That's one star for me.
Reviewing Slide Hampton's arrangement of "It Ain't Necessarily So" https://www.youtube.com/watch?v=a940h3-1NV0 from Two Sides of Slide; as quoted in "Clare Fischer: Blindfold Test" http://www.mediafire.com/view/fix6ane8h54gx/Clare_Fischer#rjvay58eo774rhe
Quotes about tune
page 4
Cracklin' Rosie
Song lyrics, Tap Root Manuscript (1970)
As quoted in "Clare Fischer: The Best Kept Secret in Jazz" http://www.artistinterviews.eu/?page_id=5&parent_id=22/ by Maarten De Haan, in Artist Interview (1998)
“Darkrose and Diamond” (p. 110)
Earthsea Books, Tales from Earthsea (2001)
Full Transcript of the Sixth Republican Debate in Charleston http://time.com/4182096/republican-debate-charleston-transcript-full-text/, Time (14 January 2016).
Said to Woodrow Wyatt (23 November 1990), Sarah Curtis (ed.), The Journals of Woodrow Wyatt. Volume Two (Pan, 2000), pp. 401-402.
Third term as Prime Minister
“Heckling “tunes people out of their democracy,” she says”
The Walrus interview (2012)
Source: Psychic Politics: An Aspect Psychology Book (1976), p. 82-83
Source: Discipleship (1937), The Beatitudes, p. 108.
Interview with David Draiman of Disturbed http://www.nyrock.com/interviews/2001/disturbed_int.asp, NY Rock, July 2001)
Come Down in Time
Song lyrics, Tumbleweed Connection (1970)
"Inka Dinka Doo" (1933) written with Fred Ryan and Harry Donnelly.
About the real picture in the Russian economy around 2005.
"Q&A: Putin's Critical Adviser," 2005
May 2005, letter sent to the Hope College 2005 Alumni Banquet where he was awarded a distinguished alumni award; his illness prevented him from attending in person
Charlotte's 4th introduction page, related to image JHM no. 4155-4 https://charlotte.jck.nl/detail/M004155-d: 'What is man, that thou art mindful..', p. 44
the quote is written in brush, combined with one rough painted figure
Charlotte Salomon - Life? or Theater?
"Neurological Politics"'
The Politics of Ecstasy (1968)
Discourse of English Poetrie http://www.bartleby.com/209/161.html, 1871 [1586], pp. 57–8.
The Telegraph, Martin Rushent, http://www.telegraph.co.uk/news/obituaries/technology-obituaries/8562220/Martin-Rushent.html, The Telegraph, 7 June 2011
Does Trump’s confrontational style help him as president? https://www.pbs.org/newshour/show/trumps-confrontational-style-help-president (February 16, 2017)
“Ev'en Thou my breast with such blest rage inspire,
As mov'd the tuneful strings of Davids Lyre”
Book I, lines 25-26
Davideis (1656)
“Music is nothing else but wild sounds civilised into time and tune.”
The History of the Worthies of England (1662): Musicians.
2000s, 2001, Radio Address to the Nation (February 2001)
Source: Veronica Well You Better Werk! 10 Life Lessons From RuPaul In (Mostly) Gif Form http://madamenoire.com/288751/you-better-werk-10-life-lessons-from-rupaul-in-mostly-gif-form/7/, MadameNoire, 30 July 2013
Source: An Interview with Douglas T. Ross (1984), p. 11-12.
“Buddy Holly was the geekiest looking guy in the world, but he had some really rockin tunes.”
http://www.thelivingend.info/band/chris-cheney.php
Quote in interview with Willoughby Sharp, 1969; as quoted in Joseph Beuys and the Celtic Wor(l)d: A Language of Healing, Victoria Walters, LIT Verlag Münster, 2012, p. 212, note vii
1960's
The Guardian 26 October 2009. http://www.guardian.co.uk/commentisfree/2009/oct/26/charlie-brooker-sleeping-lessons
Guardian columns
“It is impossible to experience one's own death objectively and still carry a tune.”
