Archive for August, 2017

Saturday 19th August 2017

Posted in Life the Universe and Other Things on August 19, 2017 by bishshat


Friday 18th August 2017

Posted in Life the Universe and Other Things on August 18, 2017 by bishshat


If you didn’t care what happened to me,
And I didn’t care for you,
We would zig zag our way through the boredom and pain
Occasionally glancing up through the rain.
Wondering which of the buggars to blame
And watching for pigs on the wing.


You know that I care what happens to you,
And I know that you care for me.
So I don’t feel alone,
Or the weight of the stone,
Now that I’ve found somewhere safe
To bury my bone.
And any fool knows a dog needs a home,
A shelter from pigs on the wing.

Thursday 17th August 2017

Posted in Life the Universe and Other Things on August 17, 2017 by bishshat


Fulke Greville, was knighted by Henry VIII for military service to the crown. He was High Sheriff of Warwickshire in 1543 and a member of Parliament from 1547. He further distinguished himself along with forty men in the suppression of the Pilgrimage of Grace and served in campaigns in 1544 against France. He built his wife and family a new house at Beauchamp’s Court with stone reclaimed from Alcester Priory. Fulk died on 10 Nov 1559.


Pilgrimage of Grace Robert Aske.

Elizabeth Willoughby was the eldest daughter of Edward Willoughby of Alcester, Warwickshire, and Powick, and Margaret Neville, daughter of Anne Stafford and Edward Neville. Elizabeth’s father, Edward Willoughby, died in November 1517, leaving Elizabeth still a minor. Her wardship was acquired in 1522 by Sir Edward Greville of Milcote, Warwickshire. At her grandfather’s death on 11 November 1521, the baronies of Willoughby de Broke and Latimer fell into abeyance between his three granddaughters; all daughters of his son Edward; Elizabeth, Anne and Blanche. The barony was settled on Elizabeth after Anne and Blanche died childless.

Shortly before 11 April 1526 Sir Edward Greville married his ward Elizabeth to his second son, Sir Fulke Greville (bef. 1505–10 November 1559) of Beauchamps Court, Alcester. He did so because Elizabeth preferred Fulk over his older brother John.
A manuscript dated 1644 entitled The Genealogie, Life and Death of Robert, Lord Brooke, then in the possession of the Earl of Warwick, describes their courtship:

In the days of Henry VIII, I read of Sir Edward Greville, of Milcote, who had the wardenship of Elizabeth, one of the daus. of the Lord Brooke’s son. The knight made a motion to his ward to be married to John, his eldest son, but she refused, saying that she did like better of Fulke, his 2nd son. He told her that he had no estate of land to maintain her; and that he was in the King’s service of warre beyond the seas, and therefore his return was very doubtful. Shee replied and said, that shee had an estate sufficient both for him and herself, and that she would pray for his safety and wait for his coming. Upon his return home, for the worthy services he had performed, he was by King Henry honoured with a knighthood; and then married Elizabeth, the dau. of the Lord Brooke’s son. ” Elizabeth died 9 November 1562 and was buried beside her husband with a monumental inscription. At her death the title passed to her eldest son, Fulke Greville, 4th Baron Willoughby de Broke.

On his death on 15 November 1606 at Beauchamp Court near Alcester, his estate (including any claim to the titles) passed to his eldest son, Fulke Greville, 1st Baron Brooke and 5th Baron Willoughby de Broke. After the murder of his son in 1628, they passed to his daughter Margaret Greville, 6th Baroness Willoughby de Broke, wife of Sir Richard Verney of Compton Verney in Warwickshire.


Wednesday 16th August 2017

Posted in Life the Universe and Other Things on August 16, 2017 by bishshat


My homage to my homage to Kazimir Malevich.

Tuesday 15th August 2017

Posted in Life the Universe and Other Things on August 15, 2017 by bishshat


Monday 14th August 2017

Posted in Life the Universe and Other Things on August 14, 2017 by bishshat


But there was more to White Rabbit than that.

