Quotes about song

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The First Quarrel, stanza VI., lines 3-4; reported in Bartlett's Familiar Quotations, 10th ed. (1919)

My Triumph, reported in Bartlett's Familiar Quotations, 10th ed. (1919)
Context: Sweeter than any sung
My songs that found no tongue;
Nobler than any fact
My wish that failed of act.

Others shall sing the song,
Others shall right the wrong,—
Finish what I begin,
And all I fail of win.

Statement to the court prior to his sentencing for contempt of Congress (1961); also quoted on NPR: Weekend Edition (2 July 2005)
Context: A good song can only do good, and I am proud of the songs I have sung. I hope to be able to continue singing these songs for all who want to listen, Republicans, Democrats, and independents.

The Kate Bush Story (2014)
Context: They're not "normal" songs. None of her songs have been "normal." She's just who she is, she's unique. She's — a mystery. She's the most beautiful mystery. … Let me tell you a story: when I had my civil partnership, nine years ago, in 2005, and Kate — we invited Kate, we didn't think she'd come but she came, she came with her husband Danny, and there were a lot of very famous people in that room, there were like 600 people — and all anybody wanted to meet was Kate Bush. I mean, musician, anybody — they couldn't believe Kate Bush was there. She's kind of an enigma.

The Kate Bush Story (2014)
Context: The Man with the Child in His Eyes is still one of those things, which right from the get-go … has its own life, because it's just a great song. … For all the time that she or I or anyone spend decorating and creating moods, its actually the key element of what your saying, the melody and the chords which still speak louder than all the stuff around, on a great song.

The Legend of Jubal (1869)
Context: No farther will I travel: once again
My brethren I will see, and that fair plain
Where I and song were born. There fresh-voiced youth
Will pour my strains with all the early truth
Which now abides not in my voice and hands,
But only in the soul, the will that stands
Helpless to move. My tribe remembering Will cry,
"'Tis he!" and run to greet me, welcoming.

"Now no one will listen to songs..." from Plantain (1921), translated by Richard McKane
Context: Now no one will listen to songs.
The prophesied days have begun.
Latest poem of mine, the world has lost its
wonder,
Don't break my heart, don't ring out.

"Childhood's End", on Obscured by Clouds (1972)
Context: Who are you and who am I
To say we know the reason why
Some are born, some men die,
Beneath one infinite sky?
There'll be war, there'll be peace,
But everything one day will cease,
All the iron turned to rust,
All the proud men turned to dust,
And so all things time will mend,
So this song will end.

What It Means to Be a Poet in America (1926)
Context: I have sung my songs to my own tunes for most of the English departments of the state universities of the forty-eight states of the nation, and the English departments of other universities and colleges; and I have been recalled to many of these seven and eight times, which matters are a source of great pride to me. And I have brought out three books where the songs were based on my own pen-and-ink pictures.

Unity, § II
The Golden Hynde and Other Poems (1914)
Context: Heart of my heart, we cannot die!
Love triumphant in flower and tree,
Every life that laughs at the sky
Tells us nothing can cease to be:
One, we are one with the song to-day,
One with the clover that scents the world,
One with the Unknown, far away,
One with the stars, when earth grows old.

On Jacques Brel, in liner notes for Greatest Hits - Without a Worry in the World (August 1992)
Context: As friends and as musical collaborators we had traveled, toured and written — together and apart — the events of our lives as if they were songs, and I guess they were. When news of Jacques’ death came I stayed locked in my bedroom and drank for a week. That kind of self pity was something he wouldn’t have approved of, but all I could do was replay our songs (our children) and ruminate over our unfinished life together.

The Artful Universe (1995)
Context: Our sensitivity to changes of pitch... is underused in musical sound. Western music, in particular, is based on scales that use pitch changes that are at least twenty times bigger than the smallest changes that we could perceive. If we used our discriminatory power to full, we could generate an undulating sea of sound that displayed continuously changing frequency rather like the undersea sonic songs of dolphins and whales.<!-- Ch. 5, p. 225

Interview with Paul Robbins (March, 1965)
Context: I find it easy to write songs. I been writing songs for a long time and the words to the songs aren't written out just for the paper; they're written as you can read it, you dig. If you take whatever there is to the song away—the beat, the melody—I could still recite it. I see nothing wrong with songs you can't do that with either—songs that, if you took the beat and the melody away, they wouldn't stand up because they're not supposed to do that, you know. Songs are songs.

