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.

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)

This portion of the chapter is directed at those of you whose son or daughter or other relative is in denial about his or her social life. No matter what your relationship is to this person, you need to tell yourself—daily, if necessary—that it is okay to want this person to become independent. Right now, the person is a burden to you. It is not selfish of you to want to lessen the burden of being the sole emotional support of someone else. It is selfish of the other person to ask you to be that support. But you have every right to try to foster, nurture, even at times force a healthy independence. There is an old saying that you may want to keep in mind as you proceed: “It is better to teach someone to fish than to fish for him.” It is better, much better, to give someone the courage, strength, and skills to become socially independent than to be that person’s entire social world. You’ll feel better. And the person you care about will ultimately feel better too. The No. 1 piece of advice that I give parents who want to help their adolescent or adult child is this: Use your influence to help your child face up to his or her anxiety. It need not be done all at once. I’m not suggesting you walk your child to the mouth of the volcano and leave him there, but you need to be the one who never falters. Your child, who suffers anxiety in social situations, will inevitably backslide from time to time. His improvement will be steady, but it will not be constant. So you have to be there to provide firm support and active, vocal encouragement throughout his journey to socialization. What I am asking you to do is nurture your child’s independence. Do not rescue him from what he fears. Do not confuse nurturing—saying to him, “I know you are afraid, but do the best you can because I believe you can succeed”—with rescuing, saying, “I know you are afraid, so I’ll call and cancel your plans and maybe you can attend that club meeting another time when you’re more ready.” Do not confuse teaching him to fish with fishing for him.

Ear and voice complement each other: both are activated by the movement of air. Just as air makes the larynx vibrate, so it's the air in the form of sound waves that causes the eardrum to vibrate-the basis of hearing. To listen to someone's voice is therefore 'a partnership of vibration'. The ear has even been called a 'sonic mouth', since some of the same organs in the body form them both. By ensuring that the ear canal resonates at the same frequencies as the vocal tract, nature has thoughtfully matched the reception organ with the production one, and developed a human ear with the precise properties best needed to hear the human voice.

In general it must be concluded that the accentuation of the Palestinian Aramaic (derived from Aramaic of Babylonia) was the same as the Biblical Aramaic, the Nabataean, the Syriac, and as understood by the first Targumists. The same has been assumed for the Talmudic Aramaic .. Yemen MSS of Onkelos constitute one of the best guides to the vocalization of this Targum .. The Palmyrenes were of Arab race, and consequently connected ethnically with the Nabataeans .. Familiar features of the language clearly show its kinship with Palestinian Aramaic.

Milton did his best to keep up, which is to say, he lagged behind, baying like a mortally wounded basset hound. The Fausters were to singing as Napoleon was to Extreme Frisbee. Milton’s Pang gullet only made things worse, drawing out each tortured “note” until it whimpered for release. Mr. Presley pulled the emergency brake on their duet. “We’ve all got talent, son,” he consoled. “Some folks just got to dig deeper than others to find it. Now, let’s give someone else a chance. You”—he waved his diamond-ringed fingers lazily toward Virgil—“step on up and show us what you’ve got.” Virgil rose nervously, his metal chair sighing with relief, and trudged up to the stage as Milton shambled off. Ever the good friend, Virgil tried to high-five Milton after his disastrous debut, but due to Milton’s Pang-suited delayed reaction, he just ended up slapping him in the head. “Sorry,” Virgil mumbled to his friend as he stood before the chalkboard. “Just follow my lead, son, and relax,” Mr. Presley slurred supportively. Mr. Presley began to mournfully croon. “Au signal du plaisir, Dans la chambre du drille, Tu peux bien entrer fille, Mais non fille en sortir …” Virgil pulled in a great breath and began to sing. “Bonne nuit, hélas! Ma petite, bonne nuit. Près du moment fatal.” In a word, Virgil’s voice was stunning. In another word, he was a virtuoso. In four more words, Milton was very surprised. Virgil’s thrilling spectacle of pitch and tone was like a vocal fireworks display, and his breath control left the rest of the class breathless. “Fais grande résistance, S’il ne t’offre d’avance Un anneau conjugale.” Riding

Dialogue is more powerful than narration. It puts audience members into the scene, allowing them to hear exactly what was said. Dialogue is also shorter and punchier than narration. Finally, another advantage of dialogue is that it allows you to use vocal variety - to slightly change the pace, pitch and volume of your voice to reflect the emotions and speech of the different characters in your speech. As a result, your delivery will be more dynamic and engaging. When delivering your story, always use dialogue - not narration.