“We are the people our parents warned us about,” Grace Slick yelled in the 60s. As the bluff lead singer with San Francisco band Jefferson Airplane, no-one embodied the free-thinking spirit of the times like she did. And if one song came to define the Haight-Ashbury counter-culture itself, it was Airplane’s White Rabbit.

Released in the loved-up summer of 67, its heavy allusions to the altered states in Lewis Carroll’s Alice’s Adventures In Wonderland, along with its exhortations to ‘feed your head’, seemed to invite a whole new generation to trip out on the pleasures of psychedelics. For those for whom love, peace and LSD were inseparable, it became an anthem. “It was timely for the era,” Airplane founder Marty Balin admitted years later. “The myth, the idea, the acid.” “It wasn’t actually a big hit,” Airplane bassist Jack Casady recalls, “but it was within the culture of the times. It became the signature for the people who were doing the things it had reference to. But does it work on different levels other than just a drugs song? Yeah, it does.”


Slick herself has always maintained that White Rabbit was aimed at hypocritical parents and their habit of reading drug-laced stories to children at their most impressionable age. “In all those children’s stories, you take some kind of chemical and have a great adventure,” she told writer Mark Paytress. “Alice In Wonderland is blatant. Eat me! She gets literally high, too big for the room. Drink me! The caterpillar is sitting on a psychedelic mushroom smoking opium!”

She also argued that the song was about the importance of education: ‘Feed your head,’ the rousing climax to White Rabbit, was intended as a call to liberate brains as much as the senses. Slick wrote White Rabbit at home in Marin County a year earlier, on an upright piano with missing keys, at the end of an acid trip during which she listened to Miles Davis’s Sketches Of Spain for 24 hours straight. Then she presented it to her then bandmates, San Francisco raga-folk avatars the Great Society. Also in that band were Grace’s drummer husband Jerry, brother- in-law Darby Slick [lead guitar], Peter Van Gelder [bass] and rhythm guitarist David Minor. According to the latter, who began as the Great Society’s chief songwriter, White Rabbit was an answer to a call.

“When we started working, nobody had anything because I couldn’t write any more,” he recalls. “I was too busy keeping up with my various jobs. So Grace’s husband Jerry challenged them: ‘What are you gonna do? Let David write all the songs?’ Y’know, ‘Do something!’. So Darby came back with a couple of songs and Grace came back with White Rabbit.”


At six-minutes-plus, the original version of the song was much trippier, and nearly three times as long, as the Airplane’s single version; it was Eastern-flavoured, with an improvised raga intro, and Slick’s vocal was less stately. But the Spanish march and echoes of Ravel’s Bolero were already there.

“People talk about one of the wonderful things we did was play Bolero,” says Minor. “But to me there’s no difference between covering jazz and covering Little Richard. It all comes from a similar root.”

Live on stage, White Rabbit became a part of the Great Society’s set. By then, though, the band were having problems. Grace and Jerry’s marriage was starting to come apart, and Darby was getting deeper into drugs. Then came a benefit show at San Francisco’s Fillmore in September 1966. Sharing the bill with the Great Society were Jefferson Airplane, then looking for a new singer. Jack Casady had seen Grace several times and wanted her in.

“I liked Grace’s singing because we wanted a good, aggressive singer for the band,” he says. “She had a unique timbre and sound to her voice; Signe [Anderson], who was our first singer, came out of a folk background and had a contralto voice with smooth harmonies. What I like about Grace was the fact she stood right at the end of the stage and made good contact with the audience. Paul [Kantner] had put the vocal sound together for the first year of Jefferson Airplane, where it had the smoothness of his influences in folk music. I liked the individual sound to Grace’s voice, so I asked her to be in the band. This was the girl. Also, her attitude was very different. She didn’t have a submissive attitude at all, which is what we wanted. We wanted an equal in the band, someone you could work off, someone with fire in their eyes.”