Getting Even (1971), My Philosophy
The Wrongs of the Animal World, to Which is Subjoined the Speech of Lord Erskine on the Same Subject http://books.google.com/books?id=KVwPAAAAIAAJ&pg=PR5, London, 1839. p. vi-v; As cited in: animalrightshistory.org http://animalrightshistory.org/animal-rights-c1837-1901/victorian-m/mus-david-muschet/1839-wrongs-animal-world.htm, 2014
1850s, Latter-Day Pamphlets (1850), Stump Orator (May 1, 1850)
“There Poetry shall tune her sacred voice,
And wake from ignorance the Western World.”
The Tragedy of Irene (1749), Act IV, Sc. 1
Song lyrics, The Firstborn Is Dead (1985), The Six Strings That Drew Blood
Kunnumpuram, K. (2009) Towards the Fullness of Life: Reflections on the Daily Living of the Faith. Mumbai: St Pauls
On the Church
fortune.com http://fortune.com/2013/10/17/transcript-marissa-mayer-at-fortune-mpw/.
“And we, with Nature’s heart in tune,
Concerted harmonies.”
Jeannie Morrison (c. 1832), Stanza 8.
Opening address to the Commonwealth Parliamentary Association conference in Nadi, 6 September 2005.
"Washington, D.C."
Ranting Again
About the new modal style. Interviewed by The Jazz Review, 1958; Quotes in Paul Maher, Michael K. Dorr (2009) Miles on Miles: Interviews and Encounters with Miles Davis, p. 18.
1950s
Statement made to representatives of the Pagan Newswire Collective (PNC)
2011-10-16
http://www.patheos.com/blogs/paganswithdisabilities/2011/10/full-transcript-of-qa-with-presidential-candidate-gary-johnson/
2012-02-24
Economic Policy
“Soon it will be the phase of the moon
When people tune in.”
Song lyrics, The Kick Inside (1978)
Context: Soon it will be the phase of the moon
When people tune in.
Every girl knows about the punctual blues,
But who's to know the power behind our moves?
"Winter", p. 5
The Land (1926)
Context: The country habit has me by the heart,
For he's bewitched for ever who has seen,
Not with his eyes but with his vision, Spring
Flow down the woods and stipple leaves with sun,
As each man knows the life that fits him best,
The shape it makes in his soul, the tune, the tone,
And after ranging on a tentative flight
Stoops like the merlin to the constant lure.
Source: Dracula (1897), Chapter XIV, Dr. Seward's Diary entry for 22 September
Context: Van Helsing and I came on here. The moment we were alone in the carriage he gave way to a regular fit of hysterics. He has denied to me since that it was hysterics, and insisted that it was only his sense of humour asserting itself under very terrible conditions. He laughed till he cried, and I had to draw down the blinds lest any one should see us and misjudge; and then he cried, till he laughed again; and laughed and cried together, just as a woman does. I tried to be stern with him, as one is to a woman under the circumstances; but it had no effect. Men and women are so different in manifestations of nervous strength or weakness! Then when his face grew grave and stern again I asked him why his mirth, and why at such a time. His reply was in a way characteristic of him, for it was logical and forceful and mysterious. He said:—
“Ah, you don't comprehend, friend John. Do not think that I am not sad, though I laugh. See, I have cried even when the laugh did choke me. But no more think that I am all sorry when I cry, for the laugh he come just the same. Keep it always with you that laughter who knock at your door and say, ‘May I come in?’ is not the true laughter. No! he is a king, and he come when and how he like. He ask no person; he choose no time of suitability. He say, ‘I am here.’ Behold, in example I grieve my heart out for that so sweet young girl; I give my blood for her, though I am old and worn; I give my time, my skill, my sleep; I let my other sufferers want that so she may have all. And yet I can laugh at her very grave — laugh when the clay from the spade of the sexton drop upon her coffin and say ‘Thud, thud!’ to my heart, till it send back the blood from my cheek. My heart bleed for that poor boy — that dear boy, so of the age of mine own boy had I been so blessed that he live, and with his hair and eyes the same. There, you know now why I love him so. And yet when he say things that touch my husband-heart to the quick, and make my father-heart yearn to him as to no other man — not even you, friend John, for we are more level in experiences than father and son — yet even at such a moment King Laugh he come to me and shout and bellow in my ear, ‘Here I am! here I am!’ till the blood come dance back and bring some of the sunshine that he carry with him to my cheek. Oh, friend John, it is a strange world, a sad world, a world full of miseries, and woes, and troubles; and yet when King Laugh come, he make them all dance to the tune he play. Bleeding hearts, and dry bones of the churchyard, and tears that burn as they fall — all dance together to the music that he make with that smileless mouth of him. And believe me, friend John, that he is good to come, and kind. Ah, we men and women are like ropes drawn tight with strain that pull us different ways. Then tears come; and, like the rain on the ropes, they brace us up, until perhaps the strain become too great, and we break. But King Laugh he come like the sunshine, and he ease off the strain again; and we bear to go on with our labour, what it may be.”
