Modern Women Poets (2005)
Source: " A life on the edge http://www.theguardian.com/music/2004/aug/20/popandrock8" at The Guardian, 20 August 2004
The Wisdom of Heschel (1970), p. 150
Source: Shadows Linger (1984), Chapter 1, “Juniper” (p. 223; opening words)
"Tom Petty & The Heartbreakers", Billboard, Vol. 118, http://books.google.com/books?id=GBYEAAAAMBAJ No. 12 (25 March 2006), p. 38
“I am proud to be part of today's Bollywood. I love dancing and lip synching to our songs.”
Famous quotes
"At The End Of The Mechanical Age".
Sixty Stories (1981)
Opening address to the Commonwealth Parliamentary Association conference in Nadi, 6 September 2005.
You Don't Bring Me Flowers, co-written with Alan Bergman and Marilyn Bergman
Song lyrics, I'm Glad You're Here with Me Tonight (1977)
On her motivation to write a renowned song, "I Am Woman"
Chicago Tribune interview (March 2013)
Polyhymnia (1590), reported in Bartlett's Familiar Quotations, 10th ed. (1919).
Let's Dance — Video at YouTube http://www.youtube.com/watch?v=NelPivNLPZ8
Song lyrics, Let's Dance (1983)
Source: Sailing the Wine-Dark Sea: Why the Greeks Matter (2003), Ch. III The Poet: How to Party
“Angels’ song, comforting
as the comfort of Christ
When he spake tenderly
to his sorrowful flock.”
Noel Christmas Eve 1913.
Poetry
Reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 54.
As quoted in TIME magazine (10 February 1958)
Quoted in The Beatles — After the Break-up : In Their Own Words (1991) by David Bennahum, p. 54
[Thomas, Marlo, 2004, The Right Words at the Right Time, 229, Simon and Schuster, 978-0-743-44650-1]
“I wanted to produce film songs that go beyond language or culture.”
Original Score
Source: The Wind in the Willows (1908), Ch. 12
Vetulani, Jerzy (6 December 2009): W każdym z nas tkwi mr Hyde https://nto.pl/profesor-jerzy-vetulani-w-kazdym-z-nas-tkwi-mr-hyde/ar/4135849, interview. Nowa Trybuna Opolska (in Polish).
In 1969 Jara commented about the distinction between the commercialised ‘protest song phenomenon’ imported into Chile and the nature of the New Chilean Song Movement (NCC).
Jara, Joan (1983). Victor: An Unfinished Song. Jonathan Cape. ISBN 0-224-02954-1. p. 121
VII, 6
Meditations (c. 121–180 AD), Book VII
interview with Sam Champion on Good Morning America television progam before ceremony at Walt Disney World in Orlando, Florida to swear in 1,000 new U.S. citizens (July 4, 2007)
2007, 2008
Garrett Blake, Chapter 1, p. 20
1990s, Message in a Bottle (1998)
Source: The Tin Flute (1945), P. 27
What are the wild Waves saying?, reported in Bartlett's Familiar Quotations, 10th ed. (1919).
No. 477 (6 September 1712).
The Spectator (1711–1714)
Interview with Denise Worrell, "'It's All Right in Front': Dylan on Life and Rock" in Time Magazine (25 November 1985)
“Oh will you come with us
To find the song of the oil and the brush?”
Song lyrics, Aerial (2005), A Sky of Honey (Disc 2)
Source: Git-R-Done (book), p. 11
Lemon
Because I Can
“Aiyyo; I heard your single, you better make a whole new song”
About playback offers http://www.hindustantimes.com/music/there-is-lack-of-sincerity-in-music-today-shreya-ghosal/story-D0mtDV6Ljsvg1S67bHcctJ.html
Source: A Time of Changes (1971), Chapter 7 (p. 21)
In p. 6.
Narada to Valmiki
Ramayana
Mary of Argyle, reported in Bartlett's Familiar Quotations, 10th ed. (1919).
