Vocal Girl Quotes

One less lonely girl

[novan]: bassists are very good with their fingers [novan]: and some of us sing backup vocals, so that means we're good with our mouths too... (~ IM chat with Novan Chang, 18, bassist)

The dilemma of the eighth-grade dance is that boys and girls use music in different ways. Girls enjoy music they can dance to, music with strong vocals and catchy melodies. Boys, on the other hand, enjoy music they can improve by making up filthy new lyrics.

They smile that smile, they bat those eyes. They steal with hello, they kill you with goodbye. They're the perfect drug. As you're walking away, you hear that sweet voice, 'Stay.

You know how it is with some girls. They seem to take the stuffing right out of you. I mean to say, there is something about their personality that paralyses the vocal cords and reduces the contents of the brain to cauliflower.

I wouldn't say I'm a feminist, but I don't like girls pretending to be stupid because it's easier.

Sound doesn't carry as well through gills. You have to use a different level of your vocal chords." I point to the spot just above his Adam's apple. "Higher." He just stares at me, looking confused——but breathing like he was born to it. "Pretend you're talking like a girl." No way, he mouths, shaking his head. Stupid male ego.

Your skin reminds me of everything beautiful I've ever loved... how the moon gets jealous at how you mock her crescent figure with the shape of your mouth... echo of unborn galaxies bounce forth through your vocal chords...

We all received invitations, made by hand from construction paper, with balloons containing our names in Magic Marker. Our amazement at being formally invited to a house we had only visited in our bathroom fantasies was so great that we had to compare one another's invitations before we believed it. It was thrilling to know that the Lisbon girls knew our names, that their delicate vocal cords had pronounced their syllables, and that they meant something in their lives. They had had to labor over proper spellings and to check our addresses in the phone book or by the metal numbers nailed to the trees.

Charlie Brown: I think lunchtime is about the worst time of day for me. Always having to sit here alone. Of course, sometimes, mornings aren't so pleasant either. Waking up and wondering if anyone would really miss me if I never got out of bed. Then there's the night, too. Lying there and thinking about all the stupid things I've done during the day. And all those hours in between when I do all those stupid things. Well, lunchtime is among the worst times of the day for me. Well, I guess I'd better see what I've got. Peanut butter. Some psychiatrists say that people who eat peanut butter sandwiches are lonely...I guess they're right. And when you're really lonely, the peanut butter sticks to the roof of your mouth. There's that cute little red-headed girl eating her lunch over there. I wonder what she would do if I went over and asked her if I could sit and have lunch with her?...She'd probably laugh right in my face...it's hard on a face when it gets laughed in. There's an empty place next to her on the bench. There's no reason why I couldn't just go over and sit there. I could do that right now. All I have to do is stand up...I'm standing up!...I'm sitting down. I'm a coward. I'm so much of a coward, she wouldn't even think of looking at me. She hardly ever does look at me. In fact, I can't remember her ever looking at me. Why shouldn't she look at me? Is there any reason in the world why she shouldn't look at me? Is she so great, and I'm so small, that she can't spare one little moment?...SHE'S LOOKING AT ME!! SHE'S LOOKING AT ME!! (he puts his lunchbag over his head.) ...Lunchtime is among the worst times of the day for me. If that little red-headed girl is looking at me with this stupid bag over my head she must think I'm the biggest fool alive. But, if she isn't looking at me, then maybe I could take it off quickly and she'd never notice it. On the other hand...I can't tell if she's looking, until I take it off! Then again, if I never take it off I'll never have to know if she was looking or not. On the other hand...it's very hard to breathe in here. (he removes his sack) Whew! She's not looking at me! I wonder why she never looks at me? Oh well, another lunch hour over with...only 2,863 to go.

Don't you get it yet,Harriet?" Nick says in total exasperation. "i like that you know about the stars in the rain and the shapes of the clouds and the heartbeat rate of the hummingbird. I like that you know that giraffes don't have vocal cords and the sharks can't stop moving. I like the way you stick your little nose in the air.....