Today, about one year later, I am still the happiest forever Mom to Calli. She is my shadow, my snuggle-bug and a wonder companion. Every morning we have our "talk," (she is very vocal) and I swear that she understands a lot of what I say! She's such a sweet girl and loves to lie on people, reaching up with her paws, like she's trying to give you a hug around the neck! My new best friend, Calli! Bonnie Hurlburt

The Big Executive explains, "He doesn't like your script ... he doesn't think you're funny." "Hank realized that he was in a realm where madness was the norm. Artistic judgment was entrusted to an arrangement of wires and buttons and tubes, and men born human were accepting robotism as the best means to progress. His frustration was total when he suddenly heard the executive ascribing human emotions to the laugh machine. `You hurt him when you called him a pushover. He hasn't laughed at anything since'" (ig6r, 86).

People tend to wear the mask that shows them off in the best possible light - humble, confident, diligent. They say the right things, smile, and seem interested in our ideas. They learn to conceal their insecurities and envy. [...] People continually leak out their true feelings and unconscious desires in the nonverbal cues they cannot completely control--facial expressions, vocal inflections, tension in the body, and nervous gestures. [...] On the other hand, since appearances are what people judge you by, you must learn how to present the best front and play your role to maximum effect.

Amazon’s Leadership Principles6 Customer Obsession. Leaders start with the customer and work backwards. They work vigorously to earn and keep customer trust. Although leaders pay attention to competitors, they obsess over customers. Ownership. Leaders are owners. They think long term and don’t sacrifice long-term value for short-term results. They act on behalf of the entire company, beyond just their own team. They never say, “that’s not my job.” Invent and Simplify. Leaders expect and require innovation and invention from their teams and always find ways to simplify. They are externally aware, look for new ideas from everywhere, and are not limited by “not invented here.” As we do new things, we accept that we may be misunderstood for long periods of time. Are Right, A Lot. Leaders are right a lot. They have strong judgment and good instincts. They seek diverse perspectives and work to disconfirm their beliefs. Learn and Be Curious. Leaders are never done learning and always seek to improve themselves. They are curious about new possibilities and act to explore them. Hire and Develop the Best. Leaders raise the performance bar with every hire and promotion. They recognize exceptional talent, and willingly move them throughout the organization. Leaders develop leaders and take seriously their role in coaching others. We work on behalf of our people to invent mechanisms for development like Career Choice. Insist on the Highest Standards. Leaders have relentlessly high standards—many people may think these standards are unreasonably high. Leaders are continually raising the bar and drive their teams to deliver high-quality products, services, and processes. Leaders ensure that defects do not get sent down the line and that problems are fixed so they stay fixed. Think Big. Thinking small is a self-fulfilling prophecy. Leaders create and communicate a bold direction that inspires results. They think differently and look around corners for ways to serve customers. Bias for Action. Speed matters in business. Many decisions and actions are reversible and do not need extensive study. We value calculated risk-taking. Frugality. Accomplish more with less. Constraints breed resourcefulness, self-sufficiency, and invention. There are no extra points for growing headcount, budget size, or fixed expense. Earn Trust. 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.

Lest we conclude this is a fringe movement involving only a small percentage of American Christians, statistics show that nearly two-thirds of mainline Protestants7—members of the supposedly “liberal” Christian denominations—and two-thirds of all Christians taken together8 agree with many of the sentiments, if not the actions, of the thousands who marched on the Capitol on January 6. Many of us have neighbors, friends, and family members who agree at least with the beliefs underlying that violent insurgence. Based on the best research to date, approximately half (52%) of Americans either fully embrace or lean toward the main tenets of Christian nationalism. 9 While this percentage decreased slightly between 2007 and 2017, Christian nationalists have become more visible and vocal since Trump’s election in 2016. The 2001 attack on the World Trade Center (9/ 11) caused an upsurge in nationalistic fervor and a parallel rise in Islamophobia.

