Vocal In Love Quotes

The future for me is already a thing of the past - You were my first love and you will be my last

Do I love you because you're beautiful, or are you beautiful because I love you?

Hide yourself in God, so when a man wants to find you he will have to go there first.

Love me - that's all I ask of you.

Say you'll love me every waking moment.

I 'never told my love' vocally; still, if looks have language, the merest idiot might have guessed I was over head and ears;

[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)

Say you'll share with me one love, one lifetime. Lead me, save me from my solitude. Say you want me with you, here beside you. Anywhere you go, let me go, too. Christine; that's all I ask of you.

RAOUL: Free her! Do what you like, only free her! Have you no pity? PHANTOM: Your lover makes a passionate plea! CHRISTINE: Please, Raoul, it's useless... RAOUL: I love her! Does that mean nothing? I love her! Show some compassion... PHANTOM: The world showed no compassion to me!

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.

love is just a history that they may prove and when your gone ill tell them my religion is you

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.

Back To December is a song that addresses a first for me. In that I've never apologized in a song before. Whether it be good or bad or an apology. The person I wrote this song about deserves this. This is about a person who was incredible to me- just perfect in a relationship- and I was very careless with him. So, this is a song full of words that I would say to him that he deserves to hear. I’ve never felt the need to apologize in a song before, but in the last two years I’ve experienced a lot, a lot of different kinds of learning lessons And sometimes you learn a lesson too late and at that point you need to apologize because you were careless. ['Back To December'] is about a person who was incredible to me, just perfect to me in a relationship, and I was really careless with him I’ve written songs about things like burning my ex boyfriends pictures… I’ve written songs about the times that I’ve been hurt by love. But then one day I woke up and realized that I had hurt somebody… And so I wrote this song to tell him I’m sorry

People speak because they are afraid of silence. They speak mechanically whether aloud or to themselves. They are intoxicated by this vocal gruel that ensnares every object and every being. They talk about rain and fine weather; they talk about money, about love, about nothing. And even when they are talking about their most exalted love, they use words uttered a hundred times, threadbare phrases.

I forget the last time I felt brave, I just recall insecurity Cause it came down like a tidal wave, and sorrow swept over me Then I was given grace and love, I was blind but now I can see Cause I found a new hope from above, and courage swept over me

I get so high when you're with me then crash and crave you when you leave

I never told my love vocally still.

Tell me now, fairy as you are - can't you give me a charm, or a philter, or something of that sort, to make me a handsome man?" "It would be past the power of magic, sir;" and, in thought, I added, "A loving eye is all the charm needed: to such you are handsome enough; or rather, your sternness has a power beyond beauty." Mr. Rochester had sometimes read my unspoken thoughts with an acumen to me incomprehensible: in the present instance he took no notice of my abrupt vocal response; but he smiled at me with a certain smile he had of his own, and which he used but on rare occasions. He seemed to think too good for common purpose: it was the real sunshine of feeling - he shed it over me now.

Loving him was red.

Creation is the vocal chords of God speaking each day through the colors of the sunrise, the vastness of the night sky,the teeming of life in the ocean, the majesty of the mountains.

Do I love you because you're beautiful, or are you beautiful because I love you? Am I making believe I see in you, a woman too perfect to be really true? Do I want you because you're wonderful, or are you wonderful because I want you? Are you the sweet invention of a lover's dream, or are you really as beautiful as you seem?

stones taught me to fly, love taught me to lie, courage teach me to be shy... because it's not hard to fall when you float like a cannonball.

Learning to love yourself, is the greatest love all

I'll love you with all the madness in my soul.

When the heart is beautiful, its light shines through the eyes, vocal tones and actions of its master. True beauty is not in the body, but in the heart of the beholder.

I'd take another chance, take a fall Take a shot for you And I need you like a heart needs a beat But it's nothin new I loved you with a fire red- Now it's turning blue, and you say... "Sorry" like the angel heaven let me think was you But I'm afraid... It's too late to apologize,

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

That was the day I promised I'd never sing of love if it does not exists but darling You are the only exception

I tell you how I feel But you don't care I say tell me the truth But you don't dare You say love is a hell You cannot bear And I say gimme mine Back and then go there For all I care.

it's so easy to get lost inside a problem that seems so big at the time it's like a river a that's so wide it swallows you whole while your sittin round thinkin 'bout what you can't change and worrying about all the wrong things times flying by moving so fast you better use it all cause you can't get it back sometimes that mountain you've been climbing is just a grain of sand and what you've been out there searching for forever is in your hands ooooo when you figure out love is all that matters after all it sure makes everything else seem so small.

Love when you can. Cry when you have to. Be who you must, it's a part of the plan. Await your arrival, with simple survival, and one day we'll all understand.