If you want it to be good girl Get yourself a bad boy

[D]id you ever notice how friendships are a lot like pop songs? They are for girls, anyway. First there's the newness of it, the melody that streams into your head and makes you wonder ― will I like this song? Then come the vocals, what the song's heart truly sounds like, and with it the song's purpose, it's lyrics ― will they say something meaningful about my life? Will these words help me through a difficult time, or create a memory that will make me smile whenever I hear this song again?

Anna's voice wasn't a beautiful voice - rough edged and sorrowful, a bit used, somehow male and female at once. Yet it had more vibrancy to it than most Danish voices, which were often thin and white and too pretty to trigger a shiver. Anna's voice had the heat of the south; it warmed Einar, as if her throat were red with coals.

And, of course, philosophy attracted exactly the wrong kind of girls for Bob – earnest intellectual ones, for example, who wanted to discuss Foucault and Adorno and other people Bob had tried very hard not to hear of. If Bob could have designed a girl he would have started by getting rid of her vocal cords.

She became their loudest advocate and their most vocal defender. She pursued every conspiracy theory and used the settlement from her homecoming night massacre to fund legal challenges to their convictions.

Hey baby love I need a girl like you But tell me if you feel it too I'm in delusion every minute every hour My heart is crying out for you [Bridge:] I feel in heaven when I look in your eyes I know that you are the one for me (one for me) You drive me crazy cuz You're one of a kind I want your lovin' And I want it right now [Refrain:] Ooh baby you're so fine I'm gonna make you mine Your lips they taste so sweet You're the one for me You're my ecstasy You're the one I need

An example of the Peter Pan syndrome is used in Aldous Huxley's 1962 novel Island. In it, one of the characters talks about male "dangerous delinquents" and "power-loving troublemakers" who are "Peter Pans". These types of males were "boys who can't read, won't learn, don't get on with anyone, and finally turn to the more violent forms of delinquency." He uses Adolf Hitler as an archetype of this phenomenon:[15] A Peter Pan if ever there was one. Hopeless at school. Incapable either of competing or co- operating. Envying all the normally successful boys—and, because he envied, hating them and, to make himself feel better, despising them as inferior beings. Then came the time for puberty. But Adolf was sexually backward. Other boys made advances to girls, and the girls responded. Adolf was too shy, too uncertain of his manhood. And all the time incapable of steady work, at home only in the compensatory Other World of his fancy. There, at the very least, he was Michelangelo. Here, unfortunately, he couldn't draw. His only gifts were hatred, low cunning, a set of indefatigable vocal cords and a talent for nonstop talking at the top of his voice from the depths of his Peter-Panic paranoia. Thirty or forty million deaths and heaven knows how many billions of dollars—that was the price the world had to pay for little Adolf's retarded maturation.

You know those times when an opportunity comes up and you hear yourself in some voice you hardly recognize saying yes? Like some imposter had invaded your throat, thumped on your vocal chords, and made a decision for you before you even have had a chance to think it through?

Despite the occasional backlash, I’ll continue to speak on this topic until people stop assuming that this debate is about whether or not to allow women into combat. Women are already fighting in combat with or without anyone’s permission, and they’re doing so valiantly. What they aren’t doing is being trained alongside their comrades-in-arms, given credit for doing the same jobs as their counterparts, given promotions to jobs overseeing combat operations, or being treated like combat veterans by people back home (even some in the Veterans Administration). Not every man has the skill set or warrior spirit for combat. Not every woman does, either. But everyone that does have that skill set should be afforded the opportunity to compete for jobs that enable them to serve in the way their heart calls them. For some people, that calling is in music or art. Some are natural teachers. There are those who will save lives with science. I was called to be a warrior and to fly and fight for my country. I was afforded the opportunity to answer that call, and because of that, I have lived a full and beautiful life. People will always be afraid of change. Just like when we integrated racially or opened up combat cockpits to women, there will always be those who are vocal in their opposition and their fear. History will do what it always does, however. It will make their ignorant statements, in retrospect, seem shortsighted and discriminatory, and the women who will serve their country bravely in the jobs that are now opening up will prove them wrong. Just like we always have.