Source: The Politics of Experience (1967), p. 1 of Introduction
Context: Few books today are forgivable. Black on canvas, silence on the screen, an empty white sheet of paper are perhaps feasible. There is little conjunction of truth and social "reality". Around us are pseudo-events, to which we adjust with a false consciousness adapted to see these events as true and real, and even as beautiful. In the society of men the truth resides now less in what things are than in what they are not. Our social realities are so ugly if seen in the light of exiled truth, and beauty is almost no longer possible if it is not a lie. What is to be done? We who are still half alive, living in the often fibrillating heartland of a senescent capitalism — can we do more than reflect the decay around and within us? Can we do more than sing our sad and bitter songs of disillusion and defeat? The requirement of the present, the failure of the past, is the same: to provide a thoroughly self-conscious and self-critical human account of man.

The Legend of Jubal (1869)
Context: Wouldst thou have asked aught else from any god
Whether with gleaming feet on earth he trod
Or thundered through the skies — aught else for share
Of mortal good, than in thy soul to bear
The growth of song, and feel the sweet unrest
Of the world's spring-tide in thy conscious breast?
No, thou hadst grasped thy lot with all its pain,
Nor loosed it any painless lot to gain
Where music's voice was silent; for thy fate
Was human music's self incorporate:
Thy senses' keenness and thy passionate strife
Were flesh of her flesh and her womb of Life.

Epilogue to The Charge of the Heavy Brigade, reported in Bartlett's Familiar Quotations, 10th ed. (1919)

"Auctorial Induction"
The Certain Hour (1916)
Context: We are talking over telephones, as Shakespeare could not talk;
We are riding out in motor-cars where Homer had to walk;
And pictures Dante labored on of mediaeval Hell
The nearest cinematograph paints quicker, and as well. But ye copy, copy always; — and ye marvel when ye find
This new beauty, that new meaning, — while a model stands behind,
Waiting, young and fair as ever, till some singer turn and trace
Something of the deathless wonder of life lived in any place.
Hey, my masters, turn from piddling to the turmoil and the strife!
Cease from sonneting, my brothers; let us fashion songs from life.

On her album Marry Me, as quoted in "The PopWatch Interview: St. Vincent's Annie Clark" in PopWatch (11 July 2007)
Context: A lot of the songs have a duality about them; one part is totally sincere, and there's another part that is kind of smirking and making light of it all. Or there's a very dark streak about it.

Fortunati ambo! si quid mea carmina possunt,
Nulla dies umquam memori vos eximet aevo,
Dum domus Aeneae Capitoli immobile saxum
Accolet imperiumque pater Romanus habebit.
Source: Aeneid (29–19 BC), Book IX, Lines 446–449 (tr. Robert Fagles)

Garden Rose
Imagine Our Love (2007)
Context: I'll never stop a bullet but a bullet might stop me.
I'll never drink the ocean but the ocean might drink me.
And I'll never raise a portrait to a gentle man in blue
And I'll never sing a love song for a love that isn't true. I love how the garden grows
And I love the garden rose.

Act I, Scene III
The Foresters, Robin Hood and Maid Marion (1892)
Context: Friends,
I am only merry for an hour or two
Upon a birthday: if this life of ours
Be a good glad thing, why should we make us merry
Because a year of it is gone? but Hope
Smiles from the threshold of the year to come
Whispering 'It will be happier;' and old faces
Press round us, and warm hands close with warm hands,
And thro' the blood the wine leaps to the brain
Like April sap to the topmost tree, that shoots
New buds to heaven, whereon the throstle rock'd
Sings a new song to the new year — and you,
Strike up a song, my friends, and then to bed.

"Hymn in the Vale of Chamouni" (1802)
Context: Awake, my soul! not only passive praise
Thou owest! not alone these swelling tears,
Mute thanks and secret ecstasy. Awake,
Voice of sweet song! awake, my heart, awake!
Green vales and icy cliffs, all join my hymn.

Song lyrics, The Red Shoes (1993)
Context: Feel your hair come tumbling down
Feel your feet start kissing the ground
Feel your arms are opening out
And see your eyes are lifted to God
With no words, with no song
I'm gonna dance the dream
And make the dream come true…

Epigraph, The Thorn Birds (1977)
Context: There is a legend about a bird that sings just once in its life, more sweetly than any other creature on the face of the earth. From the moment it leaves the nest it searches for a thorn tree and does not rest until it has found one. Then, singing among the savage branches, it impales itself upon the longest, sharpest spine. Dying, it rises above its own agony to out-carol the lark and the nightingale. One superlative song, existence the price. But the whole world stills to listen, and God in His heaven smiles. For the best is only bought at the cost of the great pain. … Or so says the legend.