“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
The Times Magazine interview (2005)
Context: There might be one little thing that makes all the difference, one note or one word. The fine-tuning is all important, and you've got to stay there until you get it right... That's why it can take years.
Literary and Historical Miscellanies (1855), The Necessity, the Reality, and the Promise of the Progress of the Human Race (1854)
Context: The glory of God is not contingent on man's good will, but all existence subserves his purposes. The system of the universe is as a celestial poem, whose beauty is from all eternity, and must not be marred by human interpolations. Things proceed as they were ordered, in their nice, and well-adjusted, and perfect harmony; so that as the hand of the skilful artist gathers music from the harp-strings, history calls it forth from the well-tuned chords of time. Not that this harmony can be heard during the tumult of action. Philosophy comes after events, and gives the reason of them, and describes the nature of their results. The great mind of collective man may, one day, so improve in self-consciousness as to interpret the present and foretell the future; but as yet, the end of what is now happening, though we ourselves partake in it, seems to fall out by chance. All is nevertheless one whole; individuals, families, peoples, the race, march in accord with the Divine will; and when any part of the destiny of humanity is fulfilled, we see the ways of Providence vindicated. The antagonisms of imperfect matter and the perfect idea, of liberty and necessary law, become reconciled. What seemed irrational confusion, appears as the web woven by light, liberty and love. But this is not perceived till a great act in the drama of life is finished. The prayer of the patriarch, when he desired to behold the Divinity face to face, was denied; but he was able to catch a glimpse of Jehovah, after He had passed by; and so it fares with our search for Him in the wrestlings of the world. It is when the hour of conflict is over, that history comes to a right understanding of the strife, and is ready to exclaim: "Lo! God is here, and we knew it not."
Source: Anarcho-Syndicalism (1938), Ch. 1 "Anarchism: Its Aims and Purposes"
Context: The economic dictatorship of the monopolies and the political dictatorship of the totalitarian state are the outgrowth of the same political objectives, and the directors of both have the presumption to try to reduce all the countless expressions of social life to the mechanical tempo of the machine and to tune everything organic to the lifeless machine of the political apparatus. Our modern social system has split the social organism in every country into hostile classes internally, and externally it has broken the common cultural circle up into hostile nations; and both classes and nations confront one another with open antagonism and by their ceaseless warfare keep the communal social life in continual convulsions.
“I have sung my songs to my own tunes”
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.
Song for St. Cecilia's Day (1692).
Context: Consecrate the place and day
To music and Cecilia.
Let no rough winds approach, nor dare
Invade the hallow'd bounds,
Nor rudely shake the tuneful air,
Nor spoil the fleeting sounds.
Nor mournful sigh nor groan be heard,
But gladness dwell on every tongue;
Whilst all, with voice and strings prepar'd,
Keep up the loud harmonious song,
And imitate the blest above,
In joy, and harmony, and love.