Once I did find my voice, I saw that it was necessary to speak up in order to be as effective as possible in my role. Yet, many of the women around me still fell into the trap of being seen as ineffective or weak because they never took a vocal stand. No matter how brilliant and impressive these women may have been in one-on-one discussions, not speaking up in meetings hurt their chances of succeeding professionally. When women don't share their ideas with a large number of people, their contributions are easily over looked , and it's difficult for them to be seen as leaders. People naturally want to follow people who take a stand and voice their opinions with confidence.

If the girl’s going to end up with a dude who’s a monster,” Chloe says, “it needs to be—” “Phantom,” Georgia finishes for her as they head outside, because she’s heard it five hundred thousand times. “Monster on the outside, but on the inside, he cares about her career goals!” Chloe says. “Call me old-fashioned, but a man’s place is in the basement, preparing vocal exercises for his more talented wife.

The Pretender" I'm going to rent myself a house In the shade of the freeway I'm going to pack my lunch in the morning And go to work each day And when the evening rolls around I'll go on home and lay my body down And when the morning light comes streaming in I'll get up and do it again Amen Say it again Amen I want to know what became of the changes We waited for love to bring Were they only the fitful dreams Of some greater awakening I've been aware of the time going by They say in the end it's the wink of an eye And when the morning light comes streaming in You'll get up and do it again Amen Caught between the longing for love And the struggle for the legal tender Where the sirens sing and the church bells ring And the junk man pounds his fender Where the veterans dream of the fight Fast asleep at the traffic light And the children solemnly wait For the ice cream vendor Out into the cool of the evening Strolls the Pretender He knows that all his hopes and dreams Begin and end there Ah the laughter of the lovers As they run through the night Leaving nothing for the others But to choose off and fight And tear at the world with all their might While the ships bearing their dreams Sail out of sight I'm going to find myself a girl Who can show me what laughter means And we'll fill in the missing colors In each other's paint-by-number dreams And then we'll put our dark glasses on And we'll make love until our strength is gone And when the morning light comes streaming in We'll get up and do it again Get it up again I'm going to be a happy idiot And struggle for the legal tender Where the ads take aim and lay their claim To the heart and the soul of the spender And believe in whatever may lie In those things that money can buy Though true love could have been a contender Are you there? Say a prayer for the Pretender Who started out so young and strong Only to surrender Jackson Browne, The Pretender (1976)

Vanity 6’s most famous song, ‘Nasty Girl’, may be less well-known than Prince’s greatest hits, but it’s among the most influential songs Prince has written. It’s easy to trace a line from Madonna, who in her earliest incarnation could have been a fourth member of the band, on to Janet Jackson, whose 1986 song ‘Nasty’ (produced by two former members of The Time) reverses the gender from ‘nasty girls’ to ‘nasty boys’, to Britney Spears, who claimed that the track ‘Boys’, from her 2001 album Britney, had ‘a kinda Prince feel to it’, but actually lifts directly from ‘Nasty Girl’ (the song is produced by The Neptunes, and its remixed version, ‘Boys (The Co-Ed Remix)’, features vocals from Pharrell Williams, a producer and rapper and diehard Prince fanatic). Britney’s ‘Let’s turn this dance floor into our own little nasty world’, and repeated invocations to ‘get nasty’, are clear Xeroxes of Vanity’s ‘my own little nasty world’ and ‘dance nasty girls’.

Child Whisperer Tip: Their quick movement from idea to idea often earns these children the label of “childish” or “silly.” So Type 1 children long to be respected as they grow up. In order to be taken seriously, they commonly attempt to slow down their energy and change who they are. Take your Type 1 child’s thought process seriously and listen to what they have to say, no matter how scattered it may appear at times. Their brains work quickly and their language has a hard time keeping up with how quickly thoughts move through their mind. Be willing to just try to make the jump from thought to thought with them sometimes. When it comes to a Type 1s feelings, everything is larger than life. Little joys are huge delights. Hurt feelings can lead to bursts of emotion. Both expressions may sound quite loud, as they express their emotions vocally, especially as young children. Type 1 toddlers are either screaming in delight or screaming in frustration. The highest squeal you hear from teenage girls is most likely to come from a Type 1.