OM CHANTING Various studies have shown that OM chanting deactivates the limbic part of the brain responsible for our basic emotions (fear, pleasure, anger) and our impulses (hunger, sex, dominance and care of offspring). Since the effectiveness of OM chanting is associated with the experience of vibrations around the ears, scientists have suggested that these sensations are transmitted through the auricular branch of the vagus nerve. As the vagus nerve branches off into the inner ear and larynx, controlling the opening and closing of the vocal cords and tone of the sound, it appears that this is stimulated during the vocalization of the O and M sounds. In addition, by performing chanting in exhalation, the vagus nerve is activated in its role as manager of the parasympathetic system. In addition, chanting, by facilitating the lengthening of the exhalation, further amplifies the effect on the parasympathetic system. This is why this practice helps to calm and relax the body and mind. -Find a quiet place to sit comfortably. -A good position is to sit with your legs crossed and your back straight. -Wear comfortable cotton clothes that do not tighten any part of your body. All body channels should be free and comfortable. Place the palm of your right hand (facing upwards) on the palm of your left hand at navel level. Close your eyes for a few minutes and relax your mind and body. Slowly feel the vibrations that occur in every part of your body. When the vibrations become more intense, start breathing deeply. Hold your breath for a second and then slowly exhale. Initially count to 7 as you exhale. This ought to be duplicated thrice. As you exhale the third time, sing "oooooooooo..." Feel the vibrations in your abdomen (and under your chest). After exhaling, relax for 2 seconds. Breathe in again (slow, deep breaths). As you exhale sing "ooooo..." and feel the vibrations in your chest and neck. After exhaling, relax for 2 seconds. Inhale again (long, deep breath). As you exhale, sing "mmmmmmmm...". Feel the vibrations in your head and neck. After exhaling, relax for 2 seconds. Inhale again and as you exhale say "oooommmm..." or "aaauuummm...". About 80% of the sound should be "aaauuu..." and 20% should be "mmmm...". Repeat the previous steps 3 times (you can do it up to 9 times). After the Om meditation, relax and concentrate on your regular breathing for about 5 minutes. TIPS -Wearing white clothes and being in a white environment will improve your experience. But the rule of white is not fundamental. -A good place could be a quiet room or a garden with shade. Your eyes, ears or other sensory organs should not be disturbed. -Do not consume alcohol for at least 8-10 hours before meditation. -It would be better not to eat or drink anything for at least 2 hours before meditation. The body's channels should not be blocked in order to achieve maximum results. This applies especially to the digestive system. -The best times for this meditation are early in the morning or late at night. -For beginners, singing "aum" can cause dizziness. It is recommended to proceed slowly and try to learn one step at a time. In this way you will prepare body and mind for the next step. -It is very important to open your eyes slowly when your breathing has stabilized. -If you cannot sit on the floor, you can try sitting on a bed or a chair. The most important thing is to keep your back straight. -Doing this kind of meditation in a group brings more peace and harmony to all members than doing it alone.

The Rooster taught me to wake up early and be a leader. The Butterfly encouraged me to allow a period of struggles to develop strong and look beautiful. The Squirrel showed me to be alert and fast all the time. The Dog influenced me to give up my life for my best friend. The Cat told me to exercise every day. Otherwise, I will be lazy and crazy. The Fox illustrated me to be subtle and keep my place organized and neat. The Snake demonstrated to me to hold my peace even if I am capable of attack, harm, or kill. The Monkey stimulated me to be vocal and communicate. The Tiger cultivated me to be active and fast. The Lion cultured me not to be lazy especially if I have strength and power that could be used. The Eagle was my sample for patience, beauty, courage, bravery, honor, pride, grace, and determination. The Rat skilled me to find my way out no matter what or how long it takes. The Chameleon revealed to me the ability to change my color for beauty and protection. The Fish display to live in peace even if I have to live a short life. The Delphin enhanced me to be the source of kindness, peace, harmony, and protection. The Shark enthused me to live as active and restful as I can be. The Octopus exhibited me to be silent and intelligent. The Elephant experienced me with the value of cooperation and family. To care for others and respect elders. The Pig indicated to me to act smart, clean, and shameless. The Panda appears to me as life is full of white and black times but my thick fur will enable me to survive. The Kangaroo enthused me to live with pride even if I am unable to walk backward. The Penguin influenced me to never underestimate a person. The Deer reveals the ability to sense the presence of hunters before they sense you. The Turtle brightened me to realize that I will get there no matter how long it takes me while having a shell of protection above me. The Rabbit reassured me to allow myself to be playful and silly. The Bat proved to me that I can fly even in darkness. The Alligator/crocodile alerted me that threat exists. The Ant moved me to be organized, active, and social with others. The Bee educated me to be the source of honey and cure for others. The Horse my best intelligent friend with who I bond. Trained me to recover fast from tough conditions. The Whale prompted me to take care of my young ones and show them life abilities. The Crab/Lobster enlightened me not to follow them when they make resolutions depending on previous undesirable events.

