A narrative is a constructive format (as a work of speech, writing, song, film, television, video games, photography or theatre) that describes a sequence of non-fictional or fictional events. The word derives from the Latin verb narrare, "to recount", and is related to the adjective gnarus, "knowing" or "skilled".
The word "story" may be used as a synonym of "narrative". It can also be used to refer to the sequence of events described in a narrative. A narrative can also be told by a character within a larger narrative. An important part of narration is the narrative mode, the set of methods used to communicate the narrative through a process narration (see also "Narrative Aesthetics" below).
Along with exposition, argumentation and description, narration, broadly defined, is one of four rhetorical modes of discourse. More narrowly defined, it is the fiction-writing mode whereby the narrator communicates directly to the reader.
Stories are an important aspect of culture. Many works of art and most works of literature tell stories; indeed, most of the humanities involve stories. Owen Flanagan of Duke University, a leading consciousness researcher, writes that "Evidence strongly suggests that humans in all cultures come to cast their own identity in some sort of narrative form. We are inveterate storytellers."
Frederick Douglass (born Frederick Augustus Washington Bailey, c. February 1818 – February 20, 1895) was an American social reformer, orator, writer and statesman. After escaping from slavery, he became a leader of the abolitionist movement, gaining note for his dazzling oratory and incisive antislavery writing. He stood as a living counter-example to slaveholders' arguments that slaves did not have the intellectual capacity to function as independent American citizens. Many Northerners also found it hard to believe that such a great orator had been a slave.
Douglass wrote several autobiographies, eloquently describing his experiences in slavery in his 1845 autobiography, Narrative of the Life of Frederick Douglass, an American Slave, which became influential in its support for abolition. He wrote two more autobiographies, with his last, Life and Times of Frederick Douglass, published in 1881 and covering events through and after the Civil War. After the Civil War, Douglass remained active in the United States' struggle to reach its potential as a "land of the free". Douglass actively supported women's suffrage. Without his approval he became the first African American nominated for Vice President of the United States as the running mate of Victoria Woodhull on the impracticable and small Equal Rights Party ticket. Douglass held multiple public offices.
Emily Barker is a guitarist and singer-songwriter born in Bridgetown, Western Australia. With chamber-folk trio The Red Clay Halo, she has recorded three albums: Photos.Fires.Fables. (2006), Despite The Snow (2008) and Almanac (2011). The band is known for its rootsy ensemble playing, four-part harmony vocals and has been described as 'chamber-folk of the highest order'.
Emily travelled to the UK in 2002, and was first based in Cambridge where she collaborated with guitarist Rob Jackson. They formed a band called The Low Country which released two albums, Welcome To The Low Country (2003) and The Dark Road (2004), tracks from which enjoyed plays on John Peel’s BBC radio show.
In October 2005 Emily won Country Song of the Year and Regional Song of the Year awards at the annual West Australian Music Songwriting Awards. Also in 2005, Emily started work on her debut solo album, the critically acclaimed Photos.Fires.Fables. The release of this album saw the birth of The Red Clay Halo, an all-female trio of Anna Jenkins, Jo Silverston and Gill Sandell who collectively provide backing harmony vocals and who respectively play violin, cello and musical saw, and accordion, piano and flute.
Bill Whittle | |
---|---|
Born | William Alfred Whittle (1959-04-07) April 7, 1959 (age 53) New York City, New York |
Residence | Los Angeles, California |
Ethnicity | British |
Citizenship | American |
Alma mater | University of Florida |
Occupation |
|
Website | |
billwhittle.net |
William Alfred "Bill" Whittle (born April 7, 1959[1]) is an American conservative blogger, political commentator, director, screenwriter, editor, pilot, and author. He is best known for his PJ Media internet videos and short films, one of which, "Three and a Half Days", has been viewed more than 2.4 million times on YouTube as of November 2012[update].[2] He is currently the presenter of Afterburner and The Firewall, and co-hosts Trifecta with Stephen Green and Scott Ott. In addition, Whittle has interviewed a number of political personalities as a PJTV.com commentator.