No Mirrors in My Nana’s House” Sweet Honey in the Rock LYRICS BY YSAYE MARIA BARNWELL Sweet Honey in the Rock is a Grammy Award–winning vocal group of black women vocalists founded in 1973 by Bernice Johnson Reagon. The group’s members have changed during its long tenure, but it retains a core of five vocalists and a sign-language interpreter. Their performances are deeply embodied celebrations of black women’s lived experiences. The group’s name is derived from Psalm 81:16: “But you would be fed with the finest of wheat; with honey from the rock I would satisfy you.” Sign-language interpreter Dr. Ysaye Barnwell joined Sweet Honey in the Rock in 1979 and appears in more than thirty recordings with the group. She is the author of one of the group’s most popular recordings, “No Mirrors in My Nana’s House.” It is a stirring piece that reveals how the loving protection of black women can shield black girls from a painful world that seeks to negate their beauty and worth. In 1998 the lyrics became a children’s book published by Harcourt Brace. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. And the beauty that I saw in everything was in her eyes (like the rising of the sun). I never knew that my skin was too black. I never knew that my nose was too flat. I never knew that my clothes didn’t fit. I never knew there were things that I’d missed, cause the beauty in everything was in her eyes (like the rising of the sun); . . . was in her eyes. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. And the beauty that I saw in everything was in her eyes (like the rising of the sun). I was intrigued by the cracks in the walls. I tasted, with joy, the dust that would fall. The noise in the hallway was music to me. The trash and the rubbish just cushioned my feet. And the beauty in everything was in her eyes (like the rising of the sun). . . . was in her eyes. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. And the beauty that I saw in everything was in her eyes (like the rising of the sun). The world outside was a magical place. I only knew love. I never knew hate, and the beauty in everything was in her eyes (like the rising of the sun). . . . was in her eyes. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. And the beauty that I saw in everything was in her eyes (like the rising of the sun).

Danny and the Memories was the band at the root of Crazy Horse. They were a vocal group with Danny Whitten, Ralphie, Billy, and a guy named Ben Rocco. When I recently saw their old video of "Land of a Thousand Dances" on You-Tube, I realized that is is truly the shit. You know, I looked at it maybe twenty times in a row. Even though Danny was amazing and he held the Horse together in the early days, I did not know how great Danny was until I saw this! The moves! What an amazing dancer he was. His presence on that performance is elevating! He is gone, and no one can change that. We will never see and hear where he was going. I am telling you, the world missed one of the greatest when Danny and the Memories did not have a NUMBER ONE smash record back in the day. They were so musical, with great harmonies, and Danny was a total knockout! I am so moved by this that it could make me cry at any time. This is one of those many times when words can't describe the music. Danny and the Memories eventually transformed into the Rockets; they were playing in this old house in Laurel Canyon, and I somehow connected with them while Buffalo Springfield was at the Whiskey. We had a lot of pots jams in the house. Later on I saw Danny and the guys at somebody's house in Topanga. After that I asked if Danny, Billy, and Ralphie would play on a record with me. We did one day, practicing in my Topanga house, and it sounded great. I named the band Crazy Horse and away we went. The Rockets were still together, but this was a different deal. At that time, I thought Danny was a great guitarist and singer. I had no idea how great, though. I just was too full of myself to see it. Now I see it clearly. I wish I could do that again, because more of Danny would be there. I have made an Early Daze record of the Horse, and you can hear a different vocal of "Cinnamon Girl" featuring more of Danny. He was singing the high part and it came through big-time. I changed it so I sang the high part and put that out. That was a big mistake. I fucked up. I did not know who Danny was. He was better than me. I didn't see it. I was strong, and maybe I helped destroy something sacred by not seeing it. He was never pissed off about it. I wasn't like that. I was young, and maybe I didn't know what I was doing. Some things you wish never happened. But we got what we got. I never really saw him a sing and move until I saw that "Land of a Thousand Dances" video. I could watch it over and over. I can't believe it. It's just one of those things. My heart aches for what happened to him. These memories are what make Crazy Horse great today. And now we don't have Briggs, either, for the next record, but we have the spirit and the heart to go on. And we have John Hanlong, taught by Briggs, to engineer this sucker. It will rock and cry. Please let's get to this before life comes knocking again.