Earn Trust: Leaders listen attentively, speak candidly, and treat others respectfully. They are vocally self-critical, even when doing so is awkward or embarrassing. Leaders don’t believe their or their team’s body odor smells of perfume. They benchmark themselves and their teams against the best. Dive Deep: Leaders operate at all levels, stay connected to the details, audit frequently, and are skeptical when metrics and anecdote differ. No task is beneath them. Have Backbone; Disagree and Commit: Leaders are obligated to respectfully challenge decisions when they disagree, even when doing so is uncomfortable or exhausting. Leaders have conviction and are tenacious. They do not compromise for the sake of social cohesion. Once a decision is determined, they commit wholly. Deliver Results: Leaders focus on the key inputs for their business and deliver them with the right quality and in a timely fashion. Despite setbacks, they rise to the occasion and never settle.

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.

What would you say to people who think you wouldn’t be where you are now if it wasn’t for Rhyson Gray?” Luke clears his throat and begins to speak before I can. “I think Kai—” “It’s okay, Luke,” I hold up a hand, eyes never leaving Randy’s. “I’d love to answer this question.” I lick my suddenly dry lips before going in. “I would tell them that no one finds success without the help of others along the way.” I look down at the hands in my lap for a second before looking back up. “I wouldn’t be here without my mother, who sacrificed all my life to make sure I had dancing and singing lessons. I wouldn’t be here without my best friend, Santos, who dragged me out to LA to pursue my dreams. I wouldn’t be here without my vocal coach, Grady, who took me under his wing in a strange new city.” I pause, swallowing back unexpected emotion I hope I’m hiding well. “And, yes, I wouldn’t be here without Rhyson, whose music and work ethic inspired me years before I even met him when I was just a fan. So in that sense, they’re right.” I lean forward, elbows propped on the table, lips pressed close to the mic like the producer told me to. “But I would also invite those people out to see me on the road because, though so many have helped me, I’m the one who has to perform night in, night out, and no one does that for me. I’d offer them a ticket, but my shows are all sold out.” Randy’s mouth hangs open a little.

People tend to wear the mask that shows them off in the best possible light—humble, confident, diligent. They say the right things, smile, and seem interested in our ideas. They learn to conceal their insecurities and envy. If we take this appearance for reality, we never really know their true feelings, and on occasion we are blindsided by their sudden resistance, hostility, and manipulative actions. Fortunately, the mask has cracks in it. People continually leak out their true feelings and unconscious desires in the nonverbal cues they cannot completely control—facial expressions, vocal inflections, tension in the body, and nervous gestures. You must master this language by transforming yourself into a superior reader of men and women. Armed with this knowledge, you can take the proper defensive measures. On the other hand, since appearances are what people judge you by, you must learn how to present the best front and play your role to maximum effect.

The best way to free yourself from this incessant chatter is to step back and view it objectively. Just view the voice as a vocalizing mechanism that is capable of making it appear like someone is in there talking to you. Don’t think about it; just notice it. No matter what the voice is saying, it’s all the same. It doesn’t matter if it’s saying nice things or mean things, worldly things or spiritual things. It doesn’t matter because it’s still just a voice talking inside your head. In fact, the only way to get your distance from this voice is to stop differentiating what it’s saying. Stop feeling that one thing it says is you and the other thing it says is not you. If you’re hearing it talk, it’s obviously not you. You are the one who hears the voice. You are the one who notices that it’s talking.

meticulously analyzing videos of 185 venture capital presentations — looking at both verbal and nonverbal behavior — Lakshmi ended up with results that surprised her: the strongest predictor of who got the money was not the person’s credentials or the content of the pitch. The strongest predictors of who got the money were these traits: confidence, comfort level, and passionate enthusiasm. 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.6