Words. I’m surrounded by thousands of words. Maybe millions. Cathedral. Mayonnaise. Pomegranate. Mississippi. Neapolitan. Hippopotamus. Silky. Terrifying. Iridescent. Tickle. Sneeze. Wish. Worry. Words have always swirled around me like snowflakes—each one delicate and different, each one melting untouched in my hands. Deep within me, words pile up in huge drifts. Mountains of phrases and sentences and connected ideas. Clever expressions. Jokes. Love songs. From the time I was really little—maybe just a few months old—words were like sweet, liquid gifts, and I drank them like lemonade. I could almost taste them. They made my jumbled thoughts and feelings have substance. My parents have always blanketed me with conversation. They chattered and babbled. They verbalized and vocalized. My father sang to me. My mother whispered her strength into my ear. Every word my parents spoke to me or about me I absorbed and kept and remembered. All of them. I have no idea how I untangled the complicated process of words and thought, but it happened quickly and naturally. By the time I was two, all my memories had words, and all my words had meanings. But only in my head. I have never spoken one single word. I am almost eleven years old.

Promise me this, that you'll stand by me forever. But if God forbid Fate should step in and force us into a goodbye. If you have children someday, when they point to the pictures please tell them my name. Tell them how the crowd went wild, tell them how I hope they shine.

You're waiting for someone to put you together, you're waiting for someone to push you away, there's always another wound to discover, there's always something more you wish he'd say

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.

Wish I had known what seemed so strong has been and gone.

Question for your life: If love existed an octave above where your vocal range ended, would you buy a dog whistle to get my attention?

A different lover is not a sin

Somebody, crowd me with love. Somebody, force me to care. Somebody, make me come through, I'll always be there, as frightened as you, to help us survive being alive!

Till now, my conception of love has been based entirely on what I have seen in Hindi films, where the hero and the heroine make eye contact, and whoosh, some strange chemistry sets their hearts beating and their vocal chords tingling, and the next you see of them they are off singing songs in Swiss Villages and American shopping malls.

My rock candy passion is bittersweet And armed to the teeth Cuz she would rather fall in chocolate Than fall in love.. Especially with me!

I swore I would love you 'til the end of time, so now I'm praying for the end of time to hurry up and arrive.

At nearly three in the morning sleepiness weighted my body as we lay there together so still. I heard his breathing even out as we both hovered in that place between wake and sleep. And then his hand wandered lazily down my back and over my hip until he was cupping the full curve of my behind, part of me that he’d actively avoided touching all night. Scratch that sleepy thing. His firm hands clutched me closer and I breathed a heady gust of air at his throat. I’d been careful all night not to be too vocal about how good his touches felt. I knew each noise would act as fuel, making it even harder for him. He rolled to his back, pulling me on top of him with both hands fully on my backside now. “Kaidan,” I whispered. Looking half-asleep, he shushed me with a hot kiss, pulling my hips to crush us together. I whimpered into his mouth. “God, those little sounds,” he said against my lips. “I want to hear how you sound when I make you—” “Kai!” I practically leaped off him, and he sat up, eyes blazing, licking his lips. I was breathing hard. He had to be as tired as me after our long day, and it was starting to weaken us big-time. Oh, how I’d love to indulge that weakness. I scooted farther away. “Maybe we should try to get some sleep,” I suggested, though I was feeling wide-awake now. He stared at me with roaring passion. “I think a third shower might be necessary,” he said. A silly laugh wanted to escape me, but there was no humor in his eyes. Only want.

What about your Your 10,000 promises? That you gave to me (to me, babe) Your 10,000 promises That you promised me You say I'll take you back But I close the door 'Cause I don't want 10,000 more

I don't care who you are Where you're from What you did As long as you love me

Day by day, dear Lord, Of Thee three things I pray. To see Thee more clearly, Love Thee more dearly, Follow Thee more nearly, Day by day.

Once I thought I saw you in a crowded hazy bar, Dancing on the light from star to star. Far across the moonbeam I know that's who you are, I saw your brown eyes turning once to fire. You are like a hurricane There's calm in your eye. And I'm gettin' blown away To somewhere safer where the feeling stays. I want to love you but I'm getting blown away. I am just a dreamer, but you are just a dream, You could have been anyone to me. Before that moment you touched my lips That perfect feeling when time just slips Away between us on our foggy trip. You are like a hurricane There's calm in your eye. And I'm gettin' blown away To somewhere safer where the feeling stays. I want to love you but I'm getting blown away. You are just a dreamer, and I am just a dream. You could have been anyone to me. Before that moment you touched my lips That perfect feeling when time just slips Away between us on our foggy trip. You are like a hurricane There's calm in your eye. And I'm gettin' blown away To somewhere safer where the feeling stays. I want to love you but I'm getting blown away. The song was written in July 1975 after Young had just undergone an operation on his vocal chords after a cocaine-fueled night with friend. "We were all really high, fucked up. Been out partying. Wrote it sitting up at Vista Point on Skyline. Supposed to be the highest point in San Mateo County, which was appropriate. I wrote it when I couldn't sing. I was on voice rest. It was nuts - I was whistling it. I wrote a lot of songs when I couldn't talk.

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...