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

For Dylan, this electric assault threatened to suck the air out of everything else, only there was too much radio oxygen to suck. “Like a Rolling Stone” was the giant, all-consuming anthem of the new “generation gap” disguised as a dandy’s riddle, a dealer’s come-on. As a two-sided single, it dwarfed all comers, disarmed and rejuvenated listeners at each hearing, and created vast new imaginative spaces for groups to explore both sonically and conceptually. It came out just after Dylan’s final acoustic tour of Britain, where his lyrical profusion made him a bard, whose tabloid accolade took the form of political epithet: “anarchist.” As caught on film by D. A. Pennebaker’s documentary Don’t Look Back, the young folkie had already graduated to rock star in everything but instrumentation. “Satisfaction” held Dylan back at number two during its four-week July hold on Billboard’s summit, giving way to Herman’s Hermits’ “I’m Henry the Eighth, I Am” and Sonny and Cher’s “I Got You Babe” come August, novelty capstones to Dylan’s unending riddle. (In Britain, Dylan stalled at number four.) The ratio of classics to typical pop schlock, like Freddie and the Dreamers’ “I’m Telling You Now” or Tom Jones’s “It’s Not Unusual,” suddenly got inverted. For cosmic perspective, yesterday’s fireball, Elvis Presley, sang “Do the Clam.” Most critics have noted the Dylan influence on Lennon’s narratives. Less space gets devoted to Lennon’s effect on Dylan, which was overt: think of how Dylan rewires Chuck Berry (“Subterranean Homesick Blues”) or revels in inanity (“Rainy Day Women #12 & 35”). Even more telling, Lennon’s keening vocal harmonies in “Nowhere Man,” “And Your Bird Can Sing,” and “Dr. Robert” owed as much to the Byrds and the Beach Boys, high-production turf Dylan simply abjured. Lennon also had more stylistic stretch, both in his Beatle context and within his own sensibility, as in the pagan balalaikas in “Girl” or the deliberate amplifier feedback tripping “I Feel Fine.” Where Dylan skewed R&B to suit his psychological bent, Lennon pursued radical feats of integration wearing a hipster’s arty façade, the moptop teaching the quiet con. Building up toward Rubber Soul throughout 1965, Beatle gravity exerted subtle yet inexorable force in all directions.

you'll wonder again, later, why so many psychologists remain so vocal about having more and better training than anyone else in the field when every psychologist you've ever met but one will also have lacked these identification skills entirely when it seems nearly every psychologist you meet has no real ability to detect deception. You will wonder, later, why the assessment training appears to have been reserved for the CIA and the FBI is it because we as a society don't want to imagine that any other professionals will need the skills? And what about attorneys? What about training programs for guardian ad litems or anyone involved in approving care for all the already traumatized and marginalized children? You'll have met enough of those children after they grow up to know that when a small girl experiences repeated rapes in a series of households throughout her childhood, then that little girl is pretty likely to have some sort of "dysfunction" when she grows up. And you won't have any tolerance for the people who point their fingers at her and demand that she be as capable as they are it is, after all, a free country. We all get the same opportunities. You'll want to scream at all those equality people that you can't ignore the rights of this nation's children you can't ignore them and then get pissed when any raped and beaten little girls and boys grow up to be traumatized and perhaps hurtful or addicted adults. No more pointing fingers only a few random traumatized people stand up later as some miraculous example of perfectly acceptable societal success and if every judgmental person imagines that I would be like that I would be the one to break through the barriers then all those judgmental people need to go back in time and prove it, prove to everyone that life is a choice and we all get equal chances. You'll want anyone who talks about equal chances to go back and be born addicted to drugs in complete poverty and then to be dropped into a foster system that's designed for good but exploited by people who lack a conscience by people who rape and molest and whip and beat tiny little six year olds and then you will want all those people to come out of all that still talking about equal chances and their personal tremendous success. Thank you, dear God, for writing my name on the palm of your hand. You will be angry and yet you still won't understand the concept of evil. You'll learn enough to know that it's not politically correct to call anyone evil, especially when many terrible acts might actually stem from a physiological deficit I would never use the word evil, it's not professional but you will certainly come to understand that many of the very worst crimes are committed by people who lack the capacity to feel remorse for what they've done on any level. But when you gain that understanding, you still will not have learned that these individuals are more likable than most people that they aren't cool and distant that they aren't just a select few creepy murderers or high-profile con artists you won't know how to look for a lack of conscience in noncriminal and quite normal looking populations no clinical professors will have warned you about people who exude charm and talk excessively about protecting the family or protecting the community or protecting our way of life and you won't know that these types would ever stick around to raise kids you will have falsely believed that if they can't form real attachments, they won't bother with raising children and besides most of them will end up in prison you will not know that your assumptions are completely erroneous you won't understand that many who lack a conscience keep their kids close and tight for their own purposes.