He is a former National Review Online contributor and has been a guest on the Fox News Channel, The Dennis Miller Show, Sun TV, and national radio programs. His first book, Silent America: Essays from a Democracy at War, was published in 2004. Since 2009, Whittle has been a featured speaker at universities and a number of Republican and Tea Party events throughout the United States. He is also the co-founder of Declaration Entertainment, an independent film studio, and a narrator for Encounter Books.
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Whittle was born in New York City to a British stewardess and William Joseph Whittle (1925–2002), a hotel manager.[3] He spent his youth in Bermuda, where he attended Warwick Academy and Saltus Grammar School, and later moved with his family to south Florida in the early 1970s. At age 13, Whittle began working at the Miami Space Transit Planetarium[4] and was made a console operator by its director Jack Horkheimer after a few months.[5] As a teenager, sometimes called "The Wizard" by co-workers, he wrote and directed the planetarium's light shows.[6]
He had long dreamed of becoming a test pilot for the United States Air Force after watching a Thunderbirds air show at Kindley Air Force Base as a child. At age 17, he applied to the U.S. Air Force Academy but failed the preliminary medical exam due to "soft vision".[4] He developed an interest in filmmaking while helping friends make Super 8 short films and formed a short-lived studio, Mindfire Films, Inc., in the late 1970s.[7] He named Mike Jittlov's The Wizard of Speed and Time as one of his early influences.[8] In 1979, Whittle began attending the University of Florida as a theater major. While there, he wrote and directed the short film The Pigeon Hole which became a national finalist in the Student Academy Awards competition. Whittle was forced to drop out of college when he did not maintain the required GPA and consequentially lost his financial aid.[5] In the summer of 1983, Whittle was part of a volunteer company of actors, directors and set designers which put on stage performances to sponsor a fundraiser for the Boca Raton Hotel's Caldwell Playhouse. Whittle was one of the show's directors and his scene, "Going Too Far", was called an "understated and entertaining pitch for funds" by the Miami Herald.[9]
After leaving the University of Florida, Whittle moved out to Los Angeles where he worked in a number of occupations including driving a limo. He eventually found employment as a freelance editor during the late-1980s and 1990s on television series and specials for The Discovery Channel, The History Channel, and NBC. In 1997, Whittle returned to his alma mater for the Florida Gators victory over the Florida State Seminoles to win their first national championship in its 90-year history. At a post-season celebration held at the Ben Hill Griffin Stadium weeks later, he produced the university's video tribute to the team which played before an audience of 65,000 fans.[10]
Whittle briefly ran a video editing company during this period but he was forced to close down in 1998. He then went to Australia, where he stayed with his uncle in Brisbane for three months, before returning to Los Angeles.[11] He continued working in the TV industry as an editor on the Turner Classic Movies special Movie Monsters Revealed (1999), House Calls (2000), Ed McMahon's Next Big Star (2002), Movie Obsessions (2002), AMC's Sunday Morning Shoot-Out (2007–2008), and Shatner's Raw Nerve (2008). Whittle is among the Shootout staff members that executive producer Jacquie Jordan thanked in her first book "Get On TV! The Insider's Guide To Pitching The Producers And Promoting Yourself".[12]
On July 4, 2010, Whittle announced the creation of Declaration Entertainment, an independent film studio, which used "citizen producers" to finance its projects. Co-founded with Jeremy Boreing, the two had guest hosted for Larry O'Connor's BlogTalkRadio podcast The Stage Right Show earlier that year.[13] Its first feature film, The Arroyo, completed filming in August 2012, and is awaiting an official release date. Whittle is also working on a space adventure film called Aurora.[14]
