When I was younger, I saw my daddy cry And curse at the wind He broke his own heart and I watched As he tried to reassemble it
And my momma swore that She would never let herself forget And that was the day that I promised I'd never sing of love if it does not exist
But darling, you are the only exception You are the only exception You are the only exception You are the only exception
Maybe I know, somewhere deep in my soul That love never lasts And we've got to find other ways to make it alone Or keep a straight face
And I've always lived like this Keeping a comfortable distance And up until now I had sworn to myself that I'm content with loneliness Because none of it was ever worth the risk
But you are the only exception You are the only exception You are the only exception You are the only exception
I've got a tight grip on reality But I can't let go of what's in front of me here I know you're leaving in the morning when you wake up Leave me with some kind of proof, it's not a dream, oh
You are the only exception You are the only exception You are the only exception You are the only exception
You are the only exception You are the only exception You are the only exception You are the only exception
And I'm on my way to believing Oh, and I'm on my way to believing
In Washington DC, at a Metro Station, on a cold January morning in 2007, this man with a violin played six Bach pieces for about 45 minutes.
During that time, approximately 2,000 people went through the station, most of them on their way to work. After about 3 minutes, a middle-aged man noticed that there was a musician playing. He slowed his pace and stopped for a few seconds, and then he hurried on to meet his schedule.
About 4 minutes later:
The violinist received his first dollar. A woman threw money in the hat and, without stopping, continued to walk.
At 6 minutes:
A young man leaned against the wall to listen to him, then looked at his watch and started to walk again.
At 10 minutes:
A 3-year old boy stopped, but his mother tugged him along hurriedly. The kid stopped to look at the violinist again, but the mother pushed hard and the child continued to walk, turning his head the whole time. This action was repeated by several other children, but every parent - without exception - forced their children to move on quickly.
At 45 minutes:
The musician played continuously. Only 6 people stopped and listened for a short while. About 20 gave money but continued to walk at their normal pace. The man collected a total of $32.
After 1 hour:
He finished playing and silence took over. No one noticed and no one applauded. There was no recognition at all...
No one knew this, but the violinist was Joshua Bell, one of the greatest musicians in the world. He played one of the most intricate pieces ever written, with a violin worth $3.5 million dollars. Two days before, Joshua Bell sold-out a theater in Boston where the seats averaged $100 each to sit and listen to him play the same music.
This is a true story. Joshua Bell, playing incognito in the D.C. Metro Station, was organized by the Washington Post as part of a social experiment about perception, taste and people's priorities.
This experiment raised several questions:
• In a common-place environment, at an inappropriate hour, do we perceive beauty?
• If so, do we stop to appreciate it?
• Do we recognise talent in an unexpected context?
One possible conclusion reached from this experiment could be this:
If we do not have a moment to stop and listen to one of the best musicians in the world, playing some of the finest music ever written, with one of the most beautiful instruments ever made;
How many other things are we missing as we rush through life?
Take time to stop and stare...
What is this life if full of care We have no time to stand and stare? No time to stand beneath the boughs And stare as long as sheep, or cows. No time to see, when woods we pass, Where squirrels hide their nuts in grass. No time to see, in broad daylight, Streams full of stars, like skies at night. No time to turn at Beauty's glance, And watch her feet, how they can dance. No time to wait till her mouth can Enrich that smile her eyes began. A poor life this, if full of care, We have no time to stand and stare.~ William Henry Davies 1871 - 1940
Norwegian singer Ane Brun's new single, Do You Remember, is set to be released via Balloon Ranger Records on on July 25th 2011; it's taken from the upcoming album 'It All Starts With One", which will follow in October. Ane Brun - real name Ane Brunvoll, started writing songs while studying in Bergen, Norway, in between working in bars and record shops. Her debut album, 'Spending Time With Morgan', was released in 2003 in 11 European countries. Her second album, 'A Temporary Dive' was issued throughout Europe, Japan, Australia and the US in 2005, where it received incredibly positive reviews. Ane's most recent studio album, 'The Changing of the Seasons', came out in 2008 and featured the single The Treehouse Song and The Fall. As well as all this, Ane has also released a collaborative album, 'Duets', recorded with some of the artists she admires including Teitur and Ron Sexsmith. She has also received 2 Norwegian Grammys, including one for Best Female Artist. Her forthcoming album 'It All Starts with One' serves as the basis for a short film, 'One'. The video for her single serves as the first chapter to be released from the film, which will premiere in autumn 2011. Ane Brun has also announced a European tour, to start in October, with UK dates in