There is evidence that the honoree [Leonard Cohen] might be privy to the secret of the universe, which, in case you're wondering, is simply this: everything is connected. Everything. Many, if not most, of the links are difficult to determine. The instrument, the apparatus, the focused ray that can uncover and illuminate those connections is language. And just as a sudden infatuation often will light up a person's biochemical atmosphere more pyrotechnically than any deep, abiding attachment, so an unlikely, unexpected burst of linguistic imagination will usually reveal greater truths than the most exacting scholarship. In fact. The poetic image may be the only device remotely capable of dissecting romantic passion, let alone disclosing the inherent mystical qualities of the material world. Cohen is a master of the quasi-surrealistic phrase, of the "illogical" line that speaks so directly to the unconscious that surface ambiguity is transformed into ultimate, if fleeting, comprehension: comprehension of the bewitching nuances of sex and bewildering assaults of culture. Undoubtedly, it is to his lyrical mastery that his prestigious colleagues now pay tribute. Yet, there may be something else. As various, as distinct, as rewarding as each of their expressions are, there can still be heard in their individual interpretations the distant echo of Cohen's own voice, for it is his singing voice as well as his writing pen that has spawned these songs. It is a voice raked by the claws of Cupid, a voice rubbed raw by the philosopher's stone. A voice marinated in kirschwasser, sulfur, deer musk and snow; bandaged with sackcloth from a ruined monastery; warmed by the embers left down near the river after the gypsies have gone. It is a penitent's voice, a rabbinical voice, a crust of unleavened vocal toasts -- spread with smoke and subversive wit. He has a voice like a carpet in an old hotel, like a bad itch on the hunchback of love. It is a voice meant for pronouncing the names of women -- and cataloging their sometimes hazardous charms. Nobody can say the word "naked" as nakedly as Cohen. He makes us see the markings where the pantyhose have been. Finally, the actual persona of their creator may be said to haunt these songs, although details of his private lifestyle can be only surmised. A decade ago, a teacher who called himself Shree Bhagwan Rajneesh came up with the name "Zorba the Buddha" to describe the ideal modern man: A contemplative man who maintains a strict devotional bond with cosmic energies, yet is completely at home in the physical realm. Such a man knows the value of the dharma and the value of the deutschmark, knows how much to tip a waiter in a Paris nightclub and how many times to bow in a Kyoto shrine, a man who can do business when business is necessary, allow his mind to enter a pine cone, or dance in wild abandon if moved by the tune. Refusing to shun beauty, this Zorba the Buddha finds in ripe pleasures not a contradiction but an affirmation of the spiritual self. Doesn't he sound a lot like Leonard Cohen? We have been led to picture Cohen spending his mornings meditating in Armani suits, his afternoons wrestling the muse, his evenings sitting in cafes were he eats, drinks and speaks soulfully but flirtatiously with the pretty larks of the street. Quite possibly this is a distorted portrait. The apocryphal, however, has a special kind of truth. It doesn't really matter. What matters here is that after thirty years, L. Cohen is holding court in the lobby of the whirlwind, and that giants have gathered to pay him homage. To him -- and to us -- they bring the offerings they have hammered from his iron, his lead, his nitrogen, his gold.

Everybody's got a dark side. Do you love me? Can you love mine? Nobody's a picture perfect, but we're worth it, you know that we're worth it.

I may appear to be free but I'm just a prisoner of your love.

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.

You may not have noticed, but I’m not what you’d call conventionally beautiful. In fact, you might say that I’m the opposite of that. Say, you know - to vocalize, sometimes ad nauseam? Do you think that there’s any minute in any day when I’m not aware of how big I am? Do you think there’s a single minute that goes by when I’m not thinking about how other people see me? Even though I have no control whatsoever over that? Don’t get me wrong - I love my body. But I’m not so much of an idiot to think that everybody else loves it. What really gets to me- what really bothers me - is that it’s all people see.

oh this is how it starts lightning strikes your heart, and it goes off like a gun, brighter than the sun....

His vocals are the stuff of legend—strong, clean, and powerful with a rawness that hooks into your soul and gives it a tug. He sings, and you feel he’s doing it just for you, taking your pain, frustration, joy, rage, sorrow, and love and giving it a voice.

Nyet. I can’t say this in English.” His gaze flickered with conflict, like this wasn’t easy for him to vocalize. “Say what?” The fire, the turmoil, the truth in his eyes—it told me everything, and my heart floated in my chest. I ran my thumb across the scar on his bottom lip. “Ya lyublyu tebya . . . Those words?” Then I realized he’d probably never said them. I’d even bet he’d never heard them either. The knowledge constricted my chest. “Ya lyublyu tebya,” I said softly. “So much.” His grip on my throat tightened possessively while my caress across his lips grew softer. I didn’t need the words from him. I didn’t want to make him feel as if he had to say something he wasn’t comfortable with. “You don’t have to say anything you don’t want to—” “Fuck, woman.” He pulled me in to kiss me deeply—just to shut me up, I think. Still, I sighed into his mouth, heat washing to my toes. I went in for more, but he pulled back and skimmed his lips across mine. “Ya lyublyu tebya. Tak sil’no chto ne mogu dumat’ kogda ty daleko ot menya.” I love you. So much I can’t think when you’re away from me.

But for now let me say I love you Later on there'll be time for so much more But for now meaning now and forever Let me kiss you my darling then once more Once more But for now let me say I love you Later on I must know much more of you But for now here and now how I love you As you are in my arms I love you I love you I love you

While enjoying a month of fine weather at the sea-coast, I was thrown into the company of a most fascinating creature: a real goddess in my eyes, as long as she took no notice of me. I 'never told my love' vocally; still, if looks have language, the merest idiot might have guessed I was over head and ears: she understood me at last, and looked a return - the sweetest of all imaginable looks. And what did I do? I confess it with shame - shrunk icily into myself, like a snail; at every glance retired colder and farther; till finally the poor innocent was led to doubt her own senses, and, overwhelmed with confusion at her supposed mistake, persuaded her mamma to decamp. By this curious turn of disposition I have gained the reputation of deliberate heartlessness; how undeserved, I alone can appreciate.