Airplane manager Bill Thompson bought out Grace’s contract for just $750 and Slick was in, replacing the purer folk tones of Anderson with a more strident, punky approach. The following month the band set out for LA to start work on their second album, Surrealistic Pillow. “We recorded it out at Sunset and Ivar, in a huge room at RCA where they used to record A Hundred And One Strings. The room was massive, so we basically set up the instrumentation in the middle of this room and played it live onto four-track. It was very simple to record. I just led the song out as a bass part like Bolero, ripping off Ravel. It was all slow and slinky, it gave us the atmosphere we wanted.”

With the Grateful Dead’s Jerry Garcia credited as ‘musical and spiritual advisor’, the album was a huge success, peaking at No.3 on the US Billboard chart and sealing the Airplane’s status at the forefront of the Bay Area bands. Oddly enough, the two major US hits it spawned were both brought in by Slick from the Great Society: Somebody To Love, written by Darby Slick, made the top five in February 67; White Rabbit, meanwhile, very nearly didn’t make it onto the album at all.


“Grace had two songs she brought with her from the Great Society,” says Casady. “But White Rabbit was the song we were going to leave off the album because we thought it would never get released, we thought it was going to be censored. It eventually became a big deal because it made it onto the album, then got dispersed into the crowd whenever we played live. Otherwise, it was just a little two-and- half-minute song that was kind of a lark.” Grace Slick is still synonymous with Alice’s Adventures In Wonderland. The perennial White Rabbit, regularly used on Hollywood film soundtracks, provides her with a comfortable income. Long retired from the music business, she now runs a one-woman art show in Malibu. Her most popular work, fittingly enough, is a series of paintings based on the Alice books. Feed your head.


Everybody’s Fine

Frank Goode, a recently widowed retiree, is getting ready for his children to come visit him. One by one though, each of his children calls to cancel on him at the last minute. Feeling a bit down by the rejections, Frank decides to head out on a cross-country trip, visiting each of his kids. Despite warnings from his doctor, Frank takes a train to New York City, to see one of his sons, David. David does not appear to be home and never shows up so Frank leaves him a card and leaves town to see his other children. While he is waiting for David, he sees one of David’s paintings in a nearby art gallery window.

His next visit is to daughter Amy in Chicago, who tells him it is a bad time to visit. She had turned down her father’s earlier invitation to visit, saying that her son Jack was sick. However, once he gets to Amy’s house, Frank realizes Jack wasn’t sick and Amy was just making up an excuse. Frank hits a few golf balls with Jack in the yard of their impressive suburban home. Dinner is uncomfortable with tension between Jack and his father. The next morning, Frank accompanies Amy to her fancy downtown office and hears her agency’s pitch for a TV ad. She takes him to the train station to visit his son Robert in Denver. While waiting, Amy introduces her father to a male co-worker. As Frank travels to each of his children’s homes, the film cuts to phone conversations between the siblings. David is in some type of trouble in Mexico, and Amy is going there to find out what is happening; the sisters and Robert agree to not tell their father about David until they know for sure.

Frank arrives in Denver expecting to see Robert conduct the city’s orchestra. It turns out Robert is “only” a percussionist. Robert also tells Frank his visit is at a bad time, as the orchestra is flying to Europe the next day, but this is only a lie. So within hours Frank prepares to take a bus to Las Vegas to visit his daughter Rosie. Frank is adamant that each visit be a surprise, but Robert calls Rosie to warn her of his arrival.


In a lonely hall of the bus station, during an encounter with a drug addict, Frank offers money to the drug addict. He takes it but they get into a quarrel about him being grateful for Frank’s gesture. Through physical force, the drug addict tries to take all of Frank’s money but fails. As a result, Frank’s medicine bottle falls on the floor. To retaliate, the drug addict stomps on the medicine and crushes them. Frank scrapes up some of the crushed pills because he must take his medicine on a daily basis. He calls his doctor for a prescription refill but he doesn’t tell the doctor that he is hundreds of miles from home, traveling against doctor’s advice. He has a dream that David is in trouble.