Lyrics

On the breakup of Simon and Garfunkel as a musical team. Interview with Jon Landau for Rolling Stone (1972); republished in The Rolling Stone Interviews: 1967-1980 (1989) edited by Peter Herbst, p. 210
Context: I wanted to sing other types of songs that Simon and Garfunkel wouldn't do. "Mother and Child Reunion" for example, is not a song that you would have normally thought that Simon and Garfunkel would have done. It's possible that they might have. But it wouldn't have been the same, and I don't know if I would have been so inclined in that direction. So for me it was a chance to break out and gamble a little bit … The breakup had to do with a natural drifting apart as we got older and the separate lives that were more individual. We weren't so consumed with recording and performing. We had other activities … there was no great pressure to stay together other than money, which exerted very little influence upon us. … We didn't need the money.

2008
Lyrics

Bewilderness (DVD, 2001)

Act V, scene 2.
The Tragedy of Bonduca (1611–14; published 1647)

Source: Oresteia (458 BC), Agamemnon, lines 1444–1446 (tr. E. H. Plumptre)

Livewire interview (2002)
Context: Strangely, some songs you really don't want to write. I didn't like writing "Heathen". There was something so ominous and final about it. It was early in the morning, the sun was rising and through the windows I could see two deer grazing down below in the field. In the distance a car was driving slowly past the reservoir and these words were just streaming out and there were tears running down my face. But I couldn't stop, they just flew out. It's an odd feeling, like something else is guiding you, although forcing your hand is more like it.

"Lion In The Winter" on Southbound (1975) · Performance with Linda Ronstadt http://www.youtube.com/watch?v=ya2dSRcqLBE
Context: And when I first saw you I first loved you
With a song that I sang to the fire in your eyes
But somebody told you that it wouldn't be easy
And you carried that lie for the devil to sing Some sail rivers deep and muddy some sail rivers clear and cold
But the river that I'm sailin' goes to sea
And sometimes I do grow weary sometimes I feel old
And sometimes I wonder if you think of me

Music and Moonlight (1874), Ode
Context: Great hail! we cry to the comers
From the dazzling unknown shore;
Bring us hither your sun and your summers;
And renew our world as of yore;
You shall teach us your song's new numbers,
And things that we dreamed not before:
Yea, in spite of a dreamer who slumbers,
And a singer who sings no more.

As quoted in "What is Don McLean's song 'American Pie' all about?" at The Straight Dope (15 May 1993) http://www.straightdope.com/columns/read/908/what-is-don-mcleans-song-american-pie-all-about
Context: As you can imagine, over the years I have been asked many times to discuss and explain my song "American Pie" I have never discussed the lyrics, but have admitted to the Holly reference in the opening stanzas. You will find many interpretations of my lyrics but none of them by me. … Sorry to leave you all on your own like this but long ago I realized that songwriters should make their statements and move on, maintaining a dignified silence.

"Babette's Feast"
Anecdotes of Destiny (1953)
Context: Of what happened later in the evening nothing definite can here be stated. None of the guests later on had any clear remembrance of it. They only knew that the rooms had been filled with a heavenly light, as if a number of small halos had blended into one glorious radiance. Taciturn old people received the gift of tongues; ears that for years had been almost deaf were opened to it. Time itself had merged into eternity. Long after midnight the windows of the house shone like gold, and golden song flowed out into the winter air.

… We were making — Pink Floyd was making the Wish You Were Here album, and I think we had the record company people down at Abbey Road, in number 3, and I said to them "Do you want to hear something I've got? And they said "sure", so we found another room, and I played it to them, "The Man with the Child in His Eyes", and they said "Yep, thank you – we'll have it."
On first hearing 15-year-old Kate Bush's demo tapes, and meeting with her.
The Kate Bush Story (2014)

A Man From Lebanon: Nineteen Centuries Afterward
Jesus, The Son of Man (1928)
Context: Master, Master Poet,
Master of our silent desires,
The heart of the world quivers with the throbbing of your heart,
But it burns not with your song.
The world sits listening to your voice in tranquil delight,
But it rises not from its seat
To scale the ridges of your hills.
Man would dream your dream but he would not wake to your dawn
Which is his greater dream.
He would see with your vision,
But he would not drag his heavy feet to your throne.
Yet many have been enthroned in your name
And mitred with your power,
And have turned your golden visit
Into crowns for their head and sceptres for their hand.

