Quotes about tune
page 4

Neil Diamond photo
Bawa Muhaiyaddeen photo

“As a teenager I had already arranged pieces for the school band in exchange for music lessons. I also played cello, clarinet, and some other instruments regularly. Thanks to that experience, as an arranger I was able to understand the specific sound and tuning of an instrument and to work intuitively.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

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)

Ursula K. Le Guin photo

“It always seemed to me they’re sort of alike,” he said, “magic and music. Spells and tunes. For one thing, you have to get them just exactly right.”

Ursula K. Le Guin (1929–2018) American writer

“Darkrose and Diamond” (p. 110)
Earthsea Books, Tales from Earthsea (2001)

Peggy Moran photo
Chris Christie photo

“I stood on the stage and watched Marco in rather indignantly, look at Governor Bush and say, someone told you that because we’re running for the same office, that criticizing me will get you to that office. It appears that the same someone who has been whispering in old Marco’s ear too. So the indignation that you carry on, some of the stuff, you have to also own then. So let’s set the facts straight. First of all, I didn’t support Sonia Sotomayor. Secondly, I never wrote a check to Planned Parenthood. Third, if you look at my record as governor of New Jersey, I have vetoed a 50-caliber rifle ban. I have vetoed a reduction this clip size. I vetoed a statewide I. D. system for gun owners and I pardoned, six out-of-state folks who came through our state and were arrested for owning a gun legally in another state so they never have to face charges. And on Common Core, Common Core has been eliminated in New Jersey. So listen, this is the difference between being a governor and a senator. See when you’re a senator, what you get to do is just talk and talk and talk. And you talk so much that nobody can ever keep up with what you’re saying is accurate or not. When you’re a governor, you’re held accountable for everything you do. And the people of New Jersey, I’ve seen it. And the last piece is this. I like Marco too, and two years ago, he called me a conservative reformer that New Jersey needed. That was before he was running against me. Now that he is, he’s changed his tune. I’m never going to change my tune. I like Marco Rubio. He’s a good guy, a smart guy, and he would be a heck of a lot better president than Hillary Rodham Clinton would ever be.”

Chris Christie (1962) 55th Governor of New Jersey, former U.S. Attorney for the District of New Jersey

Full Transcript of the Sixth Republican Debate in Charleston http://time.com/4182096/republican-debate-charleston-transcript-full-text/, Time (14 January 2016).

Robert Graves photo
Jeff Foxworthy photo
Margaret Thatcher photo
Elizabeth May photo

“Heckling “tunes people out of their democracy,” she says”

Elizabeth May (1954) Canadian politician

The Walrus interview (2012)

Jane Roberts photo
Dietrich Bonhoeffer photo
Hermann Rauschning photo
David Draiman photo
David Berg photo
Elton John photo
Jimmy Durante photo

“Inka dinka doo, a dinka dee,
A dinka doo.
Oh, what a tune for crooning.
Inka dinka doo, a dinka dee
A dinka doo.
It's got the whole world spooning.”

Jimmy Durante (1893–1980) American jazz singer, pianist, comedian and actor

"Inka Dinka Doo" (1933) written with Fred Ryan and Harry Donnelly.

Andrey Illarionov photo
Daniel Levitin photo
Walter Dornberger photo
Kent Hovind photo
Richard Smalley photo
Charlotte Salomon photo

“.. Since I myself needed a year to discover the significance of this strange work, many of the texts and tunes, particularly in the first paintings, elude my memory and must - like the creation as a whole so it seems to me - remain shrouded in darkness.”

Charlotte Salomon (1917–1943) German painter

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?

Timothy Leary photo
Martin Rushent photo
Kris Kobach photo
Abraham Cowley photo

“Ev'en Thou my breast with such blest rage inspire,
As mov'd the tuneful strings of Davids Lyre”

Abraham Cowley (1618–1667) British writer

Book I, lines 25-26
Davideis (1656)

Thomas Fuller photo

“Music is nothing else but wild sounds civilised into time and tune.”

Thomas Fuller (1608–1661) English churchman and historian

The History of the Worthies of England (1662): Musicians.