It's your world, but I make my way in it. At fifteen, no, I couldn't stand up to you. The age of illusions, when we know nothing, we hope for everything; we're wandering in a mist ... And the half of the world that's never had any use for us, suddenly is besieging us. You need us, you adore us, you're suffering for us. You want everything--except to know what we think. You look deep in our eyes--and put your hand up our dress. You call us, "Pretty thing." That confuses us. The most beautiful woman, the highest ranked, lives half dazzled by constant attention, half stifled by obvious contempt. We think all we're good for is pleasing you--till one day, long acquaintance with you dispels the last mist. In a clear light, we suddenly see you as you are--and generally we start preferring ourselves. At thirty, I could finally say no--or really say yes. That's when you begin backing away from us. Now I'm full-grown. I pursue my happiness the same as any man.

When the heart is beautiful, its light shines though the eyes, vocal tones and actions of its owner.

Roan looked down at the pathetic little fur ball with a pink ribbon clipped to the top of its head and growled at it. It came from deep in his throat, and while it was unintentional, it wasn’t precisely a human noise. He could feel it in his throat, vibrating his vocal chords, and the dog’s ears rotated briefly in as much alarm as a dog could express, and then it whimpered and cringed, pissing on the sidewalk in submission. The woman took a couple steps backward, eyes wide and horrified, and dragged her dog past them as she hurried off, the Pom more than happy to leave. Paris looked at him, an eyebrow raised and the corner of his mouth quirked up in a half smile. “I love it when you get defensive.” “I’m the king of the jungle.I’m not taking any shit from a living dust mop.

It wouldn’t really matter if I asked her to please listen to me a thousand more times. That wasn’t something my mother excelled at, much less ever practiced. Listening was reserved for those whose vocal cords took breaks.

How sweet I roam'd from field to field, And tasted all the summer's pride, 'Till I the prince of love beheld, Who in the sunny beams did glide! He shew'd me lilies for my hair, And blushing roses for my brow; He led me through his gardens fair, Where all his golden pleasures grow. With sweet May dews my wings were wet, And Phoebus fir'd my vocal rage; He caught me in his silken net, And shut me in his golden cage. He loves to sit and hear me sing, Then, laughing, sports and plays with me; Then stretches out my golden wing, And mocks my loss of liberty.

Some sample lyrics I think I catch: "My engine races up to seventh gear; wrap your legs around my engine, dear . . . . The tunnel's dark, but the ground is wet; I lubricate it with my dripping sweat!" Or, something vaguely disturbing and gross like that; it's hard to tell with the wailing guitars and the front man screaming through his ravaged vocal chords.

Tell me have you ever wanted someone so much it hurts? Your lips keep trying to speak, but you just can't find the words. Well I had this dream once, I held it in my hand... You had me dim the lights, you danced just like a child. The wine spilled on your dress and all you did was smile. Yeah, it was perfect. I hold it in my mind. When we owned the night.

At length, one lovely morning, when the green corn lay soaking in the yellow sunlight, and the sky rose above the earth deep and pure and tender like the thought of God about it, Alec became suddenly aware that life was good, and the world beautiful . . . One of God's lyric prophets, the larks, was within earshot, pouring down a vocal summer of jubilant melody. The lark thought nobody was listening but his wife; but God heard in heaven, and the young prodigal heard on the earth.

So, I'm gonna choose to reach out, Choose to lay down All of the fear that I've been hiding. Choose to be brave Though my heart's afraid To be a part of your kingdom rising. Oh, God, I'm done runnin' from The reason that You sent Your Son, So I will choose to Love! Maybe I'll hurt Maybe I'll bruise Maybe I'll cry Maybe I'll lose Still, I will choose to love.

Next to the defeated politician, the writer is the most vocal and inventive griper on earth. He sees hardship and unfairness wherever he looks. His agent doesn’t love him (enough). The blank sheet of paper is an enemy. The publisher is a cheapskate. The critic is a philistine. The public doesn’t understand him. His wife doesn’t understand him. The bartender doesn’t understand him.

I see you look at me when you think I'm not aware You're searching for clues of just how deep my feelings are How do you prove the sky is blue, the oceans wide? All I know is what I feel when I look into your eyes I promise you from the bottom of my heart I will love you till death do us part I promise you as a lover and a friend I will love you like I never love again With everything that I am

Perfectly following a list of punctuation rules may grant me some kinds of power, but it won’t grant me love. Love doesn’t come from a list of rules—it emerges from the spaces between us, when we pay attention to each other and care about the effect that we have on each other. When we learn to write in ways that communicate our tone of voice, not just our mastery of rules, we learn to see writing not as a way of asserting our intellectual superiority, but as a way of listening to each other better. We learn to write not for power, but for love. But for all the subtle vocal modulations that typography can express, we’re not just voices. We still need a way to convey the messages that we send with the rest of our bodies.