Songfacts interview (2007)
Context: The best part of being a songwriter — beyond being able to make a living at it — is what I call the "heart payment" of a song. That's when somebody comes up after a concert and says, "My mom was a single mom, and 'You And Me Against The World' was a really important song to us." Or "We got married to 'We've Only Just Begun'" or 'Evergreen.' Or "'I Won't Last A Day Without You' got me through some hard times.'" That's heart payment for a songwriter.

"The Divine Comedy" (1977)
Context: Truly fine poetry must be read aloud. A good poem does not allow itself to be read in a low voice or silently. If we can read it silently, it is not a valid poem: a poem demands pronunciation. Poetry always remembers that it was an oral art before it was a written art. It remembers that it was first song.

Source: 1840s, Narrative of the Life of Frederick Douglass, An American Slave (1845), Ch. 2
Context: I have often been utterly astonished, since I came to the north, to find persons who could speak of the singing, among slaves, as evidence of their contentment and happiness. It is impossible to conceive of a greater mistake. Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears. At least, such is my experience. I have often sung to drown my sorrow, but seldom to express my happiness. Crying for joy, and singing for joy, were alike uncommon to me while in the jaws of slavery. The singing of a man cast away upon a desolate island might be as appropriately considered as evidence of contentment and happiness, as the singing of a slave; the songs of the one and of the other are prompted by the same emotion.

As quoted in A Sourcebook for Earth's Community of Religions (1995) by Joel Diederik Beversluis; but also ascribed to some of the Wabasha chiefs, Sitting Bull, Crazy Horse and Wovoka, according to Ernest Thompson Seton, The Gospel of the Red Man: An Indian Bible, San Diego, The Book Tree, 2006, p. 60
Disputed
Context: So live your life that the fear of death can never enter your heart. Trouble no one about their religion; respect others in their view, and demand that they respect yours. Love your life, perfect your life, beautify all things in your life. Seek to make your life long and its purpose in the service of your people. Prepare a noble death song for the day when you go over the great divide. Always give a word or a sign of salute when meeting or passing a friend, even a stranger, when in a lonely place. Show respect to all people and grovel to none. When you arise in the morning give thanks for the food and for the joy of living. If you see no reason for giving thanks, the fault lies only in yourself. Abuse no one and no thing, for abuse turns the wise ones to fools and robs the spirit of its vision. When it comes your time to die, be not like those whose hearts are filled with the fear of death, so that when their time comes they weep and pray for a little more time to live their lives over again in a different way. Sing your death song and die like a hero going home.

As quoted in Woody Guthrie: A Life (1981) by Joe Klein, p. 160
Context: Woody is just Woody. Thousands of people do not know he has any other name. He is just a voice and a guitar. He sings the songs of a people and I suspect that he is, in a way, that people. Harsh voiced and nasal, his guitar hanging like a tire iron on a rusty rim, there is nothing sweet about Woody, and there is nothing sweet about the songs he sings. But there is something more important for those who will listen. There is the will of the people to endure and fight against oppression. I think we call this the American spirit.

Love's Voice (c.1935–1939)
Context: Such fable ours! However sweet,
That earlier hope had, if fulfilled,
Been but child's pap and toothless meat
— And meaning blunt and deed unwilled,
And we but motes that dance in light
And in such light gleam like the core
Of light, but lightless, are in right
Blind dust that fouls the unswept floor

For, no: not faith by fable lives,
But from the faith the fable springs
— It never is the song that gives
Tongue life, it is the tongue that sings;
And sings the song. Then, let the act
Speak, it is the unbetrayable
Command, if music, let the fact
Make music's motion; us, the fable.

As quoted in "The King is Still Alive" in The Birmingham Post [England] (6 November 2001)

dig interview (2004)
Context: The first song that most people picked up on, particularly in America, of mine, was a ballad, not a rock'n'roll song. It was 'Alison', and that's an R&B ballad. I don't think there's any other way to describe it.