Speech to the Labour Party Conference in Blackpool (28 September 1965), quoted in The Times (29 September 1965), p. 5.
"Why I Was Smiling and Hurricane Rita," Huffington Post http://www.huffingtonpost.com/cindy-sheehan/why-i-was-smiling-and-hur_b_7970.html, September 27, 2005
2005
Klopp comparing his team's style of play to Arsène Wenger's Arsenal.
Source: 14 of the best Jurgen Klopp quotes: Top of the Klopps http://www.espnfc.com/blog/the-toe-poke/65/post/2402760/14-of-the-best-jurgen-klopp-quotes-top-of-the-klopps
Source: Dream of the Red Chamber (1958), pp. 13–14
On Chopin's Preludes in Histoire de Ma Vie (1902-04), Vo. IV, p. 439
Context: It was there he composed these most beautiful of short pages which he modestly entitled the Preludes. They are masterpieces. Several bring to mind visions of deceased monks and the sound of funeral chants; others are melancholy and fragrant; they came to him in times of sun and health, in the clamor of laughing children under he window, the faraway sound of guitars, birdsongs from the moist leaves, in the sight of the small pale roses coming in bloom on the snow. … Still others are of a mournful sadness, and while charming your ear, they break your heart. There is one that came to him through an evening of dismal rain — it casts the soul into a terrible dejection. Maurice and I had left him in good health one morning to go shopping in Palma for things we needed at out "encampment." The rain came in overflowing torrents. We made three leagues in six hours, only to return in the middle of a flood. We got back in absolute dark, shoeless, having been abandoned by our driver to cross unheard of perils. We hurried, knowing how our sick one would worry. Indeed he had, but now was as though congealed in a kind of quiet desperation, and, weeping, he was playing his wonderful Prelude. Seeing us come in, he got up with a cry, then said with a bewildered air and a strange tone, "Ah, I was sure that you were dead." When he recovered his spirits and saw the state we were in, he was ill, picturing the dangers we had been through, but he confessed to me that while waiting for us he had seen it all in a dream, and no longer distinguished the dream from reality, he became calm and drowsy while playing the piano, persuaded that he was dead himself. He saw himself drowned in a lake. Heavy drops of icy water fell in a regular rhythm on his breast, and when I made him listen to the sound of the drops of water indeed falling in rhythm on the roof, he denied having heard it. He was even angry that I should intepret this in terms of imitative sounds. He protested with all his might — and he was right to — against the childishness of such aural imitations. His genius was filled with the mysterious sounds of nature, but transformed into sublime equivalents in musical thought, and not through slavish imitation of the actual external sounds. His composition of that night was surely filled with raindrops, resounding clearly on the tiles of the Charterhouse, but it had been transformed in his imagination and in his song into tears falling upon his heart from the sky. … The gift of Chopin is [the expression of] the deepest and fullest feelings and emotions that have ever existed. He made a single instrument speak a language of infinity. He could often sum up, in ten lines that a child could play, poems of a boundless exaltation, dramas of unequalled power.
The Legend of Jubal (1869)
Context: New voices come to me where'er I roam,
My heart too widens with its widening home:
But song grows weaker, and the heart must break
For lack of voice, or fingers that can wake
The lyre's full answer; nay, its chords were all
Too few to meet the growing spirit's call.
The former songs seem little, yet no more
Can soul, hand, voice, with interchanging lore
Tell what the earth is saying unto me:
The secret is too great, I hear confusedly.