The vocal credits for Singin’ in the Rain are interesting, and rather confusing. In the film, Debbie Reynolds has been hired to re-dub [Jean Hagen]’s dialogue and songs in the latter’s first talking picture. We see the process being done in a shot of Reynolds, back to camera, matching her dialogue to Jean’s and synchronizing it while watching the sequence on film. But the voice that is used to replace Jean’s dialogue is not Reynolds’, but Jean’s own quite lovely natural voice. Director Stanley Donen explained, in Hugh Fordin’s The World of Entertainment: “We used Jean Hagen dubbing Debbie dubbing Jean. Jean’s voice is quite remarkable and it was supposed to be cultured speech, and Debbie had that terrible western noise.” To further confuse matters, the voice we hear as Jean sings “Would You?,” also supposedly supplied by Reynolds, is that of yet a third girl, unbilled studio singer Betty Noyes.

Do you have something to say?" I prompted. "Or do you just enjoy propping up the wall?" Colin considered me for a moment longer. Aunt Arabella likes you." He sounded unflatteringly perplexed. "There is a small but vocal minority of people who do." Colin had the good grace to look abashed. "Look, I didn’t mean to—" "Treat me like I have a loathsome social disease?" His lips quirked with something that might have been amusement. "Do you?" "None that I’d admit to in mixed company." After all, an unhealthy obsession with Cadbury Fruit & Nut bars isn’t the sort of weakness a girl confides in just anybody.

A girl has shorter vocal cords than a boy, so it actually takes less effort for her to talk. As for boys‚ their vocal cords double in length during puberty. This can make it a lot of work for them to spit something out! Guys are four times more likely than girls to have a stuttering problem. So, because many boys aren’t as good at talking as girls, they do less of it.

But Nossie isn't the type of girl you'd bet on with your friends" LIsa said "And the problem is not that I'm betting on her, she gives my life a meaning, so whenever I talk about her with my friends, I'm trying to Question my intentions, I'm trying to fathom if I can love her the way she deserves." I said with my voice engulfed with hope. See whenever she walked next to me, my body would quake My vocal chords would lose signal And for that moment, i'd turn into a puppet stringed by her ravishing looks, by her immaculately crafted body.

So I had to go through, and admit, some other firsts: I was the first in my family to attend counseling. I was the first in my family to be vocal about my suicidal ideation. I was the first in my family to leave my husband even when he did not hit me.

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 other song we did was my cover of “Addicted to Love.” There used to be a sort of karaoke booth on Saint Mark’s, where anyone could go in and record themselves. I chose “Addicted to Love” because I liked Robert Palmer’s video, with its background cast of zombie models identically dressed and holding guitars. I took the tape with the canned version of the song back to the studio, and we sped up the vocal to make it sound higher in pitch. Later I brought the cassette mix to Macy’s, where they had a video version of the karaoke sound booth. You could customize a background while two cameras filmed you. For my backdrop I picked jungle fighters, and I wore my Black Flag earrings. The entire bill came to $19.99, and in a slick, commercial MTV world, it felt gratifying and empowering to pay for the whole thing with a credit card.