After missing his train, Frank arrives in Las Vegas late, catching a ride part-way from a female truck driver. Rosie meets him at the station in a stretch limo and tells him she was in a big show that ended the previous week. She takes him to her huge, fancy apartment, where her friend Jilly brings over her baby for babysitting. Frank overhears a message being left on an answering machine, indicating the apartment is actually borrowed from Rosie’s friend. During dinner, Frank asks Rosie why his adult children never talked to him and told him things, when they told their mother everything. He is not comfortable, having a feeling that all his kids are lying to him.

Frank flies back home but — without any more pills — he has a heart attack in the plane’s lavatory. Frank has another dream of his kids as young children and deduces each of their secrets by way of confronting them: Amy is separated from her husband, Robert lied about going to Europe with his orchestra and Rosie is really the mother of the child Jilly brought over. Frank awakens in hospital, with Amy, Robert, and Rosie around his bedside. They inform him that David had died from an overdose. During the night, Frank has a vision about a young David being in his hospital room. Frank tells him how he was never disappointed in him and he never would be as David grew up.


Frank then visits his wife’s grave and talks to her. He tells her all about the kids and how they are all doing fine. Frank goes back to the Art Gallery below David’s apartment to buy David’s painting, but it has already been sold. The girl at the desk tells him that if any of David’s art comes through, she would let him know. After leaving, she runs out to tell Frank about how great his son was, upon realizing the family connection. She shows him another painting by David that is more appropriate to him — a landscape showing PVC-covered power lines made out of glue and macaroni in homage to Frank’s career. The last scene shows the family at Christmas. All three children are around the house helping cook and decorate the tree. It’s also revealed that Rosie and Jilly are a couple and are raising the baby together. The film ends with Frank walking into the dining room, to his family.

Sunday 13th August 2017

Posted in Life the Universe and Other Things on August 13, 2017 by bishshat


Newcastle 0 Spurs 2

Second-half strikes from Dele Alli and Ben Davies gave us an opening-weekend win at 10-man Newcastle United on Sunday. After a measured first half performance in the sunshine which saw the home side lose two players to injury, the Magpies were further depleted when skipper Jonjo Shelvey was shown a straight red card for stamping on Dele three minutes into the second period.


From there, we did what we needed to do in order to get 2017-18 off to a winning start. After Harry Kane fired straight at Rob Elliot in the Newcastle goal, Christian Eriksen, involved in our play in one way or another all afternoon, picked out Dele to slide home a 61st-minute opener, before left-back Davies popped up in a congested area to make it 2-0 seven minutes later.


Rafa Benitez’s side had a little spell in the ascendancy with 10 minutes to go, but our team – which included young right-back Kyle Walker-Peters for the first time – kept largely out of trouble and it was only the foot of the post that denied Kane his 100th Spurs goal in stoppage time.

Saturday 12th August 2017

Posted in Life the Universe and Other Things on August 12, 2017 by bishshat


White Rabbit

Grace Slick

One pill makes you larger
And one pill makes you small
And the ones that mother gives you
Don’t do anything at all
Go ask Alice
When she’s ten feet tall
And if you go chasing rabbits
And you know you’re going to fall
Tell ’em a hookah-smoking caterpillar
Has given you the call
Call Alice
When she was just small
When the men on the chessboard
Get up and tell you where to go
And you’ve just had some kind of mushroom
And your mind is moving low
Go ask Alice
I think she’ll know
When logic and proportion
Have fallen sloppy dead
And the White Knight is talking backwards
And the Red Queen’s off with her head
Remember what the dormouse said
Feed your head
Feed your head