This period of robotization is called the Kali Yuga, the Age of Strife and Empire...
The Purpose of Life is Religious Discovery
Start your own Religion (1967)
On her near-death experience and final days in New York
Edie : American Girl (1982)
Context: "The Siege of the Warwick Hotel." I was left alone with a substantial supply of speed. I started having strange, convulsive behavior. I was shooting up every half-hour... thinking that with each fresh shot I'd knock this nonsense out of my system. I'd entertain myself hanging on to the bathroom sink with my hind feet stopped up against the door, trying to hold myself steady enough so I wouldn't crack my stupid skull open. I entertained myself by making a tape... a really fabulous tape in which I made up five different personalities. I realized that I had to get barbiturates in order to stop the convulsions, which lasted either hours. Something was spinning in my head.... I just kept thinking that if I could pop enough speed I'd knock the daylights out of my system and none of this nonsense would go on. None of this flailing around and moaning, sweating like a pig, and whew! It was a heavy scene. When I finally cooled down to what I thought was pretty good shape, I slipped on a little muumuu, ran down the stairs of the Warwick, barefoot to the lobby. My eye caught a mailman's jacket and a sack of mail hanging across the back of a chair in the hall way entrance, and before I knew what I was doing, I whipped on the jacket, flipped the bag over my shoulder, and flew out the door, whistling a happy tune. Suddenly I thought: "My God! This is a federal offense. Fooling around with the mail." So I turned around and rushed back and BAM! the manager was waiting for me. He ordered me into the back office. They telephoned an ambulance from Bellevue and packed me into it. Five policemen. I was back into convulsions again, which was really a drag, and I tried to tell the doctors and the nurses and the student interns that I'd run out of barbiturates and overshot speed.... I could speak sanely, but all my motor nerves were going crazy wild. It looked like I was out of my mind. If you had seen me, you wouldn't have bothered to listen, and none of them did. Oh, God, it was a nightmare. Finally six big spade attendants came and held me down on a stretcher. They terrified me... their force against mine. I got twice as bad. I just flipped. I told them if they'd just let go of me, I would calm down and stop kicking and fighting. But they wouldn't listen and they started to tell each other what stages of hallucinations I was in... how I imagined myself an animal. All these things totally unreal to my mind and just guessed on their part. Oh, it was insane. Then they plunged a great needle into my butt and BAM! out I went for two whole days. When I woke up, wow! Rats all over the floor, wailing and screaming. We ate potatoes with spoons. The doctors at Bellevue finally contacted my private physician, and after five days he came and got me out. They sent me back to Gracie Square, a private mental hospital that cost a thousand dollars a week. I was there for five months. Then I ran away with a patient and we went to an apartment in the Seventies somewhere which belonged to another patient in the hospital, who gave us the keys. The guy I ran away with was twenty, but he'd been a junkie since the age of nine, so he was pretty emotionally retarded and something of a drag. I didn't have any pills, so, kind of ravaging around, I went to see a gynecologist and a pretty well-off one. He asked me if I would like to shoot up some acid with him. I hadn't much experience with acid, but I wasn't afraid. He closed his office at five, and we took off in his Aston Martin and drove up the coast... no, what's the name of that river? The Hudson. We stopped at a motel and he gave me three ampules of liquid Sandoz acid, intravenously, mainlining, and he gave himself the same amount and he completely flipped, I was hallucinating and trying to tell him what I was seeing. I'd say, "I see rich, embroidered curtains, and I see people moving in the background. It's the Middle Ages and I am a princess, " and I told him he was some sort of royalty. We made love from eight in the evening until seven in the morning with ecstatic climax after climax, just going insane with it, until he realized it was seven and he had to get back to his office to open it at eight-thirty. He gave me a shot to calm me down, and because I couldn't come down, I took about fourteen Placidyls. On the way back something very strange happened. I didn't realize I was going to say it, but I said out loud, "I wish I was dead"... the