The Conspiracy of Kings (1792)
Context: Think not, ye knaves, whom meanness styles the Great,
Drones of the Church and harpies of the State, —
Ye, whose curst sires, for blood and plunder fam'd,
Sultans or kings or czars or emp'rors nam'd,
Taught the deluded world their claims to own,
And raise the crested reptiles to a throne, —
Ye, who pretend to your dark host was given
The lamp of life, the mystic keys of heaven;
Whose impious arts with magic spells began
When shades of ign'rance veil'd the race of man;
Who change, from age to age, the sly deceit
As Science beams, and Virtue learns the cheat;
Tyrants of double powers, the soul that blind,
To rob, to scourge, and brutalize mankind,
Think not I come to croak with omen'd yell
The dire damnations of your future hell,
To bend a bigot or reform a knave,
By op'ning all the scenes beyond the grave.
I know your crusted souls: while one defies
In sceptic scorn the vengeance of the skies,
The other boasts, — “I ken thee, Power divine,
“But fear thee not; th' avenging bolt is mine." No! 'tis the present world that prompts the song,
The world we see, the world that feels the wrong,
The world of men, whose arguments ye know,
Of men, long curb'd to servitude and wo,
Men, rous'd from sloth, by indignation stung,
Their strong hands loos'd, and found their fearless tongue;
Whose voice of fire, whose deep-descending steel
Shall speak to souls, and teach dull nerves to feel.
Songfacts interview (2007)
Context: Relating to the specifics of relationships, and writing love songs, I tapped into something that seemed to work for my generation. I love the fact that some of the songs continue to survive, but I think that there's a window of opportunity for a time when you really, really relate to your generation. And I think a lot of us pass through that as songwriters.
Music, Mind, and Meaning (1981)
Context: If explaining minds seems harder than explaining songs, we should remember that sometimes enlarging problems makes them simpler! The theory of the roots of equations seemed hard for centuries within its little world of real numbers, but it suddenly seemed simple once Gauss exposed the larger world of so-called complex numbers. Similarly, music should make more sense once seen through listeners' minds.
Quotes from interviews, Sydney Morning Herald interview (2003)
Context: Things are much more complicated. Feminism versus pornography, for example. There are a lot of feminists who think it is bad, but others think it's good.
I have become, you might call it mature — I would call it senile — and I can see both sides. But you can't write a satirical song with 'but on the other hand' in it, or 'however'. It's got to be one-sided.
The Legend of Jubal (1869)
Context: "This wonder which my soul hath found,
This heart of music in the might of sound,
Shall forthwith be the share of all our race,
And like the morning gladden common space:
The song shall spread and swell as rivers do,
And I will teach our youth with skill to woo
This living lyre, to know its secret will;
Its fine division of the good and ill.
So shall men call me sire of harmony,
And where great Song is, there my life shall be."
Thus glorying as a god beneficent,
Forth from his solitary joy he went
To bless mankind.
The Sounds of Taqwa (2006)
Context: The Qur’an has been around for over 1500 years and has been embraced by individuals from countries all over the world. This has resulted in many opinions about how it should be interpreted. A small number of people who follow the Qur’an — primarily in places like North America, The United Kingdom, Arabia and South Africa — hold the view that musical instruments are “unlawful”.
Living in North America, I thought it was best to keep instruments out of my CDs so families would feel comfortable listening to the songs.
10 years and almost 12 albums later, I felt it was important to be more honest with myself about my own personal opinions of music and its usefulness. There are also the majority of followers of Qur’an who don’t have a problem with music and who do not consider it as unlawful, thus I felt it was important to share something of value with them as well through some newer music and songs.
Imaginary Homelands (1992)
Context: Those who oppose the novel most vociferously today are of the opinion that intermingling with a different culture will inevitably weaken and ruin their own. I am of the opposite opinion. The Satanic Verses celebrates hybridity, impurity, intermingling, the transformation that comes of new and unexpected combinations of human beings, cultures, ideas, politics, movies, songs. It rejoices in mongrelization and fears the absolutism of the Pure. Melange, hotchpotch, a bit of this and a bit of that is how newness enters the world. It is the great possibility that mass migration gives the world… The Satanic Verses is for change-by-fusion, change-by-conjoining. It is a love song to our mongrel selves.