The Great Society

In the late summer of 1965, Grace, Darby, and Jerry were inspired by The Beatles to start their own group, assembling it fairly quickly. Grace has also said that seeing Jefferson Airplane perform for the first time was an influence as well. The band made its debut at the Coffee Gallery in San Francisco’s North Beach neighborhood on October 15, 1965 and continued to perform throughout 1966. The band released only one single during its lifetime, the Darby Slick-penned “Someone to Love” (b/w “Free Advice”). The single was issued in February 1966 on Autumn Records’ tiny Northbeach subsidiary label and made little impact outside of the Bay Area. While signed to Autumn Records, the band worked with the label’s staff producer, Sylvester Stewart (better known as Sly Stone), who at the time was still in the process of forming his own band, Sly and the Family Stone. Purportedly, Stewart would eventually walk out as the band’s producer after it took The Great Society over fifty takes to record a version of the song “Free Advice” that was suitable for release. Momentum for the band began to build as they started opening for Jefferson Airplane and other successful local bands, with Columbia Records offering The Great Society a recording contract. However, by the time the contract arrived in the mail, Grace had decided to replace departing vocalist Signe Toly Anderson in the Airplane.[5] Since Grace had been both the visual and musical focal point, the band could not survive without her and disbanded in the fall of 1966. Grace and Jerry Slick would soon divorce as well. The Airplane recorded “Someone to Love” (retitled as “Somebody to Love”) and Grace’s own “White Rabbit” for Surrealistic Pillow.


Both songs were released as singles in 1967, reaching No. 5 and No. 8 on the Billboard Hot 100 respectively.[6] To capitalize on Grace’s fame with the Airplane, Columbia Records released tapes of live performances by The Great Society, on the 1968 albums Conspicuous Only in its Absence and How It Was. All of those performances were recorded at The Matrix, a small nightclub in the Cow Hollow neighborhood of San Francisco, whose house band was the Airplane. These two albums were later repackaged as a double LP titled Collector’s Item in 1971. This double album has been issued twice on CD, once by Edsel Records in 1989 (under the title Live at the Matrix) and again in 2008 under its original title. In 1995 Sundazed Records released the Born to Be Burned compilation, featuring both sides of the band’s debut single along with a number of previously unreleased studio recordings. (There is an error on the Sundazed CD; Track 1 is listed as being the issued take of “Free Advice” on the Northbeach single. This is wrong; the issued take is in fact track 16, with a slight edit at the end.)

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“The Great Society” was a popular name for musical groups in the 1960s, due to the popularity of the term as used by the then President of the United States, Lyndon B. Johnson’s administration for his Great Society. On one occasion, in Fort Worth, Texas, The Great Society (with Grace Slick) and a similarly named four-man group performed on opposite sides of the city on the same evening.


Jefferson Airplane

In the mid-1960s, amidst war and social unrest, American youth shed the conservative ideals of the previous decade in favor of kaleidoscopic idealism and jumped down the rabbit hole, landing in the Haight Ashbury neighborhood of San Francisco. Steeped in the anti-war movement, the Bay Area had become the epicenter of a cultural revolution synonymous with psychedelics, free love and music. On Jan. 14, 1967, a gathering known as the “Human Be-In” took place in Golden Gate Park, drawing a crowd of over 20,000 people. It’s where LSD advocate Timothy Leary gave a speech coining his infamous phrase “turn on, tune in, drop out” and where free performances from local bands like Big Brother and the Holding Company, the Grateful Dead, and Jefferson Airplane bestowed the San Francisco sound onto a wider audience.
Eighteen days later, Jefferson Airplane released its iconic sophomore LP, Surrealistic Pillow, ushering in an era of acid rock with its new singer Grace Slick at the helm. Along with her punkish allure and stop-you-dead-in-your-tracks voice, Slick brought the record’s two singles, “Somebody to Love” and “White Rabbit.” Not only did they constitute the band’s only Top 40 hits at No. 5 and No. 8 respectively, but they became the anthems to the Summer of Love in the months that followed.