Two stages facing us had been erected in the bowl-shaped field for use by the performers, and bleachers had been built during the night on the north side of the hill. Other spectators sat on the ground, the slope itself providing a form of tiered seating. The laughs, jeers and applause that rang out from the audience on all sides felt like manna from heaven--only it fed my soul, not my stomach. My sister, father and Semari were almost bouncing up and down in an enthusiastic show of appreciation, while my mother, Alantonya and I less flamboyantly indicated our delight. Koranis and Temerson were quite vocal, tossing out taunts and cheers with the rest of the crowd. The only people we had invited who had not yet joined us were Cannan and Faramay. When I inquired after the captain, no one had information on his whereabouts, and I did my best to dismiss my concern. “Perhaps he’s ill,” I suggested. “The man hasn’t been ill in all the years I’ve known him.” My father chortled. “He’s never missed a day of service. And if he had taken sick, he would have made sure it was on a day when he was off-duty!” Other than Narian, who seemed lost inside his head, we all laughed at the joke, then went back to observing the festivities. Another hour passed, along with lunch, which was served to us within the royal box. I received a few odd glances from my father for conversing freely with Narian throughout the meal, but he didn’t address it, perhaps because of the looks my mother was sending his way. Once servants had removed our plates and dishes, Temerson stood and stretched. “I think I’ll step out, if you don’t mind, love,” he said to Miranna, who nodded, then he turned to my father and Koranis. “Would anyone care to join me?” They both agreed, and all were soon departing through the door behind us. I chuckled at their odd behavior, and Semari came to sit by Miranna, taking up Temerson’s seat. It was then that I noticed Alantonya had been left a bit stranded. She didn’t seem to mind, but I nonetheless pointed this out to Narian. Though he looked almost like he was swallowing medicine, he rose to his feet and walked to his mother, ignoring Semari’s stare. “Do you mind?” he asked Alantonya, gesturing to the vacant chair beside her. “No,” she said, surprised. “No, not at all.” With one final glance at me, to which I responded with an encouraging nod, he took a seat. “Are you enjoying the festivities?” he asked the Baroness, beginning some small talk, but their voices gradually dropped lower, their conversation more private. Though I could not hear their words, their postures relaxed. Then Alantonya reached out to place her hand over her son’s where it rested on the arm of his chair, and he smiled.

Cradling her in his arms, Arik enjoyed the moment. A moment that went on for a while until he felt compelled to ask, “Are you okay?” She stirred against him. Her head tilted far enough for him to see the lazy smile she shot him. “Better than okay.” She wiggled in his arms, and he let her down, hiding his smug satisfaction as she wavered on wobbly legs, a smugness that faded when she said, “That sure beats waking up to Frosted Flakes and milk.” Did she really compare him to— “Processed cereal?” He shuddered. “Don’t tell me you eat that stuff.” “All the time. I like it. It’s fast and easy. Who doesn’t like a bowl of sugar to perk them up in the morning?” “Not me. A lion needs real food.” “Lion? Someone’s got a messed-up opinion of himself,” she teased, not realizing his verbal gaffe. “Although I’ll admit you do kind of remind me of an animal with some of the noises you make.” If she only knew those noises were just the tip of his furry, perfectly tufted tail. “So sue me for being a man who expresses himself vocally when aroused. But I warn you, sue me at your own peril. I have the best lawyer in town on retainer.” “If you ask me, your money would be better spent with a psychiatrist for your ego problem.” “Admit it, my supreme confidence is sexy.” “No, it’s disturbing, but lucky for you, your butt is awesome.

Let me be explicit: It seems to me that the “is” in the above sentence should be taken as the “is” of identity. The mental event and the physical event are identical in exactly the same way that hitting a particular musical note and moving one's vocal cords in a particular way are the same event. Here I go farther than Melnyk, who tells me by private communication that he remains agnostic as to the identity of mental events and their physical realizers. For me, “realization” is best construed as an identity relation between mental-act tokens and physical-act tokens. I think that we need to see that the essentialist Cartesian concepts of “mental” and “physical” as mutually exclusive categories is an obscurantist, religiously based holdover from the seventeenth century, one that should no longer have any place in our discussions of mind

what happened was that one of the engineers must have heard the Sunkist vocal tape and for reasons best known to himself – shits and giggles, probably – cobbled together a bootleg, a Sunkist ‘Blue Monday’ take for fun. He obviously gave it to someone, who gave it to someone . . . until eventually it ended up with Sunkist, who grabbed it, put their logo on it, did an edit using some of the ‘Touched by the Hand of God’ video and issued it as an official advert. We protested and they ended up pulling the ad, but of course by that time the damage had been done and, like it or not, we’d advertised Sunkist. To add insult to injury, we never got paid for it. Not a cent. It’s still up on YouTube, check it out.