Dirty Thrills has a crazy cool blues-rock sound with wailing guitar riffs and melt-your-panties vocals. The guitarist looks like Colin Farrell, with sad, love-me-till-it-hurts brown eyes, pouty lips, and a mustache that could tickle a girl in all the right places.

I would have never taken you for a coward, Mr. Mulberry, but honestly, do you really believe carting out your wards is going to convince me to agree to whatever madness has you seeking me out so late at night?” Everett smiled almost as brightly as the children. “Now, now, Miss Longfellow, there’s no cause to call me a coward. Smart like a fox, perhaps, but—” “You shouldn’t antagonize her, Everett,” Lucetta suddenly said, interrupting Everett’s speech before she turned to Millie. “And you shouldn’t be surprised he brought the children with him, considering everyone knows you have a distinct weakness for the wee ones. However, before the conversation moves forward, I really am going to have to insist that the two of you drop all of this Miss and Mister nonsense. We have a common friend in Oliver Addleshaw. Which means, like it or not, we’re now friends of a sort. And because of that, there’s really no reason for such formality.” “There is if he’s here to ask me to work for him.” “Of course he’s here to ask you to work for him,” Lucetta said. “But that has absolutely nothing to do with calling him by his given name.” Millie opened her mouth, but before she could respond, something that looked remarkably like mud began seeping through the paper wrapped around the flowers she was holding. Moving to the closest table, she unwrapped the paper before setting her sights on Everett again. “Did you pull these flowers right out of the ground, Mr. Mulberry?” Everett smiled. “Please, call me Everett since Lucetta was kind enough to point out we’re friends, and of course I didn’t pull those right out of the ground.” Millie held up the flowers, exposing the roots still clinging to dirt. “You would have me believe you purchased these from a flower shop?” “It’s after ten. There are no flower shops open, but if you must know, I had Rosetta pluck those out of the ground for you.” A little girl of about five raised an incredibly dirty hand and waved at her right as Everett cleared his throat, drawing Millie’s attention. “I think you should view it as a mark in my favor that I remembered the flowers, especially since, again, I’m a little sensitive to them, but . . . you were quite vocal about what it would take to get you to work for me.” He sent her a far-too-charming smile. Ignoring the charm, Millie lifted her chin. “You might as well tell me what disaster struck your household now.” Everett shot a glance to the children and seemed to shudder. “Why would you assume something disastrous happened?” Setting the flowers, roots and all, aside, Millie crossed her arms over her chest. “Don’t insult my intelligence, Everett. You wouldn’t be bringing me flowers or children if something of a disastrous nature hadn’t occurred.” “The children are adorable, aren’t they?” “Of course they’re adorable, dear, which I’m sure you were hoping to use to your advantage,” Abigail said as she arrived in the drawing room, pushing a cart that seemed to be heavy with treats.

What about the other girl with you—Forra? Why is she with you?” “I saved her from execution. She is very vocal about her dislike of the king.” “Then why did you save her?” Garvanna asked. Caelfel's expression hardened. “Because the king is wrong, and she is right. King Orrik wouldn’t even save his own son.

La Tata’s eyes conjuring a memorized motherly anger, the same anger brought on her by her sick mother, by the vecinas, by her patronizing sisters, an anger spilling out of every single mother, a rehearsed womanly conviction, a learned frown, hands arched on hips, pursed lips, eyes vaguely shut vibrating to the rhythm of the vocal cords—the posture of every Colombian mother, a hologram passed on through generations to land on the next girl’s body in a Now you are gonna tell me ahora mismito where carajos are you getting all that money y ay Myriam del Socorro Juan that you lie to me. Y agárrate muela picá que lo que viene es candela. Myriam

You didn’t have to do that,” I whispered, my words almost drowned out by the engines turning on. “I know, but I wanted to. She’s a sweet little girl, but I can imagine getting lost in the shuffle is frustrating, and she’s not old enough to vocalize it. I’m more than happy to give her a little but of my time. It’s simple, but I have a feeling it means a lot to her.