With its haunting bassline and driving snare drum, “White Rabbit” was a psychedelic march into the counterculture horizon. “One pill makes you larger, and one pill makes you small,” Slick sung with a hypnotic cadence, “And the ones that mother gives you don’t do anything at all / Go ask Alice, when she’s 10 feet tall.” Her use of childhood imagery was more than just a nod to Lewis Carroll’s Alice in Wonderland. It was a reminder to listeners that turmoil and violence didn’t just exist in some nightmarish bedtime story, but also in the world around them. They were no longer children, but rather a generation possessing the power to challenge racial, gender and political constructs. “White Rabbit” pulsed with a tension mirroring the intergenerational tug-of-war raging throughout the country, and Grace Slick’s voice was the rebellion. Similarly, “Somebody to Love” was a rallying cry for those railing against conformity, seeking a new way of life built on the tenets of peace and equality.

When Jefferson Airplane made its national TV debut on American Bandstand in support of Surrealistic Pillow, Slick’s performance made it clear that she was in charge. She commanded the stage and stared straight into the audience, never once breaking her gaze. Her transformative power emanated through the television screen, and Jefferson Airplane’s set at the groundbreaking Monterey Pop Festival a few weeks later only further solidified her place as a rock pioneer.

Some of the genre’s biggest names still cite her influence. In an interview with NPR’s own Ann Powers four years ago, Stevie Nicks discussed her performance style, saying, “I got the flamboyancy and the attitude from Janis and then I got the humbleness and the grace from Jimi Hendrix. And then one other thing, I got a little bit of slinky from Grace Slick.” In her essay “Jefferson Airplane Ushered Us Through the Summer of Love,” Patti Smith writes of Slick: “Make no mistake; we all owe her a debt. She was like no other and opened a door that will never close again.” Slick’s knockout voice was equally matched by her fervor and swagger, and the terrain of modern music was made better for it. She urged everyone in society to expand their minds with that simple lyric — “feed your head” — during a moment that still reverberates throughout the national psyche.


Finding Neverland

The story focuses on Scottish writer J. M. Barrie, his platonic relationship with Sylvia Llewelyn Davies, and his close friendship with her sons named George, Jack, Peter and Michael, who inspire the classic play Peter Pan, or The Boy Who Never Grew Up.

Following the dismal reception of his latest play, Little Mary, Barrie meets the widowed Sylvia and her four young sons (George, Jack, Peter and Michael) in Kensington Gardens, and a strong, close friendship develops between them. He proves to be a great playmate and surrogate father figure for the boys, and their imaginative antics give him ideas which he incorporates into a play about boys who do not want to grow up, especially one named after troubled young Peter Llewelyn Davies. Although Barrie sees this family as wonderful and inspirational, people question his relationship with the Llewelyn Davies family. Sylvia was a widow: her husband died from cancer and left her with four boys to bring up on her own. Barrie’s wife Mary, who eventually divorces him, and Sylvia’s mother Emma du Maurier, object to the amount of time Barrie spends with the Llewelyn Davies family. Emma also seeks to control her daughter and grandsons, especially as Sylvia becomes increasingly weak from an unidentified illness. Along the way, Barrie goes on these adventures with Sylvia and her boys. He too is a boy at heart and spending time with the family is special. Barrie takes those adventures he has with the boys making them into a play called Peter Pan.

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Producer Charles Frohman skeptically agrees to mount Peter Pan, despite his belief that it holds no appeal for upper-class theatergoers. Barrie peppers the opening night audience with children from a nearby orphanage, and the adults present react to their infectious delight with an appreciation of their own. The play proves to be a huge success. Barrie is all set for his play, but when Peter arrives alone to the play, Barrie goes to Sylvia’s house to check up on her, and misses the show. Peter attends the play and realises the play is about his brothers and Barrie.