The Kate Bush Story (2014)
Context: You can hear one note of a Kate Bush song, or one note of her voice even, and know immediately what it is. And that is the biggest feat of any artist, especially when you consider, you know, all the roads that she's gone down.

Song lyrics, Bringing It All Back Home (1965), Mr. Tambourine Man
Context: Hey, Mr. Tambourine Man, play a song for me.
I'm not sleepy and there is no place I'm going to.
Hey, Mr. Tambourine Man, play a song for me.
In the jingle-jangle morning, I'll come following you.

Source: Hainish Cycle, The Telling (2000), Ch. 4, §3 (pp. 90–91)
Context: One of the historians of Darranda said: To learn a belief without belief is to sing a song without the tune.
A yielding, an obedience, a willingness to accept these notes as the right notes, this pattern as the true pattern, is the essential gesture of performance, translation, and understanding. The gesture need not be permanent, a lasting posture of the mind or heart, yet it is not false. It is more than the suspension of disbelief needed to watch a play, yet less than the conversion. It is a position, a posture in the dance.

May 1943.

On songwriting styles of the post-World War II era, in an interview with Bob Boilen on All Songs Considered (17 November 2006) http://www.npr.org/templates/story/story.php?storyId=15961159 (NPR)
Context: The songwriting style, to me, is superior... there was a certain amount of joy in it, no matter how sad the song is. You get joy in listening to these Buddy Holly or Roy Orbison sad lyrics. I'm attracted to songs that have balance between the darks and the lights and giving them all equal opportunity.

Book II, 14
Adversus Jovinianum

QRO Magazine interview (2007)
Context: Some songs I wrote that night, and some songs took nine months to arrange, get how I positioned them. Some songs I wrote parts of when I was twelve, thirteen, fourteen, fifteen… Just putting it together, just finding the right place for it. So it's really been a long time coming.... I'm actually really restless, in the sense that I'd rather be always making something new. I'm really excited about making a second record. I've got a lot of things up my sleeve, I guess.

Perelandra (1943)
Context: And now, by a transition which he did not notice, it seemed that what had begun as speech was turned into sight, or into something that can be remembered only as if it were seeing. He thought he saw the Great Dance. It seemed to be woven out of the intertwining undulation of many cords or bands of light, leaping over and under one another and mutually embraced in arabesques and flower-like subtleties. Each figure as he looked at it became the master-figure or focus of the whole spectacle, by means of which his eye disentangled all else and brought it into unity — only to be itself entangled when he looked to what he had taken for mere marginal decorations and found that there also the same hegemony was claimed, and the claim made good, yet the former pattern thereby disposed but finding in its new subordination a significance greater than that which it had abdicated. He could see also (but the word "seeing" is now plainly inadequate) wherever the ribbons or serpents of light intersected minute corpuscles of momentary brightness: and he knew somehow that these particles were the secular generalities of which history tells — people, institutions, climates of opinion, civilizations, arts, sciences and the like — ephemeral coruscations that piped their short song and vanished. The ribbons or cords themselves, in which millions of corpuscles lived and died, were the things of some different kind. At first he could not say what. But he knew in the end that most of them were individual entities. If so, the time in which the Great Dance proceeds is very unlike time as we know it. Some of the thinner more delicate cords were the beings that we call short lived: flowers and insects, a fruit or a storm of rain, and once (he thought) a wave of the sea. Others were such things we think lasting: crystals, rivers, mountains, or even stars. Far above these in girth and luminosity and flashing with colours form beyond our spectrum were the lines of personal beings, yet as different from one another in splendour as all of them from the previous class. But not all the cords were individuals: some of them were universal truths or universal qualities. It did not surprise him then to find that these and the persons were both cords and both stood together as against the mere atoms of generality which lived and died in the clashing of their streams: But afterwards, when he came back to earth, he wondered. And by now the thing must have passed together out of the region of sight as we understand it. For he says that the whole figure of these enamored and inter-inanimate circlings was suddenly revealed as the mere superficies of a far vaster pattern in four dimensions, and that figure as the boundary of yet others in other worlds: till suddenly as the movement grew yet swifter, the interweaving yet more ecstatic, the relevance of all to all yet more intense, as dimension was added to dimension and that part of him which could reason and remember was dropped further and further behind that part of him which saw, even then, at the very zenith of complexity, complexity was eaten up and faded, as a thin white cloud fades into the hard blue burning of sky, and all simplicity beyond all comprehension, ancient and young as spring, illimitable, pellucid, drew him with cords of infinite desire into its own stillness. He went up into such a quietness, a privacy, and a freshness that at the very moment when he stood farthest from our ordinary mode of being he had the sense of stripping off encumbrances and awaking from a trance, and coming to himself. With a gesture of relaxation he looked about him…