The Clerk's Vision (1949)
Context: The world stretches out before me, the vast world of the big, the little, and the medium. Universe of kings and presidents and jailors, of mandarins and pariahs and liberators and liberated, of judges and witnesses and the condemned: stars of the first, second, third and nth magnitudes, planets, comets, bodies errant and eccentric or routine and domesticated by the laws of gravity, the subtle laws of falling, all keeping step, all turning slowly or rapidly around a void. Where they claim the central sun lies, the solar being, the hot beam made out of every human gaze, there is nothing but a hole and less than a hole: the eye of a dead fish, the giddy cavity of the eye that falls into itself and looks at itself without seeing. There is nothing with which to fill the hollow center of the whirlwind. The springs are smashed, the foundations collapsed, the visible or invisible bonds that joined one star to another, one body to another, one man to another, are nothing but a tangle of wires and thorns, a jungle of claws and teeth that twist us and chew us and spit us out and chew us again. No one hangs himself by the rope of a physical law. The equations fall tirelessly into themselves.
And in regard to the present matter, if the present matters: I do not belong to the masters. I don't wash my hands of it, but I am not a judge, nor a witness for the prosecution, nor an executioner. I do not torture, interrogate, or suffer interrogation. I do not loudly plead for leniency, nor wish to save myself or anyone else. And for all that I don't do and for all that they do to us, I neither ask forgiveness nor forgive. Their piety is as abject as their justice. Am I innocent? I'm guilty. Am I guilty? I'm innocent. (I'm innocent when I'm guilty, guilty when I'm innocent. I'm guilty when … but that is another song. Another song? It's all the same song.) Guilty innocent, innocent guilty, the fact is I quit.
"Instruments" in The Weather of the Heart (1978)
Context: I endeavor
To hold the I as one only for the cloud
Of which I am a fragment, yet to which I'm vowed
To be responsible. Its light against my face
Reveals the witness of the stars, each in its place
Singing, each compassed by the rest,
The many joined to one, the mightiest to the least.
It is so great a thing to be an infinitesimal part
of this immeasurable orchestra the music bursts the heart,
And from this tiny plosion all the fragments join:
Joy orders the disunity until the song is one.
Sjálfstætt fólk (Independent People) (1935), Book One, Part II: Free of Debt
Context: His mother taught him to sing. And when he had grown up and had listened to the world's song, he felt that there could be no greater happiness than to return to her song. In her song dwelt the most precious and most incomprehensible dreams of mankind. The heath grew into the heavens in those days. The songbirds of the air listened in wonder to this song, the most beautiful song of life.
1770s, "Give me liberty, or give me death!" (1775)
Context: It is natural for man to indulge in the illusions of hope and pride. We are apt to shut our eyes against a painful truth, and listen to the song of that siren till she transforms us into beasts. Is this the part of wise men, engaged in a great and arduous struggle for liberty? Are we disposed to be the number of those who, having eyes, see not, and having ears, hear not, the things which so nearly concern their temporal salvation? For my part, whatever anguish of spirit it may cost, I am willing to know the whole truth; to know the worst, and to provide for it.
Notes to his mother, on The Life of Humanity (1884-6) http://www.wikiart.org/en/gustave-moreau/humanity-the-golden-age-depicting-three-scenes-from-the-lives-of-adam-and-eve-the-silver-age-1886, his composition of a ten image polyptych, p. 48 · Photo of its exhibition on the 3rd Floor of Musée National Gustave Moreau http://en.musee-moreau.fr/house-museum/studios/third-floor
Gustave Moreau (1972)
“It's hard to come back from the Balkans and not sound like a Pete Seeger song.”
All the Trouble in the World (1994)
“The multiple reinforcing cues of a good song”
This is Your Brain on Music (2006)
Context: The multiple reinforcing cues of a good song—rhythm, melody, contour—cause music to stick in our heads. That is the reason why many ancient myths, epics, and even the Old Testament were set to music in preparation for being passed down by oral tradition across generations.