In December 2002, Whittle started his first blog, Eject! Eject! Eject!, writing personal narratives and long format essays which discussed current events and political philosophy. He was inspired to start writing following the death of his father earlier that year.[8][3] He soon developed friendships with fellow bloggers Frank J. Fleming, James Lileks, and P.J. O'Rourke who praised his unique writing style. Whittle has credited O'Rourke, in particular, for "bringing me home to conservatism". In 2004, a collection of his essays were published in Silent America: A Democracy at War. They were also quoted in several newspapers across the country.[15][16][17]
Six years after starting Eject! Eject! Eject!, Whittle began writing as a guest columnist for the National Review Online.[18] Both his original essays and National Review columns have been cited by authors William DeMersseman,[19] Jim Geraghty,[20] Laura Lunsford,[21] Frank Miniter[22], and Jim O'Bryan.[23] Crime fiction author Robert Ferrigno used an excerpt from Whittle's essay "The Undefended City" for the introduction of his 2009 novel Heart of the Assassin.[24]
In December 2008, Whittle moved to PJ Media where he continued blogging and hosted several of its video segments:
His first official Afterburner segment was broadcast on May 7, 2009, as a rebuttal to Jon Stewart's assertion on The Daily Show that the atomic bombing of Japan in World War II was a war crime.[8][25] One of his first videos to gain media attention was "A message to the Rich" which discussed the Obama administration reducing charitable tax deductions for the wealthy.[26] A June 2009 essay entitled "The Michael Jackson Effect" attracted some criticism from the Toronto Star when he suggested that the federal government used the coverage of Michael Jackson's death to push through cap-and-trade legislation.[27] WorldNetDaily recommended his video on American exceptionalism two months later.[28] In October 2010, Joe Newby of the Spokane Examiner called his "What We Believe" series "a must-see for anyone who does not understand what the Tea Party is all about".[29][30] In February 2011, Laura Baxley of the Atlanta Examiner wrote that Whittle's "The Narrative" was "a brilliant discourse on this Marxist underpinning of critical theory".[31]
Whittle's videos were heard by a national audience for the first-time when "Eat the Rich", explaining the consequences of high taxation on the wealthy,[32][33][34] was played on Glenn Beck's radio talk show in April 2011. He was also on The Rusty Humphries Show that month and has filled in as a guest host for Rusty Humphries multiple times since his first appearance.[8][35] His politically themed videos, initially released through PJ Media and Real Clear Politics, attracted a strong following on video sharing websites such as YouTube. His most watched video, Afterburner's "Three and a Half Days", went viral on YouTube shortly after its release on October 12, 2011, and has since been viewed by over 2.4 million viewers.[2][36][37]
Later that year, Whittle was hired by Encounter Books to narrate a series of animated "whiteboard" videos featured on TheBlaze. In November 2011, the Spokane Examiner reviewed one of these videos, based on the 2010 book "The World Turned Upside Down: The Global Battle over God, Truth, and Power" by Melanie Phillips, which examined the reasoning behind Communist, Islamist and Neo-Nazi support of the Occupy Wall Street protests. The newspaper complimented the video stating that it "ties the groups together rather nicely".[38]
In his role as a commentator for PJTV, Whittle has interviewed a number of personalities including Ed Klein, Ayn Rand Institute fellow Don Watkins, Oath Keepers founder Stewart Rhodes, Andrew Card, David Frum, Lord Monckton, Investor's Business Daily editor Terry Jones, Tim Cavanaugh, and Arizona Governor Jan Brewer.[39] Other PJTV segments featuring Whittle have included:
Whittle also became friends with Andrew Breitbart.[40] After Breitbart's death in March 2012, he participated in a round table discussion with Roger L. Simon, Lionel Chetwynd, and Stephen Kruiser[41] in addition to dedicating an entire episode of "The Afterburner" to his memory.[42]