As a performing artist, he will pride himself on timing and other techniques designed to keep the audience in his control [...] his respect for genuine folklore reminds him that these changes, and these techniques, may give the audience a false picture of folk music.
"The Singer of Folk Songs and His Conscience", Western Folklore 14:3, (July 1955), p. 170–173

Nicodemus The Poet, The Youngest Of The Elders In The Sanhedrim: On Fools And Jugglers
Jesus, The Son of Man (1928)
Context: Am I less man because I believe in a greater man?
The barriers of flesh and bone fell down when the Poet of Galilee spoke to me; and I was held by a spirit, and was lifted to the heights, and in midair my wings gathered the song of passion.
And when I dismounted from the wind and in the Sanhedrim my pinions were shorn, even then my ribs, my featherless wings, kept and guarded the song. And all the poverties of the lowlands cannot rob me of my treasure.
I have said enough. Let the deaf bury the humming of life in their dead ears. I am content with the sound of His lyre, which He held and struck while the hands of His body were nailed and bleeding.

I've Learned Some Things (2008)

"Plighted"
Poems (1866)
Context: Mine to the core of the heart, my beauty!
Mine, all mine, and for love, not duty:
Love given willingly, full and free,
Love for love's sake — as mine to thee.
Duty's a slave that keeps the keys,
But Love, the master, goes in and out
Of his goodly chambers with song and shout,
Just as he please — just as he please.

Falk, Act III
Love's Comedy (1862)
Context: I feel myself like God's lost prodigal;
I left Him for the world's delusive charms.
With mild reproof He wooed me to his arms;
And when I come, He lights the vaulted hall,
Prepares a banquet for the son restored,
And makes His noblest creature my reward.
From this time forth I'll never leave that Light, —
But stand its armed defender in the fight;
Nothing shall part us, and our life shall prove
A song of glory to triumphant love!

Jesus, The Son of Man (1928)
Context: Many are the fools who say that Jesus stood in His own path and opposed Himself; that He knew not His own mind, and in the absence of that knowledge confounded Himself.
Many indeed are the owls who know no song unlike their own hooting.
You and I know the jugglers of words who would honor only a greater juggler, men who carry their heads in baskets to the market-place and sell them to the first bidder.
We know the pygmies who abuse the sky-man. And we know what the weed would say of the oak tree and the cedar.
I pity them that they cannot rise to the heights.

Nicodemus The Poet, The Youngest Of The Elders In The Sanhedrim: On Fools And Jugglers

Vol. II, ch. 2
Dead Souls (1842)
Context: Rus! Rus! I see you, from my lovely enchanted remoteness I see you: a country of dinginess, and bleakness and dispersal; no arrogant wonders of nature crowned by the arrogant wonders of art appear within you to delight or terrify the eyes... So what is the incomprehensible secret force driving me towards you? Why do I constantly hear the echo of your mournful song as it is carried from the sea through your entire expanse?... And since you are without end yourself, is it not within you that a boundless thought will be born?

Source: The Shoes of Happiness, and Other Poems (1913), The Crowning Hour, II
Context: p>We are caught in the coil of a God's romances —
We come from old worlds and we go afar:
I have missed you again in the Earth's wild chances —
Now to another star!Perhaps we are led and our loves are fated,
And our steps are counted one by one;
Perhaps we shall meet and our souls be mated,
After the burnt-out sun.For over the world a dim hope hovers,
The hope at the heart of all our songs —
That the banded stars are in league with lovers,
And fight against their wrongs.</p

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.

Republican Party Reptile (1987)

Interview interview (1999)
Context: I feel like God peed on all my enemies. For a long time I was very bitter that the people who controlled the means of anybody ever hearing my songs were never gonna play them. They only favored music that I specifically and particularly hated, and I wanted them dead. Suddenly, there was another avenue. I started hearing my stuff coming out of bars and then it started to happen little by little — a movie song here or a TV ad there.

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.