You see colors no one else can see In every breath you hear a symphony You understand me like nobody can I feel like my soul unfolding like a flower blooming When this whole world gets too crazy And there's nowhere left to go I know you give me sanctuary You're the only truth I know You're the road back home.

Next to the defeated politician, the writer is the most vocal and inventive griper on earth. He sees hardship and unfairness wherever he looks. His agent doesn’t love him (enough). The blank sheet of paper is an enemy. The publisher is a cheapskate. The critic is a philistine. The public doesn’t understand him. His wife doesn’t understand him. The bartender doesn’t understand him. These are only some of the common complaints of working writers, but I have yet to hear any of them bring up the most fundamental gripe of all: the lifelong, horrifying expense involved in getting out the words. This may come as a surprise to many of you who assume that a writer’s equipment is limited to paper and pencils and a bottle of whiskey, and maybe one tweed sports coat for interviews. It goes far beyond that. The problem from which all other problems spring is that writing takes up the time that could otherwise be spent earning a living. The most humble toiler on Wall Street makes more in a month than ninety percent of writers make in a year. A beggar on the street, seeing a writer shuffling toward him, will dig deep into his rags to see if he can spare a dime. . . .

And our ages never bothered her from the very beginning. I was married, but that didn’t matter, either. She seemed to consider things like age and family and income to be of the same a priori order as shoe size and vocal pitch and the shape of one’s fingernails. The sort of thing that thinking about won’t change one bit. And that much said, well, she had a point.

Her tongue touched his, hesitant, almost shy. It was enough. Enough to bring their past, their passion, their desire, rushing back to him. He groaned, low and unabashed, and plunged his tongue deeper into her mouth, his hands snaking around her waist to snare her shirt in two tight fistfuls. She whimpered in reply, the sound pushing him over the edge. With another groan—this one far more aggressive—he yanked her to his body, taking utter possession of her mouth as his hands roamed her back. She fit to his frame with perfection, firm and soft and lush. Nothing had changed. Her body against his ignited a primitive need in him he’d never been able to vocalize, not in song or word, no matter how many times he’d tried. It sparked a want beyond the physical.

Our eyes finally meet—he’s still staring at me, lips parted. And I can’t get a read on his expression. As the moments stretch on, a bud of nervousness blooms in my stomach, its vine wrapping around my vocal chords. “I…I wasn’t sure what you had planned for tonight. You didn’t tell me.” Those long lashes blink, but he doesn’t say anything. I raise my hand toward the kitchen. “I can go change if this isn’t—” “No.” Nicholas steps forward, his hand up. “No, don’t change a thing. You’re…absolutely perfect.” And he’s looking at me like he never wants to stop. “I didn’t expect…I mean, you’re lovely…b-but…” “Wasn’t there a movie about a king who stuttered?” I tease him. “Was he a relative of yours?” He chuckles. And call me crazy, but I swear Nicholas’s cheeks go slightly pink. “No, stuttering doesn’t run in my family.” He shakes his head. “You just knocked me on my arse.” And now I’m beaming. “Thank you. You look pretty great too, Prince Charming.” “I actually know a Prince Charming. He’s first-class prick.” “Well. Now that you’ve tarnished a precious piece of my childhood, this better be some date,” I tease. “It will be.” He holds out his hand to me. “Shall we?

It takes courage and strength to be sensitive to things and even more strength and courage to own up to it or be vocal about it. Robots, the only things with a perfect lack of emotional capacity, are easily controlled, and I suddenly realized that’s why the military often trains people to suppress their emotions. Unfortunately for them, humans aren't machines. We feel, we love, we cry, we despair, and we rejoice. Anyone who’s ever tried to convince me not to feel is someone I shouldn’t have trusted. The only reason you should shut off your emotions and emulate a robot is if you're doing horrible things. How fatal my decisions have been. How many people would be loving, rejoicing, and feeling right now rather than crying indefinitely in the depths of the afterlife? If only I’d figured this out sooner.

I wrote about everything I didn’t write on The Fame. While traveling the world for two years, I’ve encountered several monsters, each represented by a different song on the new record: my ‘Fear of Sex Monster,’ my ‘Fear of Alcohol Monster,’ my ‘Fear of Love Monster,’ my ‘Fear of Death Monster,’ my ‘Fear of Loneliness Monster,’ etc. I spent a lot of nights in Eastern Europe, and this album is a pop experimentation with industrial/Goth beats, 90’s dance melodies, an obsession with the lyrical genius of 80’s melancholic pop, and the runway. I wrote while watching muted fashion shows and I am compelled to say my music was scored for them.

No I did not call in sick to work today No I'm not out hanging with my friends There's no more wasting time On what I think I'm supposed to do My clock is standing still so I can have my dream life life With the ones I love Playing all day long Laying back by the water side With nowhere to go And the music on I'm working hard for my dream life To be my real life And that can't be wrong All I have is this life So I'm making it what I want

I can see that you've been crying You can't hide it with a lie What's the use in you denying That what you have is wrong I heard him promise you forever But forevers come and gone Baby he would say whatever It takes to keep you blind To the truth between the lines Oh I will love you more than that I won't say the words, then take them back Don't give loneliness a chance Baby listen to me when I say I will love you more than that

Early mornings were given over to Bartok and Schoenberg. Midmorning I treated myself to the vocals of Billy Eckstine, Billie Holiday, Nat Cole, Louis Jordan and Bull Moose Jackson. A piroshki from the Russian delicatessen next door was lunch and then the giants of bebop flipped through the air. Charlie Parker and Max Roach, Dizzy Gillespie, Sarah Vaughan and Al Haig and Howard McGhee. Blues belonged to late afternoons and the singers’ lyrics of lost love spoke to my solitude.