In May 2012, Whittle started his own weekly podcast, "The Stratosphere Lounge", in which Whittle takes questions from his Facebook friends.[8] It currently airs live on Tuesday evenings via Ustream and is later uploaded on his official YouTube channel. He has expressed interest in developing the podcast as a talk show for broadcast television.[35]
Whittle is an instrument-rated pilot of glider and light aircraft. Having studied to be a U.S. Air Force pilot as a teenager, it is a subject he has discussed extensively in both his essays and videos.[4][43] His EjectEjectEject.com essay "Courage" had been quoted by the Aircraft Owners and Pilots Association.[44] Author and screenwriter Michael Walsh, in his 2009 novel Hostile Intent, credited Whittle for teaching him the OODA loop.[45]
On July 9, 2005, Whittle was involved in an incident while attempting to land at Visalia Municipal Airport when the front landing gear failed. The airport's runway was closed for an hour, however, neither Whittle nor the other passenger were injured.[46][47] Whittle has described similar incidents in his flying career.[43]
Whittle is a supporter of Veterans Airlift Command, a national organization of volunteer aircraft owners and pilots, which provides free air transportation to wounded American servicemen, veterans and their families for medical and other compassionate grounds.[48]
An early supporter of the Tea Party movement, Whittle has been invited as a speaker at major political rallies and other public events. On September 12, 2009, Whittle was among the featured speakers at the 912 West Rally which saw the Los Angeles and Orange County Tea Party combine to create the largest Tea Party group in the West Coast of the United States.[49] A few months later, he was part of the 2010 Tax Day Freedom Rally at the Indiana State House.[50]
He was also a guest speaker for Republican groups at Flag[51] and Lincoln Day celebrations. Whittle's appearance at the Orange County Republicans' annual Flag Day dinner in June 2011 inadvertently found him opposing co-speaker New Mexico Governor Susana Martinez who advocated that California Republicans should be focusing its efforts on winning over Hispanic-American voters.[52] Weeks later, he spoke at "Troopathon", a charity event which sends care packages to soldiers serving overseas, held at the Nixon Library in Yorba Linda, California.[53] That same year, he was part of Eagle Forum in San Diego, California, Tax Day weekend in St. Paul, Minnesota with Sue Jeffers and Ernest Istook[54] and, with Tammy Bruce and Krista Branch, the 2nd-annual Patriot Banquet in Scottsdale, Arizona.[55]
In 2012, Whittle was a featured speaker at RightOnline 2012, Oberlin College, and the Wake Up America rally. He subsequently discussed his experience at Oberlin, which has a history of student protests against conservative speakers, comparing it to his own years as a college student in Florida.[56] On September 10, he spoke at St. Michael's College in Toronto, Ontario; he was interviewed on Byline with Brian Lilley during his visit to Canada.[57] On October 22, 2012, the Southwest Metro Tea Party held a "Bill Whittle Movie Night" showing his "What We Believe" and "Dishonorable Disclosures" videos in Chaska, Minnesota.[58]
Year | Title | Role | Notes |
---|---|---|---|
1999 | Movie Monsters Revealed | Editor | Also camera operator |
2000 | House Calls | Editor | |
2002 | Ed McMahon's Next Big Star | Editor | |
2002 | Movie Obsessions | Editor | |
2007-2008 | Sunday Morning Shoot-Out | Editor | |
2008 | Shatner's Raw Nerve | Editor |
Year | Film | Role | Notes |
---|---|---|---|
2011-2012 | Red Eye | Himself | Episode: "March 15, 2012" Episode: "June 4, 2011" |
2012 | PolitiChicks | Himself |
Persondata | |
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Name | Whittle, Bill |
Alternative names | Whittle, William A. |
Short description | Author, director, screenwriter, editor |
Date of birth | 1959 |
Place of birth | New York City, New York, United States |
Date of death | |
Place of death |
Sayantani DasGupta (Bengali : সায়ন্তনী দাশগুপ্ত, born 1970)[1] is an American physician and author of Indian heritage. She grew up in Ohio and New Jersey and completed her undergraduate studies at Brown University. She obtained her M.D and MPH degrees from Johns Hopkins University.