November, which are as follows: November 9th Deaf Institute, Manchester, UK November 10th King Tuts, Glasgow, UK November 11th HMV Institute - The Library, Birmingham, UK November 12th Scala, London, UK "Ane Brun was moving out of the traditional singer-songwriter suit as early as the last album, Changing of the Seasons, and Tobias Froberg completes that trip, and It All Starts With One allows for his own sound to be taken to a new level. He hired two drummers, Per Eklund (Lykke Li, Miike Snow) and Ola Hultgren (Loney Dear, thus Owls) to play together on most of the album’s songs. Martin Hederos (Soundtrack Of Our Lives, Tonbruket) was behind the organs. A large part of what takes place in the musical arrangements is due to the interaction between the evocative rhythm section and Hederos’ soaring piano. Froberg only wanted bass on a single song, creating space and movement for Ane’s exceptional voice, which was flanked by, among others, the sisters from First Aid Kid (Do You Remember) and José González (Worship).Some of the songs were completed by January 2011, but most have been written in Ane’s writing studio in Stockholm in the January / February period of 2011. It was at this time that the Arab revolution started and Ane spoke of how affected she was by the courage and energy that people showed the world.It All Starts With One explored the dynamics involved in trying to find balance between embracing the independent without feeling lonely, and to keep oneself and ones core intact, whilst wanting to help someone in need." Track Listing: 01. Ane Brun - These Days (4:38) 02. Ane Brun - Words (4:25) 03. Ane Brun - Worship (6:01) 04. Ane Brun - Do You Remember (3:12) 05. Ane Brun - What's Happening With You And (4:36) 06. Ane Brun - Lifeline (3:04) 07. Ane Brun - One (3:19) 08. Ane Brun - The Light From One (5:21) 09. Ane Brun - Oh Love (4:18) 10. Ane Brun - Undertow (6:31)
My love for you is deeper than the depths of any ocean,
And as faithful as the stars that grace the night,
As constant as the sun making its journey through heavens,
and we'll always be together you and I.
[Chorus]
Together you and I can stop the rain
and make the sun shine.
Paint a pretty rainbow,
brushed with love across the sky,
Together you and I belong,
like a songbird and a song and we'll always be together you and I
Life with you is sweeter than the fragrance of the flowers
And as happy as the laughter of a child
As peaceful as a river and as lasting as forever
you know we'll always be together you and I
[Chorus]
I always be beside or close behind you.
Wherever you go,
you'll always know I'll always find you
[Chorus]
We'll always be together,
you and I Forever together, forever you and I
(forever you and I)
Forever together, together you and I will always be
(together, together)
Together, you and I... ~~~ {Contra Omnia Discrimina} Dedicated to Travis Toogood for asking me the question of all questions on the 4th July 2011 - Our Independence Day.
Got My Eye On a Boy He's Eyeing Me Back It's Looking Real Good This Could Be It And I Know That All of You Girls Would Love to Steal Him Away He Bought Me a Drink I Thanked Him Real Sweet It's Always So Nice When You First Meet And I Know That All of You Women Would Love to Steal Him Away So I'm Warning You Better Keep Your Hands Off My Better Keep Your Hands Off My Better Keep Your Hands Off My Potential New Boyfriend Building Up An Appetite You Can Look But You Can't Buy Better Keep Your Hands Off My Potential New Boyfriend Pretty As a Picture Comin' On So Strong He's Twisting My Ignition Key Turn My Motor On But Anyone Can See, All His Attention's On Me Give Us Some Privacy Better Keep Your Hands Off My Better Keep Your Hands Off My Better Keep Your Hands Off My Potential New Boyfriend Better Keep Your Hands Off My It's a Welcome Turn to Try Better Keep Your Hands Off My Potential New Boyfriend Leave Us Alone Tonight Then If It Don't Work Out Right He's All Your's Until Then Better Keep Your Hands Off My Better Keep Your Hands Off My Better Keep Your Hands Off My Potential New Boyfriend They Keep Crowdin' in On Me He Smiles Rather Unsuspiciously Better Keep Your Hands Off My Potential New Boyfriend Better Keep Your Hands Off My Better Keep Your Hands Off My Better Keep Your Hands Off My Potential New Boyfriend Building Up An Appetite You Can Look But You Can't Buy Better Keep Your Hands Off My Potential New Boyfriend
I, I long to be beside of you, I was wrong to tell you what was true, Yes I, know I'm a victim of my pride, I belong to all that I've been through. I drove for miles in a city trance, I came to ask for a second chance, But I won't dance, no I won't dance. I came for miles on a broken wheel, I came to see whether love can heal, But I won't kneel, no I won't kneel 'Cause I can't bend, can't hold, Can't lend, can't fold, Can't lose, won't cry, Can't choose 'cause I know why. I, I want to always be with you, What's wrong to tell you what I knew, 'Cause I know, I know I'm a slave to lonely pride, I belong to all that I've been through. I drove for miles in a city trance, I came to ask for a second chance, But I won't dance, no I won't dance. I came for miles on a broken wheel, I came to see whether love can heal, But I won't kneel, no I won't kneel. 'Cause I can't bend, can't hold, Can't dance, can't fold, I get close and get scared, And this grows in my head. Won't you give me something, something to hold? Won't you give me something, something to hold? Won't you give me something, something to hold? Won't you give me something, something to hold?
