Black And White Song Quotes & Sayings

Daughter, daughter, shining bright
Precious jewel within mine sight
Oh, if I could soar with thee
As you seek your destiny.

To see with you the caves and skies
Vistas grand beneath your eyes
Taking wing to horizons new
Let us wonder who waits for you.

A dragon bright?
A dragon dark?
Victor of duels with battle mark?
A dragon strong?
A dragon keen?
Singer of honors and triumphs seen?

Red, Gold, Bronze, and Blue
To your lord you shall be true,
Copper, Silver, Black, and White,
Who will win your mating flight?

For in your hearts our future rests
To see our line with hatchlings blessed
And for those who threaten clutch of flame,
To feel the wrath of dragon-dame. — E.E. Knight

He walked over to the piano and lifted the cover revealing black and white keys that my fingers knew all too well. "Play for me?"
I looked at the piano hesitantly and I felt the passion start to grow back inside of me. My fingers itched to play and suddenly my body was moving towards the piano and I sat down, my posture back to where it should be, my fingers hovering over the keys ready to play a song that I hadn't heard in years.
I closed my eyes and slowly breathed in and out. And then my fingers flew across the keys, the music filling the room. The music moved me both emotionally and physically as I rocked my body to the music, putting all of me into the song. The music took me to a different place than where I was here and now. This is the melody I always seem to come back to, always finding myself lost in the notes. The song is a part of me as it tells a story. A story about loss and recovery. — Alexandria Rhodes

I think when black performers performed in blackface, they were kind of taking back slave songs, but it was still a little bit iffy because they were performing, a lot of times, for white audiences who found it hilarious. — Cecile McLorin Salvant

It was an honor to work with Samantha Morton on this Casablanca-esque, silent-film-esque, Americana photobooth Woolworth's hay day period piece of surrealism/ realism/ story time tell-tale-ism, black and white 35 mm film, washed in strange light, over this love hate tune, heartbreak song, life-goes-on lullaby, The Last Goodbye. It's a doorway into the future of the fatal past-tense. Get it? — Alison Mosshart

All in all it was my intention to hold both the black and the white clientele by voicing the different kinds of songs in their customary tongues. — Chuck Berry

This is where I go, when I go:
It's a room with no windows and no doors, and walls that are thin enough for me to see and hear everything but too thick to break through.
I'm there, but I'm not there.
I am pounding to be let out, but nobody can hear me.
This is where I go, when I go:
To a country where everyone's face looks different from mine, and the language is the act of not speaking, and noise is everywhere in the air we breathe. I am doing what the Romans do in Rome; I am trying to communicate, but no one has bothered to tell me that these people cannot hear.
This is where I go, when I go:
Somewhere completely, unutterably orange.
This is where I go, when I go:
To the place where my body becomes a piano full of black keys only - the sharps and the flats, when everyone know that to play a song other people want to hear, you need some white keys.
This is why I come back:
To find those white keys. — Jodi Picoult

Feste. Are you ready, sir?

Orsino. Ay; prithee, sing.
[Music] 945
SONG.

Feste. Come away, come away, death,
And in sad cypress let me be laid;
Fly away, fly away breath;
I am slain by a fair cruel maid. 950
My shroud of white, stuck all with yew,
O, prepare it!
My part of death, no one so true
Did share it.
Not a flower, not a flower sweet 955
On my black coffin let there be strown;
Not a friend, not a friend greet
My poor corpse, where my bones shall be thrown:
A thousand thousand sighs to save,
Lay me, O, where 960
Sad true lover never find my grave,
To weep there!
Orsino. There's for thy pains.
Feste. No pains, sir: I take pleasure in singing, sir.

Orsino. I'll pay thy pleasure then. 965

Feste. Truly, sir, and pleasure will be paid, one time or another.

From Twelfth Night, Act II, Scene 4. — William Shakespeare

Funeral Blues

Stop all the clocks, cut off the telephone,
Prevent the dog from barking with a juicy bone,
Silence the pianos and with muffled drum
Bring out the coffin, let the mourners come.

Let aeroplanes circle moaning overhead
Scribbling on the sky the message 'He is Dead'.
Put crepe bows round the white necks of the public doves,
Let the traffic policemen wear black cotton gloves.

He was my North, my South, my East and West,
My working week and my Sunday rest,
My noon, my midnight, my talk, my song;
I thought that love would last forever: I was wrong.