Sylvia is too ill to attend the premiere, so Barrie arranges to have an abridged production of it performed in her home. He gets the actors, props and musicians together in the Llewelyn Davies house. At the end of the play, Peter Pan points to the back doors and implies that Sylvia should go off to Neverland. She takes the hands of her boys and slowly walks out into Neverland. The living room and back garden transform into Neverland and Sylvia continues to walk on her own.

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In the next scene everyone is at Sylvia’s funeral. Barrie discovers that her will says that he and her mother should look after the boys, an arrangement agreeable to both. The film ends with J. M. Barrie finding Peter on the bench in the park where they first met after Peter ran off from the graveyard. Peter is holding his book where he wrote the plays that he ripped apart and that his mother glued back together for him. Barrie sits down and puts his arm around Peter to comfort him. They both fade, and all that is left is the bench.


Friday 11th August 2017

Posted in Life the Universe and Other Things on August 11, 2017 by bishshat

Comfortably Numb

Pink Floyd

Is there anybody in there?
Just nod if you can hear me.
Is there anyone at home?
Come on now
I hear you’re feeling down
Well, I can ease your pain
And get you on your feet again
I’ll need some information first
Just the basic facts
Can you show me where it hurts?
There is no pain, you are receding
A distant ship smoke on the horizon
You are only coming through in waves
Your lips move but I can’t hear what you’re saying
When I was a child I had a fever
My hands felt just like two balloons
Now I’ve got that feeling once again
I can’t explain, you would not understand
This is not how I am
I have become comfortably numb
I have become comfortably numb
Just a little pin prick
There’ll be no more aaaaaaaah!
But you may feel a little sick
Can you stand up?
I do believe it’s working, good
That’ll keep you going through the show
Come on, it’s time to go.
There is no pain you are receding
A distant ship smoke on the horizon
You are only coming through in waves
Your lips move but I can’t hear what you’re saying
When I was a child
I caught a fleeting glimpse
Out of the corner of my eye
I turned to look but it was gone
I cannot put my finger on it now
The child is grown
The dream is gone
I have become comfortably numb.


Only Love Can Break Your Heart

Neil Young

When you were young
and on your own
How did it feel
to be alone?
I was always thinking
of games that I was playing.
Trying to make
the best of my time.

But only love
can break your heart
Try to be sure
right from the start
Yes only love
can break your heart
What if your world
should fall apart?

I have a friend
I’ve never seen
He hides his head
inside a dream
Someone should call him
and see if he can come out.
Try to lose
the down that he’s found.

But only love
can break your heart
Try to be sure
right from the start
Yes only love
can break your heart
What if your world
should fall apart?

I have a friend
I’ve never seen
He hides his head
inside a dream
Yes, only love
can break your heart
Yes, only love
can break your heart


Wasted Time

The Eagles

Well baby, there you stand
With your little head, down in your hand
Oh, my God, you can’t believe it’s happening again
Your baby’s gone, and you’re all alone
And it looks like the end.

And you’re back out on the street.
And you’re tryin’ to remember.
How do you start it over?
You don’t know if you can.
You don’t care much for a stranger’s touch,
But you can’t hold your man.

You never thought you’d be alone this far down the line
And I know what’s been on your mind
You’re afraid it’s all been wasted time

The autumn leaves have got you thinking about the first time that you fell
You didn’t love the boy too much, no, no, you just loved the boy too well,
So you live from day to day, and you dream about tomorrow, oh.
And the hours go by like minutes and the shadows come to stay
So you take a little something to make them go away
And I could have done so many things, baby
If I could only stop my mind from wonderin’ what
I left behind and from worrying ’bout this wasted time

Oh, another love has come and gone
Oh, and the years keep rushing on
I remember what you told me before you went out on your own:
“Sometimes to keep it together, we got to leave it alone.”
So you can get on with your search, baby, and I can get on with mine
And maybe someday we will find , that it wasn’t really wasted time
Mm, hm
Oh hoo, ooh, oh,
Ooh, ooh, mm


Thursday 10th August 2017

Posted in Life the Universe and Other Things on August 10, 2017 by bishshat