You’re the one who told me that I needed to get laid, remember?” Yeah, can I rip out that girl’s vocal cords? “I remember, but I thought you’d have a one-night stand and be done with her.” Wow, that sounds bad. “I’m not you.

We had a good gag in the middle of the song where the lyric talks about ‘being left out on the pavement,’ and a girl’s voice says, ‘Goodbye.’ The girl we used for that is the actual girl who’d dumped Martin and caused him all the heartache that inspired the album. The words Martin came up with for the end of the song were ‘And all my friends just might ask me. They say, “Martin, maybe one day you’ll find true love,”’ which I thought worked well, and we capped it off by a block of vocals at the end, during which you can hear me singing, ‘Be lucky in love.

Just a moment.’ Assad disappeared out the door, and Carl stared at the cup. The combination of words like ‘libido’ and ‘Mona’ made him suddenly thirsty. A little sip couldn’t hurt. He felt the steam and the smell of distant, exotic coasts and dived in. He thought it tasted rather good until the effect kicked in. The combination of neck arteries suddenly opening, oesophagus collapsing, vocal cords scratching like hell and not being able to feel his uvula all made him instinctively grab his throat with one hand and support himself on the edge of the table with the other. If there’d been acid in the cup, it wouldn’t have felt much different. He wanted to swear but not a word came out, only tears and saliva from the corners of his mouth, and he had an unusually keen desire for revenge and ice-cold water by the bucketload. ‘What’s wrong, Carl?’ asked Assad as he came in with the report. ‘Was there too much ginger?

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.

When thinking about it, it creeps me out. But that is life; I know one thing, I always try to do the right thing, because after they are gone you have nothing but sad misgivings. They're nothing more than bullies! I wish all of those assholes would have taken their belts and hanged themselves with it or cut their wrists, no! That would be too good for them… either way, justice comes with a price, and that was my fifteen-year-old girl. She lost her innocence to her bullies, and that is when my fifteen-year-old girl lost her existence in life too. All of this could have been stopped; yet after all these years,’ people still bully the weaker individuals, which they can overpower. They can fry in hell, in the eternal lake of fire! That is all I can say. Him! He would put things in her mouth, and spattered her innocents over his face and walls of the halls. He even had a life-size poster in his bedroom of my little girl, which he idolized every night, if you know what I mean; the revolting twisted freak. So now, Jaylynn clings to my ankles, as I walked to and around the cemetery as well. Yet I cannot help but say I told you so, and she says ‘I-NO-O!’ In a moaning vocal-sounding whisper! It is weird to think about but, everyone I ever loved has died, even my daughter. So, my philosophy as of now. I just chose to never love again, and I have kept that promise up until this point in my life. Things were about to change in a big way once again like always it is out of my control. All these years… I have been pining over what I cannot have, so I guess it is okay to drown my sorrows with a drink once in a while. I need one right now.

A secret lab is considered by many to be the physical manifestation of a spark’s mind. Thus they tend to be rather individualistic. Some are spotlessly clean; some are filled with dangerous trash. Some are ruthlessly efficient; some are filled with suicidal deathtraps. Needless to say, sparks are usually vocally dismissive of the labs of others, while surreptitiously making notes about things they’d wished they’d thought of themselves.

You know how it is with some girls. They seem to take the stuffing right out of you. I mean to say, there is something about their personality that paralyses the vocal cords and reduces the contents of the brain to cauliflower

Boldness is the vehicle to get you from point A to point B, from your current reality to the place where your dreams come true. No one is going to do the work for you, and who you choose to be is more powerful than any resume. So when you want something, you have to be vocal about it. If you want something, no one knows until you say it, and the more people who know, the better the chances of them helping you make it happen. Humility is a beautiful thing, but if you aren’t willing to be bold, you will often be overlooked. There’s a fine line between seeking attention and actually being able to back it up, but there’s not a stronger combination than knowing what you’re made of, being the best candidate for the job, and confidently letting your future boss know it as well.