love and the beauty and the ecstasy of the whole experience I'd just gone through were really so alien. I didn't even know the man... it had been a one-night jag... he was married and had children... and I just felt lost. It hardly seemed worth living any more because once again I was alone. He dropped me off at the apartment where I was staying with the runaway patient. I had a little Bloody Mary when I got there, and dropped a few more Placidyls. With my tolerance, nothing should have happened, but I suddenly went into a coma. My eyes rolled back in my head. It was lucky... I had called an aide, Jimmy, at the hospital - he had been a good friend - I had called him anonymously and asked him to come and visit us. He happened to turn up just as I went into the coma. He and the heroin addict tried to wake me up. They slapped me and pumped my chest and they put me in a bathtub full of really cold water. Jimmy began to call hospitals - not psychiatric but medical - and one of them actually told them to let me sleep it off. But Jimmy just flipped. He knew I was dying, and he was right. He called Lenox Hill Hospital, and the police finally came. Jimmy and the heroin addict were taken into custody, and I was rushed to the hospital. I was actually declared dead. My mother was called... and then BAM! I started breathing again. I was pretty shaken up by what happened because I didn't understand how I could have almost gone out on just fifteen Placidyls when I used to live on thirty-five three-grain Tunials a day, plus alcohol. They released Jimmy and the junkie, but of course I was still in the trap. I thought I was fine and that I could leave. But a psychiatrist came to interview me and I was put in the New York State Psychiatric Institute at Columbia Presbyterian Hospital - committed on the grounds of unintentional, unconscious suicide. It was a pretty devastating experience. They put me on eight hundred milligrams of Thorazine four times a day plus six hundred milligrams at bedtime - an ugly-tasting liquid, but it took quick effect and you couldn't hide the pills or spit them out later. I had all kinds of bad reactions from it - I'd get bad tremors and all itchy and wormy. I said I wasn't going to take the stuff any more, no matter what, so they finally took me off it one day. I had a seizure, vomited all over the floor, and I couldn't get tremendous dosages of Thorazine, but they accused me of importing drugs and taking them there in the hospital. My doctor was young... a resident... and I just told him, "You think I've taken drugs. There's no point in even reasoning with you. I'll just go to some other hospital." I expected to go to some plush, tolerable hospital, but I was not accepted in any private hospital with the record they gave me. They committed me to Manhattan State on Ward's Island, in the middle of the East River, next to the prison. It was one of the most unpleasant experiences I've ever been through. Really terrifying. I lived in a big dormitory on a ward with about sixty to eighty women. We did all the mopping, cleaning, making beds, scrubbing toilets. And the people there were just so awful. Really pathetic. Some of them were mean. The staff completely ignored you except to administer medication. I thought it was never going to end. In Manhattan State, even in there, there were pushers. One girl who lived in a smaller dormitory - there were two with about ten beds in them - was pushing speed and heroin. And because I'd been warned that if ever you were caught using drugs in a state hospital you'd be criminally punished, I didn't touch any drugs during the three months I was there.
Part I, section xxii, stanza 3
Maud; A Monodrama (1855)
“I want to be calling the shots, organising the tune.”
Context: My favourite is a hung parliament with 20 SNP MPs. I want to be calling the shots, organising the tune.
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.
" Fanfare http://englishatheist.org/mencken/Rascoe-Mencken.htm", in H. L. Mencken (1920) http://www.archive.org/details/hlmencken00newyrich
Context: When H. L. Mencken unpacks his idiomatic brasses, tunes up his verbal strings, and gets in readiness his phrasal wood winds to orchestrate a fugue in damnation or in praise of man, god or book, his all too meagre audience cancels all other engagements to be on hand at the initial presentation. The result, that audience knows, will be an experience of pure enjoyment. His musicianship is unfailing. His program is unsatisfactory only in its impermanence. Though the theme he proposes is invariably Mencken — Mencken apropos of this or that — he gives it infinite and intricate variations.