The public didn’t seem to care much for What You See Is What You Sweat—it was her weakest-selling album for Arista. Even her duet with Luther Vandross, “Doctor’s Orders,” their final collaboration, failed to make a dent in the marketplace. “By then I had lost track of all the times Aretha had promised never to speak to me again,” said Luther. “She was always imagining insults that I had inflicted on her. If I came to perform in Detroit, she would demand tickets for twenty-four of her best friends, and if I provided twelve, I was suddenly in the doghouse. It was a draining friendship, to say the least. In the end, though, I couldn’t stay mad at Aretha because she is, after all, Aretha. So when she asked for another ‘Jump to It’–style jam, ‘Doctor’s Orders’ was what I came up with. It isn’t among the favorite things I’ve done. I consider it trifling. And of course it wasn’t helped by the fact that Aretha refused to leave Detroit to let me produce her vocal where I wanted to produce it—in a studio in LA or New York, where I could do the best job. Her voice was beginning to show signs of age. All voices fray. Recording older voices requires extra-special care. With Aretha, though, that care can’t be applied because she won’t recognize that there’s been even the slightest bit of deterioration.

didn’t know you had a gun.” “I’ve had one for a while,” Sheila spoke as she slid rounds into the empty mag. She’d never loaded her gun in the dark before. In fact, she hadn’t loaded her gun in well over a year. Her husband’s best friend, Reed, had taken her to the gun store to buy the pistol after she tried to convince Parker she needed a gun. “Does Dad know?” Sheila smirked. “He knows.” Parker had been adamant that a gun would serve Sheila no good if she didn’t go out and practice regularly. She had practiced a bit for the first year. Then, her trips to the range became less and less frequent until she stopped going altogether. Though, she told Parker she still practiced. He never seemed to understand that she’d bought the gun to have, not to use. After she bought it, he told her he didn’t think she could pull the trigger against another person. She vocally disagreed with him at the time, but deep down, she knew he was right. Not that she’d ever admit that to him. Lately, she was becoming more and more afraid she may have to use the gun. Still, she slept better at night knowing she had a powerful weapon to protect herself and her girls.

In a curious parallel to Warlock and Moeran’s rowdy tenure at Eynsford, on the other side of the country in North Devon the village of Georgeham had been intruded upon by another outside artistic presence. Novelist Henry Williamson moved to a cottage there in 1921 and proceeded to outrage local decency with a string of louche girlfriends, naked swimming displays, throwing apples at neighbouring farmers, dressing like a proto-hippy in loose clothing and bare feet. Best known as author of the children’s book Tarka the Otter, Williamson’s many books, including his fifteen-volume fictionalised memoir A Chronicle of Ancient Sunlight, testify to a quasi-mystical relationship with nature and the English landscape, while his reputation was later severely tarnished because of his vocal support of the Hitler Youth and Oswald Mosley’s British fascist movement. His son Harry, born in 1950, was destined to become an associate of hippy progressive rockers Gong in the early 1970s, and was part of the collective that organised the earliest free festivals at Stonehenge (see Chapter 16). Already, in the unconventional lifestyle choices of the likes of Warlock, Moeran and Williamson, the pre-echoes of a later British counter-cultural pattern are faintly detectable.

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Later research has shown that you can improve your children’s language skills by responding rapidly to their vocalizations, mimicking the turn-taking of conversation even before your baby is capable of forming words. Responding with a comment or a touch to your baby’s best attempts to communicate seems to encourage continued efforts to improve these skills. So talk to your baby and put up a good show of understanding what she’s saying. It’s fun for both of you, and it will help her language skills to develop more quickly.

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.

Mike plays around with a new toy. As he later describes the harsh rhythmic sound he comes up with: “I programmed that with the very first big Linn drum machine. And I did something the Americans would never do: I put it through my guitar amplifier, a small one, and I turned it up so loud that it was jumping up and down on the chair. What the English do well is take a sound and fuck it up. That’s a prime example. It’s just a horrible but great sound.” He’s not wrong. Straight away it works. We all fall in love with it and, inspired, I do my best John Lennon impersonation, and I also take a vocal cue from Grandmaster Flash and the Furious Five’s “The Message,” adding in the maniacal laugh. And that’s “Mama,” the lead single from the Genesis album. Our biggest ever U.K. hit, both of its time and timeless, and an enduring stage classic.

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Tim McGraw" is inarguably one of the best debut singles of all time. Released when Swift was just 16 years old, the melancholy country song combines wistful acoustic guitars with keening fiddle, banjo and dobro. Her vocals are both innocent and self-assured, with a prominent twang that suits the nostalgic vibe.

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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.

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