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

I've been looking in the mirror for so long. That I've come to believe my souls on the other side. Oh the little pieces falling, shatter. Shards of me, To sharp to put back together. To small to matter, But big enough to cut me into so many little pieces. If I try to touch her, And I bleed, I bleed, And I breathe, I breathe no more. Take a breath and I try to draw from my spirits well. Yet again you refuse to drink like a stubborn child. Lie to me, Convince me that I've been sick forever. And all of this, Will make sense when I get better. I know the difference, Between myself and my reflection. I just can't help but to wonder, Which of us do you love. So I bleed, I bleed, And I breathe, I breathe now... Bleed, I bleed, And I breathe, I breathe, I breathe- I breathe no more.

Drew is the opening song on my favorite album. He’s the song that everyone loves, the song that draws me in and makes me want to listen to the whole album without stopping. He’s the catchy song with the great hook, fancy guitar solo, and soaring vocals. But Shane … Shane’s the hidden track. He’s the song I don’t listen to until I’ve devoured the whole album. He’s that quiet song with the unbelievable melody. The song that makes me understand myself a bit better. Once I discover a truly special hidden track, I never get sick of it.

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.

Home can never be transferred; never repeated in the experience of an individual. The place consecrated by parental love, by the innocence and sports of childhood, by the first acquaintance with nature; by the linking of the heart to the visible creation, is the only home. There there is a living and breathing spirit infused into nature: every familiar object has a history—the trees have tongues, and the very air is vocal. There the vesture of decay doth not close in and control the noble functions of the soul. It sees and hears and enjoys without the ministry of gross material substance.

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.

these glaring disparities, about how those with the most access within the movement set the agenda, contribute to the skewed media portrait, and overwhelmingly fail at funneling resources to those most marginalized. My awakening pushed me to be more vocal about these issues, prompting uncomfortable but necessary conversations about the movement privileging middle- and upper-class cis gay and lesbian rights over the daily access issues plaguing low-income queer and trans youth and LGBT people of color, communities that carry interlocking identities that are not mutually exclusive, that make them all the more vulnerable to poverty, homelessness, unemployment, HIV/AIDs, hyper-criminalization, violence, and so much more.

Words. I’m surrounded by thousands of words. Maybe millions. Cathedral. Mayonnaise. Pomegranate. Mississippi. Neapolitan. Hippopotamus. Silky. Terrifying. Iridescent. Tickle. Sneeze. Wish. Worry. Words have always swirled around me like snowflakes— each one delicate and different, each one melting untouched in my hands. Deep within me, words pile up in huge drifts. Mountains of phrases and sentences and connected ideas. Clever expressions. Jokes. Love songs. From the time I was really little—maybe just a few months old—words were like sweet, liquid gifts, and I drank them like lemonade. I could almost taste them. They made my jumbled thoughts and feelings have substance. My parents have always blanketed me with conversation. They chattered and babbled. They verbalized and vocalized. My father sang to me. My mother whispered her strength into my ear. Every word my parents spoke to me or about me I absorbed and kept and remembered. All of them. I have no idea how I untangled the complicated process of words and thought, but it happened quickly and naturally. By the time I was two, all my memories had words, and all my words had meanings. But only in my head. I have never spoken one single word. I am almost eleven years old. . . .

you may not have noticed, but i'm not what you'd call conventionally beautiful. in fact, you might say that i'm the opposite of that. say, you know - to vocalize, sometimes ad nauseam? do you think that there's any minute in a day when i'm not aware of how big i am? do you think there's a single minute that goes by when i'm not thinking about how other people see me? even though i have no control whatsoever over that? don't get me wrong - i love my body. but i'm not so much of an idiot to think that everybody else loves it. what really gets to me - what really bothers me - is that it's all people see. ever since i was a not-so-little kid. hey, tiny, want to play football? hey, tiny, how many burgers did you eat today? hey, tiny, do you ever lose your dick down there? hey, tiny, you're going to join the basketball team whether you like it or not. just don't try to look at us in the locker room! does that sound easy to you will?

Happiness celebrates how we feel, but we can rejoice over what we know is true regardless of feeling. Joy is the realization that we no longer have to live under our own power. The expression of thanks and the vocalization of delight and hope for a greater purpose that we know nothing of is fullness of joy. In that dark prison ward, the ten Boom sisters felt a pleasure not in the fleas but in the God who allowed them. They rejoiced not in the hunger and sickness but in the God who never forgets or rejects those who love Him and seek His face” (p. 44).

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.