Canadian Railroad Trilogy, Track 11, United Artists Watch it Here http://www.youtube.com/watch?v=NjoU1Qkeizs
The Way I Feel (1967)
Context: There was a time in this fair land when the railroad did not run
And the wild majestic mountains stood alone against the sun
Long before the white man and long before the wheel
When the green dark forest was too silent to be real...
Oh! The song of the future has been sung
All the battles have been won
On the mountain tops we stand
All the world at our command
We have opened up the soil with our teardrops and our toil

Diary of an unfinished journey (2012), Page 56, verse I-II.

Among the things (2012), Page 38, verse V, VI.

III. Is the Ideal Desirable?
Why Not Socialism? (2009)

On her Communist upbringing in “The SRB Interview: Jackie Kay” https://www.scottishreviewofbooks.org/2016/03/the-srb-interview-jackie-kay/ in the Scottish Review of Books (2016 Mar 21)

Disputed, Give me liberty, or give me death! (1775)

On her limited Cantonese skills in “Madeleine Thien: ‘In China, you learn a lot from what people don’t tell you’” https://www.theguardian.com/books/2016/oct/08/madeleine-thien-interview-do-not-say-we-have-nothing in The Guardian (2016 Oct 8)

Source: Better-World Philosophy: A Sociological Synthesis (1899), The Social Ideal, pp. 161–163

are questions that assail with relentless emphasis the consciences of a great people.
"America's Apostasy", Chicago Chronicle, 6 Mar. 1899

1840s, Essays: Second Series (1844), The Poet

Jeff Ament talking about Cornell on NBA.com podcast NBA Soundsystem ** Pearl Jam's Jeff Ament on Chris Cornell's death and depression, 30 May 2017 https://www.youtube.com/watch?v=9buvTFxf2EA,

On the inspiration behind the song "Nearly Forgot My Broken Heart" ** Chris Cornell Flashback Q&A: 'We Have to Be Aware That Life Is So Short', Yahoo!, May 19, 2017 https://www.yahoo.com/entertainment/chris-cornell-flashback-qa-aware-life-short-023857577.html,
On songwriting

On the song "Before We Disappear" from his 2015 solo album Higher Truth ** Chris Cornell Flashback Q&A: 'We Have to Be Aware That Life Is So Short', Yahoo!, May 19, 2017 https://www.yahoo.com/entertainment/chris-cornell-flashback-qa-aware-life-short-023857577.html,
On songwriting

Chris Cornell: The American Songwriter Twitterview, American Songwriter, November 1, 2011 https://americansongwriter.com/2011/11/chris-cornell-the-american-songwriter-twitterview/,
Soundgarden Era

Chris Cornell: The American Songwriter Twitterview, American Songwriter, November 1, 2011 https://americansongwriter.com/2011/11/chris-cornell-the-american-songwriter-twitterview/,
Soundgarden Era

On how her Southern heritage informed her songwriting in “Lucinda Williams On the Hard and Sedulous Road to Major Label Success” https://sheshredsmag.com/interview-lucinda-williams/ in She Shreds (2017 Mar 6)

Billie's Blues

Foreword
The Encounter: Discovering God Through Prayer (2014)

Interview with Three 6 Mafia Founder DJ Paul http://therapfest.com/behind-lyrics-interview-three-6-mafias-founder-dj-paul/

Nick Tosches The Devil in George Jones http://www.texasmonthly.com/story/devil-george-jones/page/0/1, 1994.

Jayalalithaa in: Balamuralikrishna deserves Bharat Ratna: Jayalalithaa http://www.hindu.com/2005/07/26/stories/2005072617030500.htm, Thee Hindu, 26 Jul y 2005.

Prince Rama Varma in: Murali And Me: A tribute by Prince Rama Varma http://www.webindia123.com/music/musicians/murali1.htm, Webindia123.com.

V. K. Subramanian (2013), in "101 Mystics of India", p, 181
About Swathi Thirunal

V. K. Subramanian (2013), in "101 Mystics of India", p, 181
About Swathi Thirunal

Shungoony Menon, in "The Monarch musician"
About Swathi Thirunal

Saigal, the unforgettable

By M Syed Alam in "A tribute to KL Saigal."

Quoted in "Artists, Writers, and Musicians", page=185

Mahatma Gandhi quoted in [Bossy, Michel-Andre, Brothers, Thomas, John C., Artists, Writers, and Musicians, http://books.google.com/books?id=r0SOzr_0Ya4C&pg=PA185, 2001, Greenwood Publishing Group, 978-1-57356-154-9, 185]