“Shall I be gone long?
For ever and a day
To whom there belong?
Ask the stone to say
Ask my song.”
Is it far to go? (1963)
Music and Moonlight (1874), Ode
Context: With wonderful deathless ditties
We build up the world's great cities,
And out of a fabulous story
We fashion an empire's glory:
One man with a dream, at pleasure,
Shall go forth and conquer a crown;
And three with a new song's measure
Can trample an empire down.
Statement quoted in Prophet Singer: The Voice And Vision of Woody Guthrie (2007) by Mark Allan Jackson. There are a few slight variants of this statement, which seems to have originated in a performance monologue.
Context: I hate a song that makes you think that you are not any good. I hate a song that makes you think that you are just born to lose. Bound to lose. No good to nobody. No good for nothing. Because you are too old or too young or too fat or too slim too ugly or too this or too that. Songs that run you down or poke fun at you on account of your bad luck or hard traveling. … I am out to fight those songs to my very last breath of air and my last drop of blood.
I am out to sing songs that will prove to you that this is your world and that if it has hit you pretty hard and knocked you for a dozen loops, no matter what color, what size you are, how you are built, I am out to sing the songs that make you take pride in yourself and in your work.
And the songs that I sing are made up for the most part by all sorts of folks just about like you. I could hire out to the other side, the big money side, and get several dollars every week just to quit singing my own kind of songs and to sing the kind that knock you down still farther and the ones that poke fun at you even more and the ones that make you think you've not any sense at all. But I decided a long time ago that I'd starve to death before I'd sing any such songs as that. The radio waves and your movies and your jukeboxes and your songbooks are already loaded down and running over with such no good songs as that anyhow.
Rob Roy's Grave, st. 3.
Memorials of a Tour in Scotland (1803)
Sunday Service, 13 December 2004
Context: I'm not terribly interested in playing harp on other people's music right now. Partly because I feel like many people view the harp as this kind of gimmick. You know, like they have songs that are fully realized, complete songs, and then they think "How do we make this special? - Ooh, let's bring the harp in!" and they kind of want a harpist to play a glissando and play some heavenly noise in the background. I'm really interested in the harp as a fully actualized, self-contained way of presenting songs. That there is a bass in the harp - there is a way to create a rhythmic sense without drums - there's a way to have all sorts of textural variations and expressive variations.
I also don't want to feel bound to the harp, I'd be interested in bringing other instruments in at some time. But I think the harp has been viewed in one particular way for so long, and has been limited for so long, that I feel like I am really interested in stretching the boundaries of what it's capable of doing and how it's perceived.
“I am the poet who once tuned his song
On a slender reed and then leaving the woods
Compelled the fields to obey the hungry farmer,
A pleasing work. But now War's grim and savage …”
Ille ego, qui quondam gracili modulatus avena
Carmen, et egressus silvis vicina coegi
Ut quamvis avido parerent arva colono,
Gratum opus agricolis, at nunc horrentia Martis<!--
Arma virumque cano--> ...
Ille ego, qui quondam gracili modulatus avena
Carmen, et egressus silvis vicina coegi
Ut quamvis avido parerent arva colono,
Gratum opus agricolis, at nunc horrentia Martis ...
Spurious opening lines of the Aeneid (tr. Stanley Lombardo), not found in the earliest manuscripts. Attributed to Virgil on the authority of "the grammarian Nisus", who claimed to have "heard from older men" that Varius had "emended the beginning of the first book by striking out" the four introductory lines, as reported in Suetonius' Life of Vergil http://penelope.uchicago.edu/Thayer/E/Roman/Texts/Suetonius/de_Poetis/Vergil*.html, 42 (Loeb translation). John Conington, in his Commentary on Vergil's Aeneid, remarks: "The external evidence of such a story it is impossible to estimate, but its existence suspiciously indicates that the lines were felt to require apology" (Vol. II, p. 30).