Don Chrisantos Michael Wanzala "Don CM Wanzala" (born April 13), popularly known as Don Santo (stylized as DON SANTO) is a Kenyan singer, rapper, songwriter, arranger, actor, author, content producer, Photo-Videographer, Creative Director (Blame It On Don), entrepreneur, record executive and Leader of the Klassik Nation and chairman and president of Global Media Ltd, based in Nairobi City in Kenya. ​ The genius of DON SANTO rests in his willingness to break from traditional formula and constantly push the envelope. He flips the method of the moment with undeniable swagger and bold African sensibility. As a songwriter, Santo revisits simple, but profound aspects of the human experience – love, lust, desire, joy, and pain that define classical art and drama. He applies his concept to rich, full vocals that exude his intended effect. It is this uncanny ability to compose classics and deliver electrifying live performances that define everything that is essential DON SANTO. In 2015, Santo won the East Africa Music Awards in the Artist of the year Category while his song "Sina Makosa" won the Song of The year. A believer in GOD, FAMILY & GOOD LIFE (Klassikanity).

Sounds of The Fleetwoods singing, “Come Softly to Me” and Robin Luke singing “Susie Darlin” and Little Anthony popping the vocal on “I Ran All the Way Home.” Were they all hits in that summer of 1960? Yes and no. Mostly yes. In the long purple evenings when rock and roll from WLAM blurred into night baseball from WCOU, time shifted. I think it was all 1960 and that the summer went on for a space of years, held magically intact in a web of sounds: the sweet hum of crickets, the machine-gun roar of playing-cards riffling against the spokes of some kid’s bicycle as he pedaled home for a late supper of cold cuts and iced tea, the flat Texas voice of Buddy Knox singing “Come along and be my party doll, and I’ll make love to you, to you,” and the baseball announcer’s voice mingling with the song and with the smell of freshly cut grass: “Count’s three and two now. Whitey Ford leans over ... shakes off the sign ... now he’s got it ... Ford pauses ... pitches ... and there it goes! Williams got all of that one! Kiss it goodbye! RED SOX LEAD, THREE TO ONE!” Was Ted Williams still playing for the Red Sox in 1960? You bet your ass he was—.316 for my man Ted. I remember that very clearly. Baseball

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)

His performance was also intensely visual, with his volatile movements in front of the piano, and his cries and wild vocal accompaniment to his playing, all of which spoke eloquently of his extraordinary passion for the instrument and the music he coaxed, tickled and sometimes pounded out of him. Many critics were put off by all this, thinking it was a mere outward show- and therefore insincere. In fact it is an essential part of music-making for Jarrett, his way of achieving his state of grace… the ecstasy of inspiration. Miles Davis understood that immediately, and so did most other musicians. Jack DeJohonette says: “The one thing that struck me about Keith, that made him stand out from other players, was that he really has a love affair with the piano, it’s a relationship with that instrument… Keith’s hands are actually quire small but because of that he can do things that a person like myself, or other pianists with normal hand spans, can’t do… it enables him to overlap certain chord sequences and do rhythmic things and contrapuntal lines and get these effects of like, four people playing the piano… But I’ve never seen anybody just have such a rapport with their instrument and know its limitations but also push them to the limits, transcend the instrument – which is what I try and do with the drums as well.

Okay,” Max said. “Now I’m terrified that I, um, said it too late?” His uncertainty turned his words into a question. “Am I too late?” he asked again, as if he actually thought . . . As much as Gina enjoyed watching him squirm, she forced her lungs and vocal cords to start working again. “Are you . . .” She had to clear her throat, but then it really didn’t matter what she said, because the tears in her eyes surely told him everything he wanted to hear. She saw his relief, and yes, he was still scared, she saw that, too, but mixed in with that was hope. And something that looked a heck of a lot like happiness. Happiness—in Max’s eyes. “Are you really asking me for a second chance?” she managed to get it all out in a breathless exhale. He kissed her then, as if he couldn’t bear to stand so close and not kiss her. “Please,” he breathed, as he kissed her again, as he licked his way into her mouth and . . . God . . . She could’ve stood there, kissing Max forever, but the man on the megaphone just shouldn’t shut up. Besides, she wanted to be sure that this was about more than just sex. “Do you want me in your life?” Gina asked him. “I mean, need is nice, but . . .” It implied a certain lack of free will. Want on the other hand . . . “Want,” he said. “Yes. I want you. Very much. In my life. Gina, I was lost without you.” He caught himself. “More lost, or . . .” He shook his head. “Fuck it, I’m a mess, but if for some reason you still love me anyway . . . If you really meant what you said, about . . .” There it was gain, in his eyes. Hope. “Loving me anyway . . .” “I don’t love you anyway,” she told him, her heart in her throat. “I love you because.” She touched his face, his smoothly shaven cheeks. “Although now that you mention it, you are something of a mess, and I’m probably entitled to . . . compensation in certain areas. I mean, in any relationship, you need to negotiate a certain amount of compromise, right?” He actually thought she was serious. “Well, yeah.” “So if, say, I were to point out how incredibly hot you’d look wearing that thong—” Max laughed his relief. “Shit, I thought you were serious.” “Shit,” Gina teased. “I am.” He cupped her face between both of his hands, and the heat in his eyes made her knees weak. “I’ll wear one if you wear one . . .

