forward, though. I had no choice. I walked. It was the most obscene victory march of my life. I moved through corridor, hold and bay, and the massed ranks of the greenskins hailed my passage. I saw the evidence of the destruction I had caused around every bend. Scorch marks, patched ruptures, buckled flooring, collapsed ceilings. But it hadn’t been enough. Not nearly enough. Only enough for this… this… At length, I arrived at a launch bay. There was a ship on the pad before the door. It was human, a small in-system shuttle. It was not built for long voyages. No matter, as long as its vox-system was still operative. I knew that it would be. Ghazghkull Mag Uruk Thraka awaited me beside the ship’s access ramp. I did not let my confusion or the sense that I had slipped into an endless waking nightmare slow my stride. I did not hesitate as I strode towards the monster. I stopped before him. I met his gaze with all the cold hatred of my soul. He radiated delight. Then he leaned forward, a colossus of armour and bestial strength. Our faces were mere centimetres apart. My soul bears many scars from the days and months of my defeat and captivity. But there is one memory that, above all others, haunts me. By day, it is a goad to action. By night, it murders sleep. It lives with me always, the proof that there could hardly be a more terrible threat to the Imperium than this ork. Thraka spoke to me. Not in orkish. Not even in Low Gothic. In High Gothic. ‘A great fight,’ he said. He extended a huge, clawed finger and tapped me once on the chest. ‘My best enemy.’ He stepped aside and gestured to the ramp. ‘Go to Armageddon,’ he said. ‘Make ready for the greatest fight.’ I entered the ship, my being marked by words whose full measure of horror lay not in their content, but in the fact of their existence. I stumbled to the cockpit, and discovered that I had a pilot. It was Commander Rogge. His mouth was parted in a scream, but there was no sound. He had no vocal cords any longer. There was very little of his body recognisable. He had been opened up, reorganised, fused with the ship’s control and guidance systems. He had been transformed into a fully aware servitor. ‘Take us out of here,’ I ordered. The rumble of the ship’s engines powering up was drowned by the even greater roar of the orks. I knew that roar for what it was: the promise of war beyond description.

Sound performance The sound quality depends on how well the codec can reproduce different recording situations. However, different people may hear the sound differently 1. Pitch, principles: The performance is better when the codec can restore different recording situations more accurately. 2. Loudness, principles: The performance is better when the codec can restore different recording situations more accurately.) 3. Tone color : ① Frequency range (principle: The codec can cover the range of frequencies that humans can hear, which is from 20 Hz to 20,000 Hz. ②Response time (principle: the shorter the better, excellent threshold is 10ms.) ③The spatial effect (The best codec is the one that can create a realistic sound effect without distorting or losing any specific frequencies. It should also have a balanced ratio of sound quality and compression.) 4. Sense of space, the principle: The codec should be able to reproduce the sound as if it is coming from different distances and directions in the recording studio. 5. Tuning style, the principle: The codec should be able to capture the details of the sound, such as the resolution, the atmosphere, the balance and connection of the three frequencies (bass, midrange, and treble), and the vocals and instruments. The codec should also be able to match the original recording as closely as possible. If the codec has a different tuning style from the original recording, it is not necessarily worse, but it should still be clear and pleasant. If the codec has a better tuning style than the original recording, it is even better.

Dance With The One That Brought You

My mother started singing Mick's lower line as I sang Carly's high lead vocal. without realizing it.. I was harmonizing! just as they do in the song! my heart lit up! my eyes wide and! and then something clicked… the sound over two voices, singing two different Melody lines, made me realize one of music's most basic principles: different notes, when sung together in harmony, create a chord. This moment is burned in my heart and mind as my first love. It is the Michelangelo and the Sistine Chapel. My baptism. My musical “Big Bang” if you will. Hell, this was the chicken AND the egg! From that moment on, I heard life with an entirely new set of ears. I scored the radio for harmony. I searched every record in the house to find more. Did every song have this amazing new trick I just learned? Did everyone know about this? Had this been going on forever? Why hadn’t anyone bothered to tell me?! songs became more than songs; they became my toys. They became my puzzles. They became challenges and mysteries. Some became my best friends. Some picking my worst enemies. I was fascinated, and raptured, obsessed! I was hooked! (pg. xiii)

When I wake up in the afternoon Which it pleases me to do Don't nobody bring me no bad news 'Cause I wake up already negative And I've wired up my fuse So don't nobody bring me no bad news If we're going to be buddies Better bone up on the rules 'Cause don't nobody bring me no bad news You can be my best of friends As opposed to payin' dues But don't nobody bring me no bad news No bad news No bad news Don't you ever bring me no bad news 'Cause I'll make you an offer, child That you cannot refuse So don't nobody bring me no bad news When you're talking to me Don't be cryin' the blues 'Cause don't nobody bring me no bad news You can verbalize and vocalize But just bring me the clues But don't nobody bring me no bad news Bring some message in your head Or in something you can't lose But don't you ever bring me no bad news If you're gonna bring me something Bring me, something I can use But don't you bring me no bad news (Evillene, The Wiz)