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Trained originally in pediatrics and public health, Sayantani now teaches in the Master's Program in Narrative medicine at Columbia University and the Graduate Program in Health Advocacy at Sarah Lawrence College. She is a nationally recognized speaker on issues of gender, race, storytelling, and medical education,[2] and has been featured on the cover of Ms. Magazine,[3] in Oprah Magazine,[4] in documentary films[5] and other media outlets. She is an associate editor of the journal Literature and Medicine.[6]
Sayantani has been published widely in academic and literary outlets, and journals including JAMA, The Lancet, Ms. Magazine, Literary Mama Magazine, and Hunger Mountain. She has written extensively with her activist mother, Shamita Das Dasgupta, on mother-daughter experiences.[7][8][9] She is the co-author of a book on Bengali folktales, author of a memoir about her education at Johns Hopkins School of Medicine, and co-editor of an award winning collection of women's illness narratives.[10]
Persondata | |
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Name | DasGupta, Sayantani |
Alternative names | |
Short description | |
Date of birth | 1970 |
Place of birth | |
Date of death | |
Place of death |
Green eyes staring as the room spins baby from behind
your desk
Until you know you look so good with your pale skin in
your bright blue dress
Well I talked and I learned and my tongue couldn't turn
its tricks on you
So I tripped and perspired and fled from your island to
plan my next move
And all this time I'm waiting for a taste of what you
hide
But I'll know better when I am in too deep
You will be mine
You will be mine
You will be mine
You will be mine
Sit tight, baby, we'll be just fine slurring over
drinks for two
But it's only a chase if you've been holding out
Still, though the wine is tempting you
And you talked and you learned that my heart wouldn't
turn
But it's too late now to lose
It's the catch in your speech, it's your clothes at
your feet
And the way you dance to how I groove
And all this time I'm waiting for a taste of what you
hide
But I'll know better when I am in too deep
You will be mine
You will be mine
You will be mine
You will be mine
Sorry honey I'll be late tonight
Sorry honey I'll be late tonight
Don't wait up for me this time
Don't wait up for me this time
Sorry honey I'll be late tonight
Sorry honey I'll be late tonight
Don't wait up for me this time
And all this time I'm waiting for a taste of what you
hide
But I'll know better when I am in too deep
You will be mine
And don't ask what this ring is for,
I have yet to realize
But I'll know better when I am in too deep
You will be mine
You will be mine
These girls are cut out from magazines,
wearing pride on fashionable sleeves.
Corner boys with swerving glances,
settle into landmark trances.
Those poor bastards never stand a chance.
And I know you would like to leave me shaking,
from all the things that you're insinuating.
Don't you say now look at what you made me,
'cause I don't give a damn about you now.
You once said that beauty lies in truth.
Mother's curves and ignorance of youth.
Lonely now with this disease,
your desperation aims to please,
while starving for attention on your knees.
And I know you would like to leave me shaking,
from all the things that you're insinuating.
Don't you say now look at what you made me,
'cause I don't give a damn about you now.
Wait, I think you're better off just getting, just
getting some sleep,
'cause you've been drinking like you need it again.
And hey, you know you were beautiful when you were,
when you were like me yeah.
but how you slipping at the start of the end.
Wait I think your better off just getting, just getting
some sleep,
'cause you've been drinking like you need it again.
And I know you would like to leave me shaking,
from all the things that you're insinuating.
Don't you say now look at what you made me,
'cause I don't give a damn about you, I don't give a
We probably shouldn't talk,
cuz talking leads to thinking and
eyes wide open blank in the dark.
We probably shouldn't think,
cuz thinking leads to questioning and
circles you right back to the start
But everything used to make sense,
We're testing it in our own strength, oh no
If we don't leave now, we will break
We will falter, we will fade
If we don't leave now, we will harm,
We'll regret what we've done to ourselves
I probably shouldn't wish,
But your breath on my skin
It's like the cold that's traveling down from the vents
above our heads
And drinking is no excuse,
It's an easy one to use
When lack of self control has left you making poor
decisions for yourself
Everything used to make sense,
We're testing it in our own strength, oh no
If we don't leave now, we will break,
we will falter, we will fade.
If we don't leave now, we will harm,
We'll regret what we've done
oh, ah, oh, what have I done, what have I done
oh, ah, oh I've gone and hurt the one I love
If we don't leave now, we will break,
We will falter, we will fade.
If we don't leave now, we will harm,
We'll regret what we've done
If we don't leave now, we will break,
We will falter, we will fade.
If we don't leave now, we will harm,
So tell me, if you're ready
then why are your palms sweaty?