As I walked, I became aware of the strong odor of peonies and jasmine. I inhaled deeply to draw in the lovely bouquet. The scent was from the fresh flowers of a lush garden. The path opened into a courtyard, a tangle of peonies and jasmine framing the entrance, blooming in spectacular fashion. Silky petals brushed against my skin. The tension building in my neck and shoulders melted away as I entered a fairyland. The rustle of the night breeze joined the familiar voice of Teresa Teng echoing from invisible speakers. Beneath my feet, a path of moss-covered stones led to a circular platform surrounded by a large, shallow pond. The night garden was bursting with a palette of muted greens, starlit ivories, and sparkling golds: the verdant lichen and waxy lily pads in the pond, the snowy white peonies and jasmine flowers, and the metallic tones of the fireflies suspended in the air, the square-holed coins lining the floor of the pond, and the special golden three-legged creatures resting on the floating fronds. I knew these creatures from my childhood. The feng shui symbol of prosperity, Jin Chan was transformed into a golden toad for stealing the peaches of immortality. Jin Chan's three legs represented heave, earth, and humanity. Statues of him graced every Chinese home I had ever been in, for fortune was a visitor always in demand. Ma-ma had placed one near the stairs leading to the front door. The pond before me held eight fabled toads, each biting on a coin. If not for the subtle rise and fall of their vocal sacs, I would have thought them statues.

but the poor boy is in a fair way to becoming an alto, a counter-tenor for life.’ ‘Hoot,’ said Graham, grinning still. ‘Does the swelling affect the vocal cords?’ ‘The back of my hand to the vocal cords,’ said Stephen. ‘Have you not heard of orchitis? Of the swelling of the cods that may follow mumps?’ ‘Not I,’ said Graham, his smile fading. ‘Nor had my messmates,’ said Stephen, ‘though the Dear knows it is one of the not unusual sequelae of cynanche parotidaea, and one of real consequence to men. Yet to be sure there is something to be said in its favour, as a more humane way of providing castrati for our choirs and operas.’ ‘Does it indeed emasculate?’ cried Graham. ‘Certainly. But be reassured: that is the utmost limit of its malignance. I do not believe that medical history records any fatal issue – a benign distemper, compared with many I could name. Yet Lord, how concerned my shipmates were, when I told them, for surprisingly few seem to have had the disease in youth – ’ ‘I did not,’ said Graham, unheard. ‘Such anxiety!’ said Stephen, smiling at the recollection. ‘Such uneasiness of mind! One might have supposed it was a question of the bubonic plague. I urged them to consider how very little time was really spent in coition, but it had no effect. I spoke of the eunuch’s tranquillity and peace of mind, his unimpaired intellectual powers – I cited Narses and Hermias. I urged them to reflect that a marriage of minds was far more significant than mere carnal copulation. I might have saved my breath: one could almost have supposed that seamen lived for the act of love.

Next week is Beltane,” she reminded him. “Do you suppose we will make it through the wedding this time?” “Not if Gideon says you cannot get out of this bed,” he countered sternly. “Absolutely not!” she burst out, making him wince and cover the ear she’d been too close to. She immediately regretted her thoughtlessness, making a sad sound before reaching to kiss the ear she had offended with quiet gentleness. Jacob extricated himself from her hold enough to allow himself to turn and face her. “Okay, explain what you meant,” he said gently. “I refuse to wait another six months. We are getting married on Beltane, come hell or . . . necromancers . . . or . . . the creature from the Black Lagoon. There is no way Corrine is going to be allowed to get married without me getting married, too. I refuse to listen to her calling me the family hussy for the rest of the year.” “What does it matter what she says?” Jacob sighed as he reached to touch the soft contours of her face. “You and I are bonded in a way that transcends marriage already. Is that not what is important?” “No. What’s important is the fact that I am going to murder the sister I love if she doesn’t quit. And she will not quit until I shut her up either with a marriage or a murder weapon. Understand?” Clearly, by his expression, Jacob did not understand. “Thank Destiny all I have is a brother,” he said dryly. “I have been inundated with people tied into knots over one sister or another for the past weeks.” “You mean Legna. Listen, it’s not her fault if everyone has their shorts in a twist because of who her Imprinted mate is! Frankly, I think she and Gideon make a fabulous couple. Granted, a little too gorgeously ‘King and Queen of the Prom’ perfect for human eyes to bear looking at for long, but fabulous just the same.” Jacob blinked in confusion as he tried to decipher his fiancée’s statement. Even after all these months, she still came out with unique phraseologies that totally escaped his more classic comprehension of the English language. But he had gotten used to just shrugging his confusion off, blaming it on the fact that English wasn’t his first, second, or third language, so it was to be expected. “Anyway,” she went on, “Noah and Hannah need to chill. You saw Legna when she came to visit yesterday. If a woman could glow, she was as good as radioactive.” She smiled sweetly at him. “That means,” she explained, “that she looks as brilliantly happy as you make me feel.” “I see,” he chuckled. “Thank you for the translation.” He reached his arms around her, drawing her body up to his as close as he could considering the small matter of a fetal obstacle. He kissed her inviting mouth until she was breathless and glowing herself. “I thought I would be kind to you,” she explained with a laugh against his mouth. “You, my love, are all heart.” “And you are all pervert. Jacob!” She laughed as she swatted one of his hands away from intimate places, only to be shanghaied by another. “What would Gideon say?” “He better not say anything, because if he did that would mean he was in here while you are naked. And that, little flower, would probably cost him his vocal chords in any event.” “Oh. Well . . . when you put it that way . . .