The stars are not wanted now; put out every one,
Pack up the moon and dismantle the sun,
Pour away the ocean and sweep up the wood;
For nothing now can ever come to any good. — W. H. Auden

Most deserve to be forgotten. The heroes will always be remembered. The best." "The best and the worst." So one of us is like to live in song. "And a few who were a bit of both. Like him." He tapped the page he had been reading. "Who?" Ser Loras craned his head around to see. "Ten black pellets on a scarlet field. I do not know those arms." "They belonged to Criston Cole, who served the first Viserys and the second Aegon." Jaime closed the White Book. "They called him Kingmaker. — George R R Martin

I believe that writers run out of material, I really do. I believe very strongly in the fact that when the natural time is up, writers actually do run out of material. To me it's black and white. When there's a song there's a song, when there's not there's not. — Brian Wilson

When you write a song, most of the words you use are in black and white, and then, from time to time, you use one that's in color. These words in color are a part of ourselves, because we give them a meaning. If you like, we give them a third dimension. — Jacques Brel

This song ain't black or white and as far as I know it don't infringe on anyone's copyright. — George Harrison

Squire Trelawney, Dr. Livesey, and the rest of these gentlemen having asked me to write down the whole particulars about Treasure Island, from the beginning to the end, keeping nothing back but the bearings of the island, and that only because there is still treasure not yet lifted, I take up my pen in the year of grace 17 - , and go back to the time when my father kept the Admiral Benbow inn and the brown old seaman with the sabre cut first took up his lodging under our roof. I remember him as if it were yesterday, as he came plodding to the inn door, his sea-chest following behind him in a hand-barrow - a tall, strong, heavy, nut-brown man, his tarry pigtail falling over the shoulder of his soiled blue coat, his hands ragged and scarred, with black, broken nails, and the sabre cut across one cheek, a dirty, livid white. I remember him looking round the cover and whistling to himself as he did so, and then breaking out in that old sea-song that he sang so often afterwards: — Robert Louis Stevenson

London is a friend whom I can leave knowing without doubt that she will be the same to me when I return, to-morrow or forty years hence, and that, if I do not return, she will sing the same song to inheritors of my happy lot in future generations. Always, whether sleeping or waking, I shall know that in Spring the sun rides over the silver streets of Kensington, and that in the Gardens the shorn sheep find very green pasture. Always the plaited threads of traffic will wind about the reel of London; always as you up Regent Street from Pall Mall and look back, Westminster will rise with you like a dim sun over the horizon of Whitehall. That dive down Fleet Street and up to the black and white cliffs of St. Paul's will for ever bring to mind some rumour of romance. There is always a romance that we leave behind in London, and always London enlocks that flower for us, and keeps it fresh, so that when we come back we have our romance again. — Stella Benson

Country music is the combination of African and European folk songs coming together and doing a little waltz right here in the American south. They came together at some cotillion, and somebody snuck a black person into the room, and he danced with a white lady, and music was born. — Ketch Secor

My dad [Johnny Cash] went to the [Richard] Nixon White House and refused to sing "Welfare Cadillac" (instead performing the anti-war songs "The Ballad of Ira Hayes" and "Man in Black"). He protested the Vietnam War, but he went to perform for the troops with bombs dropping all around him. He had that kind of genius: a true artist's capacity for holding two opposing thoughts at once while being large enough to encompass all realities. — Rosanne Cash

We had a succession of black nights, going up the river, and it was observable that whenever we landed, and suddenly inundated the trees with the intense sunburst of the electric light, a certain curious effect was always produced: hundreds of birds flocked instantly out from the masses of shining green foliage, and went careering hither and thither through the white rays, and often a song-bird tuned up and fell to singing. — Mark Twain

In fact, you couldn't even be sure that everything you had assumed to be an expression of your black, unfettered self
the humor, the song, the behind-the-back pass
had been freely chosen by you. At best, these things were a refuge; at worst, a trap. Following this maddening logic, the only thing you could choose as your own was withdrawal into a smaller and smaller coil of rage, until being black meant only the knowledge of your own powerlessness, of your own defeat. And the final irony: Should you refuse this defeat and lash out at your captors, they would have a name for that, too, a name that could cage you just as good. Paranoid. Militant. Violent. Nigger. — Barack Obama

There was something sly about his smile,
his eyes so black and sharp, his rufous hair. Something
that sent her early to their trysting place,
beneath the oak, beside the thornbush,
something that made her climb the tree and wait.
Climb a tree, and in her condition.
Her love arrived at dusk, skulking by owl-light,
carrying a bag,
from which he took a mattock, shovel, knife.
He worked with a will, beside the thornbush, beneath the oaken tree,
he whistled gently, and he sang, as he dug her grave,
that old song ...
shall I sing it for you, now, good folk? — Neil Gaiman