Interview interview (1999)
Context: You know, I'm fifty-two now and I call myself a singer. Before I kick it I want to be able to carry a tune in a living room if called upon. Of course, mine come out all dark and twisted and weird.
"A Fisherman" in Wild Ways : Zen Poems (2003), edited and translated by John Stevens, p. 37.
Context: Studying texts and stiff meditation can make you lose your Original Mind.
A solitary tune by a fisherman, though, can be an invaluable treasure.
Dusk rain on the river, the moon peeking in and out of the clouds;
Elegant beyond words, he chants his songs night after night.
Heydrich recited this, one of his father's operas, on his deathbed during one of Himmler's visits on 2 June 1941.
Source: [Lehrer, Steven, Steven Lehrer, 2000, 86, Wannsee House and the Holocaust, McFarland, Jefferson, NC, 978-0-7864-0792-7, harv]
“My mother used to say that my tones are all crooked: it’s like hearing a song sung out of tune.”
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)
Twitter Post https://twitter.com/SenSanders, (24 June 2019)
2010s, 2019, June 2019
Source: Better-World Philosophy: A Sociological Synthesis (1899), The Problem of Industry, pp. 19–20
1920s, Viereck interview (1929)
On the question as to her feelings about the media's obsession with her ethnicity
Engagement interview (November 2017)
The Furious Longing of God https://books.google.com/books?id=n17xNZ-aCj0C&pg=PA82&dq=%22To+affirm+a+person+is+to+see+the+good%22&hl=en&sa=X&ved=2ahUKEwi6n8OW-JTkAhVJ2FkKHQN4AEIQ6AEwAnoECAEQAg#v=onepage&q=%22To%20affirm%20a%20person%20is%20to%20see%20the%20good%22&f=false (2009), pp. 82–83
2000s
Prince Rama Varma in: "Murali And Me: A tribute by Prince Rama Varma".
“Sorry, I don’t understand ragas. Just show me the tune and I sing.”
Then sing anything you like, said Boral, and Saigal started singing something in Raag Asawari.
In Begum Akhtar the Undisputed Malika of Ghazals, 28 September 2012, accessdate3 January 2014, New Age Islam http://www.newageislam.com/islamic-culture/begum-akhtar-the-undisputed-malika-of-ghazals/d/8820,
Review of her poetry publications in *[Das, Sisir Kumar, History of Indian Literature: 1911-1956, struggle for freedom : triumph and tragedy, http://books.google.com/books?id=sqBjpV9OzcsC, 1 January 1995, Sahitya Akademi, 978-81-7201-798-9, 184]
Enzo Bettiza, Corriere della sera, interview by Aldo Cazzullo, 12 maggio 2009
About Ceaușescu
Jonny Lang – Blues artist, from Rolling Stone Magazine, issues #820, September 2, 1999
On his writing process in “Interview with Benjamin Zephaniah” https://www.writersandartists.co.uk/writers/advice/37/a-writers-toolkit/interviews-with-authors/interview-with-benjamin-zephaniah in Writers & Artists
Source: Akbar, M. J - The shade of swords_ Jihad and the conflict between Islam and christianity-Routledge (2008)
“Stay tuned. The day of reckoning will come.”
Source: As Papa John's moves on without its founder, John Schnatter vows for a 'day of reckoning' https://www.wdrb.com/news/as-papa-johns-moves-on-without-its-founder-john-schnatter-vows-for-a-day-of/article_b249cd6a-0fd0-11ea-98be-57e90d623b95.html (December 4, 2019)
Source: The Sayings and Teachings of the Great Mystics of Islam (2004), p. 270
Source: Song lyrics, The Kick Inside (1978)
“When you’ve heard one bagpipe tune you’ve heard them both.”
Source: From Time to Time (1995), Chapter 28 (p. 285)
Source: Humanity Comes of Age, A study of Individual and World Fulfillment (1950), Chapter XV The Essential Science of Breathing