Sara Teasdale photo
George W. Bush photo
RuPaul photo
John Betjeman photo
Chris Cheney photo

“Buddy Holly was the geekiest looking guy in the world, but he had some really rockin tunes.”

Chris Cheney (1975) Australian rock musician

http://www.thelivingend.info/band/chris-cheney.php

Joseph Beuys photo

“my art cannot be understood primarily by thinking. My art touches people who are in tune with my mode of thinking. But it is clear that people cannot understand my art by intellectual processes alone, because no art can be experienced in that way.”

Joseph Beuys (1921–1986) German visual artist

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

Charlie Brooker photo
Arthur Schopenhauer photo
Woody Allen photo
Francis Bacon photo
David Mushet photo
Thomas Carlyle photo

“Such parliamentary bagpipes I myself have heard play tunes, much to the satisfaction of the people.”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

1850s, Latter-Day Pamphlets (1850), Stump Orator (May 1, 1850)

Samuel Johnson photo

“There Poetry shall tune her sacred voice,
And wake from ignorance the Western World.”

Samuel Johnson (1709–1784) English writer

The Tragedy of Irene (1749), Act IV, Sc. 1

Nick Cave photo

“Numbin' the runt of reputation they call rat frame,
Top-E as a tourniquet,
A low tune whistles across his grave,
Forever the slave of his Six Strings.”

Nick Cave (1957) Australian musician

Song lyrics, The Firstborn Is Dead (1985), The Six Strings That Drew Blood

Kurien Kunnumpuram photo
Marissa Mayer photo
William Motherwell photo

“And we, with Nature’s heart in tune,
Concerted harmonies.”

William Motherwell (1797–1835) British writer

Jeannie Morrison (c. 1832), Stanza 8.

Joni Madraiwiwi photo
Jimi Hendrix photo

“Sorry for the tune up between time, but what the hell, cowboys are the only ones who stay in tune, anyway…”

Jimi Hendrix (1942–1970) American musician, singer and songwriter

Performance at Woodstock

Dennis Miller photo

“At one time, Washington actually meant something. But now, it's about as relevant as Bob Dylan's tuning fork.”

Dennis Miller (1953) American stand-up comedian, television host, and actor

"Washington, D.C."
Ranting Again

Miles Davis photo

“The music has gotten thick. Guys give me tunes and they're full of chords. I can't play them…I think a movement in jazz is beginning away from the conventional string of chords, and a return to emphasis on melodic rather than harmonic variation. There will be fewer chords but infinite possibilities as to what to do with them.”

Miles Davis (1926–1991) American jazz musician

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

Neil Young photo

“I'm singin' this borrowed tune I took from the Rolling Stones,
Alone in this empty room, too wasted to write my own.”

Neil Young (1945) Canadian singer-songwriter

Borrowed Tune
Song lyrics, Tonight's the Night (1975)

Gary Johnson photo

“I share in their outrage and the outrage is that we don’t have a system that has a level playing field. That the government picks winners and losers and in the case of Wall Street what absolutely outrages me is the fact that these people that made such incredibly bad decisions, and I’m believing that these decisions were not necessarily criminal or I think they would have been prosecuted, but that they were just horrible decisions. That they should have been rewarded with failure. Meaning they should have lost all of their money. But they didn’t loose all of their money did they? We bailed them out at the tune of a trillion bucks. You and I. You and I bailed them out. They continue to receive their bonuses and that is … that is the outrage and I share in that outrage… Government should be a level playing field where all of us have the same advantages and the same threats if you will. Implementing the Fair Tax for example throws out the entire Federal tax system. No income tax, no IRS, no business tax, no corporate tax and isn’t the fact that some people pay tax and others don’t isn’t it it the fact that some corporations pay tax and others don’t that has us outraged. It’s just not fair. Let’s implement something that totally fair and in fact is a system where you make the more you consume the more Fair Tax you’ll pay. In a Fair Tax environment you’ll be incentivised to save money.”

Gary Johnson (1953) American politician, businessman, and 29th Governor of New Mexico

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

Kate Bush photo

“Soon it will be the phase of the moon
When people tune in.”

Kate Bush (1958) British recording artist; singer, songwriter, musician and record producer

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?