It is as if the moon and the trees have switched places. The sky is plunged into the heavy cloud-lidded darkness that seems to come every night, but in the valley below, the trees - or the places between the trees, it is impossible to tell the source - are fully lit, glowing. The woods are alight like an ember, bluish white and cradled by the rolling hills. It's like a beacon, I think with a chill. So this is what happens when the world goes black. The forest steals the light from the sky. Cole straightens beside me, taking ragged breaths. I cannot stop staring at the glowing trees. It is strange and magical. Almost lovely. The wind song has become simply a song, clear and articulate, as if made by an instrument instead of the air. It is all a perfect dream. — Victoria Schwab

She stared out. She saw a vastness, a rising shape, indistinct in the rain, gray in the misty drizzle. At first she had thought it was a cloud, a great bank of fog drifting up over the mountains, but now she realized with a cold awe that it was real, a vast building climbing the mountainside, rising in a countless series of rooms, stairways, balconies, and galleries, far away and immense, its topmost roofs white with snow. And up there, like a needle sharp with ice, one uttermost pinnacle flew the remote black pennant of the Watch.
The Tower of Song. — Catherine Fisher

All I'm saying, as a fan, is I'm tired of the same song for 30 years. Can't we change the message a little? You've arrived. You have a black president. Every white guy in a commercial doesn't have to be the idiot and every black guy in a rap song doesn't have to be God's gift to the world. — Bill Maher

Clear night, thumb-top of a moon, a back-lit sky.
Moon-fingers lay down their same routine
On the side deck and the threshold, the white keys and the black keys.
Bird hush and bird song. A cassia flower falls.
I want to be bruised by God.
I want to be strung up in a strong light and singled out.
I want to be stretched, like music wrung from a dropped seed.
I want to be entered and picked clean.
And the wind says "What?" to me.
And the castor beans, with their little earrings of death, say "What?" to me.
And the stars start out on their cold slide through the dark.
And the gears notch and the engines wheel. — Charles Wright

Progressive white teachers seem to say to their black students 'Let me help you find your voice. I promise not to criticize one note as you search for your song'. But the black teachers say 'I've heard your song loud and clear. Now I want to teach you to harmonize with the rest of the world. — Lisa Delpit

Why are black folks singing Amazing Grace which is a song about a white slaver's conversion? — Dick Gregory

What the fuck is that?" I ask Uncle Drew as he walks up to us. "That, my little asshole, is a screaming goat. Molly showed me this awesome video on YouTube and I had to get one," Uncle Drew says with a huge smile. "GAAAAAAAAAAAAAAAAAAAAH!" Uncle Drew turns around and points proudly to a little black and white goat tied to one of Aunt Liz and Uncle Jim's trees. "Isn't she cute? Her name is Taylor Swift." "GAAAAAAAAAAAAAAAAAAAAH!" the goat screams as she looks right at us. "I don't even understand what is happening right now," I reply with a shake of my head. "I've been trying to teach her - " "GAAAAAAAAAAAAAAAAAAAAH!" "How to sing a - " "GAAAAAAAAAAAAAAAAAAAAH!" "Song, but she never comes in at the right - " "GAAAAAAAAAAAAAAAAAAAAH! — Tara Sivec

I've been fascinated by the Internet from the very start. In 2001, I had made a funny black-and-white film called 'How to Dance Properly,' a short video of me dancing to a Madonna song. I sent it to 17 of my friends on a Thursday, and by Monday, one million people a day were logging on to view it. — Ze Frank

I admire Tolkien greatly. His books had enormous influence on me. And the trope that he sort of established - the idea of the Dark Lord and his Evil Minions - in the hands of lesser writers over the years and decades has not served the genre well. It has been beaten to death. The battle of good and evil is a great subject for any book and certainly for a fantasy book, but I think ultimately the battle between good and evil is weighed within the individual human heart and not necessarily between an army of people dressed in white and an army of people dressed in black. When I look at the world, I see that most real living breathing human beings are grey. — George R R Martin

There is a place where the sidewalk ends
And before the street begins,
And there the grass grows soft and white,
And there the sun burns crimson bright,
And there the moon-bird rests from his flight
To cool in the peppermint wind.
Let us leave this place where the smoke blows black
And the dark street winds and bends.
Past the pits where the asphalt flowers grow
We shall walk with a walk that is measured and slow,
And watch where the chalk-white arrows go
To the place where the sidewalk ends.
Yes we'll walk with a walk that is measured and slow,
And we'll go where the chalk-white arrows go,
For the children, they mark, and the children, they know
The place where the sidewalk ends. — Shel Silverstein

I'm not so in with the prescriptive avant-garde agenda. I can do that sort of thing, but I feel that I'm still interested enough in song structure. When I look at a lyric on the page, the lyric is alive to me, looking like soldiers in a field. I can move it around, and it's very black-and-white. — Scott Walker