Attributed
Tinselworm (2008)
The Sounds of Taqwa (2006)
Context: Extremism comes in many forms. Some people are extremely capitalistic, extremely reactionary, extremely lazy, dogmatic, pessimistic, hopeful, fearful … I believe, extremism is not always bad — depending upon what sort of “extremism” one allows themselves to indulge in. As a human race, I believe we should be extremely good neighbors, socially conscious, passionate about justice, fairness and truth.
Is my music a reaction to the negative religious, political or capitalistic extremism or we see in the world around us? Yes, sometimes. A song like Prophet For Profit stands up in the face of narrow minded pseudo-religious leaders who think they have the God given right to speak or kill on my behalf, as much as it is a slap in the face to narrow minded pseudo-democratic political leaders who think they have the God given right to speak and kill on my behalf.
"If I Had A Hammer" (1949) Though Seeger composed the music of this song the lyrics were actually written by fellow member of The Weavers, Lee Hays.
Misattributed
Context: If I had a hammer,
I'd hammer in the morning
I'd hammer in the evening,
All over this land.
I'd hammer out danger,
I'd hammer out a warning,
I'd hammer out love between my brothers and my sisters,
All over this land...
Well I got a hammer,
And I got a bell,
And I got a song to sing, all over this land.
It's the hammer of Justice,
It's the bell of Freedom,
It's the song about Love between my brothers and my sisters,
All over this land.
“Babooshka's just one of those song's you just can't get out of your head, can you?”
The Kate Bush Story (2014)
Context: Babooshka's just one of those song's you just can't get out of your head, can you? You know, how she just takes a word, and you start seeing images and pictures. To a word that maybe you haven't used … it's "Babooshka" and she's turned that into an emotion, that's just how she's able to use a combination of a word and a combination of a melody and the rhythm of that, and it creates a new language.
“Almighty Freedom! give my venturous song
The force, the charm that to thy voice belong”
Book I
The Columbiad (1807)
Context: Almighty Freedom! give my venturous song
The force, the charm that to thy voice belong;
Tis thine to shape my course, to light my way,
To nerve my country with the patriot lay,
To teach all men where all their interest lies,
How rulers may be just and nations wise:
Strong in thy strength I bend no suppliant knee,
Invoke no miracle, no Muse but thee.
"Wear Your Love Like Heaven"
A Gift from a Flower to a Garden (1967)
Context: Lord, kiss me once more, fill me with song
Allah, kiss me once more that
I may, that I may
Wear my love like heaven
Wear my love like
Wear my love like heaven.
Ood Sigma, to the Tenth incarnation of the Doctor, in The End of Time [4.18] (1 January 2010) <!-- written with Steven Moffat though only the final scene, and not this one. -->
The Shoes of Happiness, and Other Poems (1913), The Crowning Hour
Context: p>Our ways go wide and I know not whither,
But my song will search through the worlds for you,
Till the Seven Seas waste and the Seven Stars wither,
And the dream of the heart comes true.I am out to the roads and the long, long questing,
On dark tides driven, on great winds blown:
I pass the runs of the world, unresting,
I sail to the unknown.</p
Source: Flashbacks, An Autobiography (1983), p. 388
Context: While sitting in my prison cell, I was astonished to hear the local rock station play a new song by the Beatles entitled "Come Together." Although the new version was certainly a musical and lyrical improvement on my campaign song, I was a bit miffed that Lennon had passed me over this way. (I must explain that even the most good-natured persons tend to be a bit touchy about social neglect while in prison). When I sent a mild protest to John, he replied with typical Lennon charm and wit: that he was a tailor and I was a customer who had ordered a suit and never returned. So he sold it to someone else.