Vita Sackville-West photo

“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”

Vita Sackville-West (1892–1962) English writer and gardener

"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.

Bram Stoker photo

“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.”

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.”

Virgil photo

“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--> ...

Virgil (-70–-19 BC) Ancient Roman poet

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

“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.”

Enya (1961) Irish singer, songwriter, and musician

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.

George Bancroft photo

“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.”

George Bancroft (1800–1891) American historian and statesman

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."

Rudolf Rocker photo

“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.”

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.

Vachel Lindsay photo

“I have sung my songs to my own tunes”

Vachel Lindsay (1879–1931) American poet

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.

Joseph Addison photo

“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.”

Joseph Addison (1672–1719) politician, writer and playwright

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.

Timothy Leary photo

“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.”

Edie Sedgwick (1943–1971) Socialite, actress, model

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.

Alfred, Lord Tennyson photo
Alex Salmond photo

“I want to be calling the shots, organising the tune.”

Alex Salmond (1954) Scottish National Party politician and former First Minister of Scotland

Context: My favourite is a hung parliament with 20 SNP MPs. I want to be calling the shots, organising the tune.

Ursula K. Le Guin photo

“One of the historians of Darranda said: To learn a belief without belief is to sing a song without 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.

Julien Offray de La Mettrie photo

“Among animals, some learn to speak and sing; they remember tunes, and strike the notes as exactly as a musician. Others, for instance the ape, show more intelligence… would it be absolutely impossible to teach the ape a language? I do not think so.”

Man a Machine (1747)
Context: Among animals, some learn to speak and sing; they remember tunes, and strike the notes as exactly as a musician. Others, for instance the ape, show more intelligence... would it be absolutely impossible to teach the ape a language? I do not think so.<!--pp.100-102

“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.”

Burton Rascoe (1892–1957) American writer

" 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.

Iggy Pop photo

“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.”

Iggy Pop (1947) American rock singer-songwriter, musician, and actor

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.

P. J. O'Rourke photo
Ikkyu photo

“Studying texts and stiff meditation can make you lose your Original Mind.
A solitary tune by a fisherman, though, can be an invaluable treasure.”

Ikkyu (1394–1481) Japanese Buddhist monk

"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.

John D. Barrow photo
Jonathan Sacks photo
Marcus Aurelius photo
Reinhard Heydrich photo

“The world is just a barrel-organ which the Lord God turns Himself. We all have to dance to the tune which is already on the drum.”

Reinhard Heydrich (1904–1942) German Nazi official during World War II

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]

Madeleine Thien photo

“My mother used to say that my tones are all crooked: it’s like hearing a song sung out of tune.”

Madeleine Thien (1974) Canadian writer

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)

Charles Stross photo
Charles Stross photo
Bernie Sanders photo
J. Howard Moore photo

“Man, in satisfying his desires, in avoiding misery and achieving happiness, strives to do two things with the inanimate universe: to manage it and to foreknow it. The inanimate is not devoted to us. We are not birdlings cuddled in an order of things where we need simply to yawn and be filled. We must bestir ourselves, or be in a position to compel others to bestir themselves for us, or perish. We are waifs, brought into existence by a universe whose solicitude for us ended with the travail that brought us forth. The inanimate universe is our mother, but without the blessed mother-love. The first thing we are conscious of, and about the only thing we ever absolutely know, is that we are whirling around in a very helpless manner on a whirligig of a ball, out of whose substance by the sweat of our brows we must quarry our existence. The universe is practically independent of us. But we, alas, are not independent of it. The food we eat, our raiment, our habitations, our treasures, our implements of knowledge, and our means of amusement are all portions of the inanimate, which we living beings must somehow subtract from the rest. In order to obtain these indispensable portions of the universe about us, we must halter it and control it and compel it to produce to the tune of our desires.”

J. Howard Moore (1862–1916)

Source: Better-World Philosophy: A Sociological Synthesis (1899), The Problem of Industry, pp. 19–20

Albert Einstein photo
Meghan, Duchess of Sussex photo

“To affirm a person is to see the good in them that they cannot see in themselves and to repeat it in spite of appearances to the contrary. Please, this is not some Pollyanna optimism that is blind to the reality of evil, but rather like a fine radar system that is tuned in to the true, the good, and the beautiful.”