She was an unknown session artist until she left thousands transfixed by singing Blondie’s Sunday Girl on television adverts for The Mail on Sunday’s You magazine last week.
Now Phillipa Alexander is celebrating the success of the song with a Sunday Girl of her own. Phillipa recorded the track for the advert just days before giving birth to her daughter Priya. And, appropriately, the little girl came into the world on a Sunday. ‘The song is obviously nothing to do with motherhood, but to have given birth to my own Sunday girl and to have sung it while she was still inside me feels like a special and very sweet coincidence,’ said Phillipa. Her song is used on a series of adverts whose theme is ‘You time’ – the precious moment of the day when readers retreat with their magazine. The Mail on Sunday was inundated with requests to know who the singer is – and is now making the complete track available as a free download. The musical arrangement to Sunday Girl was masterminded by M&C Saatchi agency composer Alex Ball. Although not a household name, Phillipa, 38, has impersonated singers from Nina Simone to Billie Holiday and provided voiceover performances for clients including Levi’s, Lynx and L’Oreal. ‘I am a huge fan of Blondie,’ said Phillipa. ‘Heart Of Glass is my favourite Blondie song.’ Phillipa moved from Shoreham-by-Sea, West Sussex, to America when she was seven after her father Colin got an engineering job in San Diego. Her creative ambitions were encouraged by her mother, Wendy, an artist and illustrator. Phillipa enjoyed success as a session singer before moving back to Brighton with her family at 21. There she met her husband, music producer Sanj Sen, 35, in 1999. He suggested a career doing voiceovers for advertisements, and seven years ago she joined Calypso voiceover agency. As well as her singing and voiceover work, Phillipa runs a successful songwriting business, Chicks With Hits, with friend Ellie Wyatt. Their songs have been heard on hit U.S. shows such as Grey’s Anatomy and Desperate Housewives, and they are currently trying to secure a record deal for their latest artist, Larissa Eddie, and her band, Eddie. But Phillipa’s priority now lies with her gorgeous baby girl. ‘Holding her for the first time was the most incredible experience,’ she said. ‘Priya is adorable, although running my own businesses at the same time is tough. I am constantly juggling. I am hoping she will teach me to relax more.’ Read more: http://www.dailymail.co.uk/femail/article-1305022/Sunday-Girl-Sunday-baby--hi...
I lived for my art, I lived for love, I never did harm to a living soul! With a secret hand I relieved as many misfortunes as I knew of. Always with true faith my prayer rose to the holy shrines. Always with true faith I gave flowers to the altar. In the hour of grief why, why, o Lord, why do you reward me thus? I gave jewels for the Madonna’s mantle, and I gave my song to the stars, to heaven, which smiled with more beauty. In the hour of grief why, why, o Lord, ah, why do you reward me thus? *** Vissi d’arte, vissi d’amore, non feci mai male ad anima viva! Con man furtiva quante miserie conobbi aiutai. Sempre con fè sincera la mia preghiera ai santi tabernacoli salì. Sempre con fè sincera diedi fiori agl’altar. Nell’ora del dolore perchè, perchè, Signore, perchè me ne rimuneri così? Diedi gioielli della Madonna al manto, e diedi il canto agli astri, al ciel, che ne ridean più belli. Nell’ora del dolor perchè, perchè, Signor, ah, perchè me ne rimuneri così?