Recreation (1919)
Context: Colonel Roosevelt liked the song of the blackbird so much that he was almost indignant that he had not heard more of its reputation before. He said everybody talked about the song of the thrush; it had a great reputation, but the song of the blackbird, though less often mentioned, was much better than that of the thrush. He wanted to know the reason of this injustice and kept asking the question of himself and me. At last he suggested that the name of the bird must have injured its reputation. I suppose the real reason is that the thrush sings for a longer period of the year than the blackbird and is a more obtrusive singer, and that so few people have sufficient feeling about bird songs to care to discriminate.
Preface to Collected Poems (1913)
Context: When I first discovered for myself how near was the King in His beauty I thought I would be the singer of the happiest songs. Forgive me, Spirit of my spirit, for this, that I have found it easier to read the mystery told in tears and understood Thee better in sorrow than in joy; that, though I would not, I have made the way seem thorny, and have wandered in too many byways, imagining myself into moods which held Thee not. I should have parted the true from the false, but I have not yet passed away from myself who am in the words of this book. Time is a swift winnower, and that he will do quickly for me.
Book of Taliesin (c. 1275?), Oh God, the God of Formation
Context: Songs and minstrels.
And the hymns of angels,
Will raise from the graves,
They will entreat from the beginning.
They will entreat together publicly,
On so great a destiny.
Those whom the sea has destroyed
Will make a great shout,
At the time when cometh
He, that will separate them.
“What is beyond the cathedral, outside,
Balances with nuptial song.”
The Man With the Blue Guitar (1937)
Context: What is beyond the cathedral, outside,
Balances with nuptial song.
So it is to sit and to balance things
To and to and to the point of still,
To say of one mask it is like,
To say of another it is like,
To know that the balance does not quite rest,
That the mask is strange, however like.
"Juanita".
In Classic Shades, and Other Poems (1890)
Context: p>O, the sea of lights for streaming
When the thousand flags are furled—
When the gleaming bay lies dreaming
As it duplicates the world!You will come my dearest, truest!
Come my sovereign queen often;
My blue skies will then be bluest;
My white rose be whitest then:Then the song! Ah, then the sabre
Flashing up the walls of night!
Hate of wrong and love of neighbor
Rhymes of battle for the Right!</p
Source: The Demon-Haunted World : Science as a Candle in the Dark (1995), Ch. 2 : Science and Hope
Context: I worry that, especially as the Millennium edges nearer, pseudo-science and superstition will seem year by year more tempting, the siren song of unreason more sonorous and attractive. Where have we heard it before? Whenever our ethnic or national prejudices are aroused, in times of scarcity, during challenges to national self-esteem or nerve, when we agonize about our diminished cosmic place and purpose, or when fanaticism is bubbling up around us-then, habits of thought familiar from ages past reach for the controls. The candle flame gutters. Its little pool of light trembles. Darkness gathers. The demons begin to stir.
Anecdotes
Divers https://en.wikipedia.org/wiki/Divers_(Joanna_Newsom_album) (2015)
Context: In the folds and the branches,
somewhere, out there,
I was only just born into open air.
Now hush, little babe.
You don’t want to be
down in the trenches,
remembering with me,
where you will not mark my leaving,
and you will not hear my parting song.
Nor is there cause for grieving.
Nor is there cause for carrying on.
Everything About It Is a Love Song
Song lyrics, Surprise (2006)
Context: I shoot a thought into the future, and it flies like an arrow, through my lifetime. And beyond.
If I ever come back as a tree, or a crow, or even the wind-blown dust; find me on the ancient road in the song when the wires are hushed. Hurry on and remember me, as I'll remember you. Far above the golden clouds, the darkness vibrates.
The earth is blue.
And everything about it is a love song. Everything about it.
From Here to Eternity (1951)
Message on mimeographed copies of lyrics distributed to fans in the 1930s, as quoted by Pete Seeger in an NPR interview "Pete Seeger remembers Woody" (1996)
Context: This song is Copyrighted in U. S., under Seal of Copyright #154085, for a period of 28 years, and anybody caught singin it without our permission, will be mighty good friends of ours, cause we don't give a darn. Publish it. Write it. Sing it. Swing to it. Yodel it. We wrote it, that's all we wanted to do.