Brennan Manning (1934–2013) writer, American Roman Catholic priest and United States Marine

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

M. Balamuralikrishna photo
K. L. Saigal photo

“Sorry, I don’t understand ragas. Just show me the tune and I sing.”

K. L. Saigal (1904–1947) Indian actor

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,

Sarojini Naidu photo

“Is not just a faded echo of the feeble voice of decadent romanticism but an authentic Indian English utterance exquisitely tuned to the composite to Indian ethos, bringing home to the unbiased reader all the opulence, pageantry and charm of Indian life, and the spenders of Indian scene.”

Sarojini Naidu (1879–1949) Indian politician, governor of the United Provinces of Agra and Oudh from 1947 to 1949

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]

Nicolae Ceaușescu photo

“Nicolae Ceaușescu had the fame of a heretic, but he was very different from Tito. He was the most Stalinist of the Balkan Communist tyrants, in tune with the past of his homeland, Oltenia, a land of dark forests and Ottoman atrocities.”

Nicolae Ceaușescu (1918–1989) General Secretary of the Romanian Communist Party

Enzo Bettiza, Corriere della sera, interview by Aldo Cazzullo, 12 maggio 2009
About Ceaușescu

Jeff Buckley photo

“His voice is an incredible instrument, angelic and powerful and mean at the same time. Tortured. He has been a huge inspiration and influence to me over the last two years. This tune is just unreal.”

Jeff Buckley (1966–1997) American singer, guitarist and songwriter

Jonny Lang – Blues artist, from Rolling Stone Magazine, issues #820, September 2, 1999

Benjamin Zephaniah photo

“…Sometimes I’ll do these things for a couple of days then suddenly one day the poem comes out, just like that, in a couple of minutes. I might rewrite it later, a kind of fine tuning, or sometimes I’ll tell the audience it’s a new poem and just perform it to see if it works.”

Benjamin Zephaniah (1958) English poet and author

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

Margaret Atwood photo
Aldous Huxley photo

“I'm interested in truth, I like science. But truth's a menace, science is a public danger. As dangerous as it's been beneficent. … It's curious … to read what people in the time of Our Ford used to write about scientific progress. They seemed to imagine that it could go on indefinitely, regardless of everything else. Knowledge was the highest good, truth the supreme value; all the rest was secondary and subordinate. True, ideas were beginning to change even then. Our Ford himself did a great deal to shift the emphasise from truth and beauty to comfort and happiness. Mass production demanded the shift. Universal happiness keeps the wheels steadily turning; truth and beauty can't. And, of course, whenever the masses seized political power, then it was happiness rather than truth and beauty that mattered. Still, in spite of everything, unrestricted scientific resarch was still permitted. People still went on talking about truth and beauty as though they were sovereign goods. Right up to the time of the Nine Years' War. That made them change their tune all right. What's the point of truth or beauty or knowledge when the anthrax bombs are popping all around you? That was when science first began to be controlled — after the Nine Years' War. People were ready to have even their appetites controlled then. Anything for a quiet life. We've gone on controlling ever since. It hasn't been very good for truth, of course. But it's been very good for happiness. One can't have something for nothing. Happiness has got to be paid for.”

Source: Brave New World (1932), Mustapha Mond, in Ch. 16

John Grisham photo
M.J. Akbar photo

“Jihad is the signature tune of Islamic history. If today’s Muslim rulers are reluctant to sound that note, it is often because they are concerned about the consequences of failure.”

M.J. Akbar (1951) journalist, author

Source: Akbar, M. J - The shade of swords_ Jihad and the conflict between Islam and christianity-Routledge (2008)

John Schnatter photo

“Stay tuned. The day of reckoning will come.”

John Schnatter (1961) American entrepreneur, founder of Papa John's

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)

Kate Bush photo

“When you’ve heard one bagpipe tune you’ve heard them both.”

Source: From Time to Time (1995), Chapter 28 (p. 285)

Vera Stanley Alder photo