Poems and song lyrics
The "Camelot" interview (29 November 1963)
Context: But there's this one thing I wanted to say... I'm so ashamed of myself... When Jack quoted something, it was usually classical... no, don't protect me now... I kept saying to Bobby, I've got to talk to somebody, I've got to see somebody, I want to say this one thing, it's been almost an obsession with me, all I keep thinking of is this line from a musical comedy, it's been an obsession with me... At night before we'd go to sleep... we had an old Victrola. Jack liked to play some records. His back hurt, the floor was so cold. I'd get out of bed at night and play it for him, when it was so cold getting out of bed... on a Victrola ten years old — and the song he loved most came at the very end of this record, the last side of Camelot, sad Camelot... "Don't let it be forgot, that once there was a spot, for one brief shining moment that was known as Camelot."... There'll never be another Camelot again...
Paris Review interview (1986)
Context: Whitman to me is the most fascinating of American poets. Whitman started to write the great poetry from scratch after he had written all that junk for newspapers, the sentimental lyrical poems. All of a sudden he wrote Leaves of Grass. When I was teaching at the University of Nebraska, my friend James Miller was chairman of the English Department. He wrote the first book attempting to make a parallel between the structure of Leaves of Grass and the steps of the mystical experience as in St. John of the Cross. I was completely bowled over by this, not having been able to explain how Whitman came to write “Song of Myself,” which is unlike anything not only in American literature, but unique in all the world. The parallels to it are mystical literature. Miller tried to show that there was actual evidence for this kind of experience, which evidently happens at a particular moment in someone’s life. … When I saw the negative reaction to Whitman with the great ruling critics of the time, I couldn’t believe it. Eliot never really gave up hammering away on Whitman, neither did Pound. Although Pound makes little concessions. Whitman, you know, didn’t have any influence in this country until Allen Ginsberg came along.
Quotes from interviews, Sydney Morning Herald interview (2003)
Context: I'm not tempted to write a song about George W. Bush. I couldn't figure out what sort of song I would write. That's the problem: I don't want to satirise George Bush and his puppeteers, I want to vaporise them. … And that's not funny. … OK, well, if I say that, I might get a shock laugh, but it's not really satire.
“Why are there so many songs about rainbows
And what's on the other side?”
"Rainbow Connection" (1979) (co-written with Kenneth Ascher) - The Muppet Movie opening http://www.youtube.com/watch?v=jSFLZ-MzIhM - The Muppet Show performance http://www.youtube.com/watch?v=lRvhRhWWE44 by Debbie Harry & Kermit the Frog - Video performance http://www.youtube.com/watch?v=deebKNI-dTE by Willie Nelson.
Context: Why are there so many songs about rainbows
And what's on the other side?
Rainbows are visions, but only illusions,
And rainbows have nothing to hide.
So we've been told and some choose to believe it
I know they're wrong, wait and see.
Someday we'll find it, the rainbow connection,
The lovers, the dreamers and me.
Dedication speech http://www.endex.com/gf/buildings/liberty/nytc/solnytc1943.htm for the Statue of Liberty (28 October 1886).
Context: We are not here today to bow before the representation of a fierce warlike god, filled with wrath and vengeance, but we joyously contemplate instead our own deity keeping watch and ward before the open gates of America and greater than all that have been celebrated in ancient song. Instead of grasping in her hand thunderbolts of terror and of death, she holds aloft the light which illumines the way to man's enfranchisement. We will not forget that Liberty has here made her home, nor shall her chosen altar be neglected. Willing votaries will constantly keep alive its fires and these shall gleam upon the shores of our sister Republic thence, and joined with answering rays a stream of light shall pierce the darkness of ignorance and man's oppression, until Liberty enlightens the world.
Tinselworm (2008)