Grab tight, your knuckles white
wind up and swing with all your might
All that will be hanging, by days spent in the dark.
Have you had enough, have you had enough?
you build yourself a house, a house that's not a home.
If every shadow is your own, is your own.
Time stands still, your movement froze,
and staring down at what you broke,
and walk on, the dust will lift from the ground,
and settle into new found comfort in your empty space.
Eyes drowning, surrounding colours bleed into the air
and the life you stood by dissolves in arbitrary lines,
you drew just to have something to cross.
Have you had enough, have you had enough?
so dirty up your hands, the hands that used to,
this whole foundation let go, let go.
Time stands still, your movement froze,
and staring down at what you broke,
and walk on, the dust will lift from the ground,
and settle into new found comfort in your empty space.
So tear it, rip away my pain my memory
stare at all the nothing you created.
Tear it, rip away my pain my memory
stare at all the nothing you created.
Time stands still, your movement froze,
and staring down at what you broke,
and walk on, the dust will lift from the ground,
You look so dumb with your cherry red lipstick on
I can feel you push, but are you sure that this is what
you want?
And is that your can-you-see-I'm-over-you smile?
Well, baby, I will bury you if this is going to be
awhile
All year long I've waited for you to move on
You drove my patience through the floor
With your so dramatic selfish tactics
But you're right here knocking down my door
With your pretty fingers digging deeper still
You too obsessed with everything thing I do
I've been losing sleep but I can guarantee it's not
over you
It feels so good to finally be alone
I was really tired of you torturing my telephone
All year long I've waited for you to move on
You drove my patience through the floor
With your so dramatic selfish tactics
But you're right here knocking down my door
With your pretty fingers digging deeper still
You drove my patience through the floor
With your so dramatic selfish tactics
You drove my patience through the floor
And you keep me coming back for more
With your so dramatic selfish tactics
But you're right here knocking down my door
Are you in danger, you swore by a ship wreck
And now you are stranded sinking like a ghost
So sit by your door, and wait for me to storm in
But I swear, I swear I'm never coming home
And the Winter's coming close
And my body is growing cold
And I'm trembling in fright, oh my
Cause I am a sinner with a crooked smile
And you took to the rhythm of a no good liar
I drown in the mirror, you notice thing is damn disease
And I never surface who I want to be
I'm shaking with bruises; I can barely stand my shame
Knowing every inch it hesitates
And it breaks and it breaks, and it breaks
And the Winter's coming close
And my body is growing cold
And I'm trembling in fright oh my
Cause I am a sinner with a crooked smile
And you took to the rhythm of a no good liar
I am a sinner with a crooked smile
And you took to the rhythm of a no good liar
Cause I am a sinner with a crooked smile
And you took to the rhythm of a no good liar
I am a sinner with a crooked smile
And you took to the rhythm of a no good liar
I am a sinner with a crooked smile
And you took to the rhythm of a no good liar
I am a sinner with a crooked smile
And you took to the rhythm of a no good liar
I am a sinner with a crooked smile
And you took to the rhythm of a no good liar
I am a sinner with a crooked smile
This is a decision that I know full well I made,
I remind myself as I'm walking up to your gate.
and through the wire diamonds I can see your shape,
you're fumbling around with your keys.
You say we can sit and stay but I'm trouble keeping up with you pleasantries,
don't you find them unsettling, can we go walking?
That's probably a good idea; yeah It's probably a good idea.
'Cause I don't want to fall in love with you again,
I'm so afraid I'm capable of it.
And after time I can't accept you're still the song on my breath.
You're not easy to forget.
Moving in rhythm, footsteps aligned.
I'm doing okay 'till your arm brushes mine and then I panic.
I thought I figured it out, but I'm taken aback.
as we pass the closing stores and lit up cafes,
there are so many of them these days; so many strangers. Their walking around in our place, in our place.
And suddenly it's all unclear; yeah suddenly it's all unclear.
Yeah this probably was a bad idea; yeah this probably was a bad idea.
'Cause I don't want to fall in love with you again
I'm so afraid I'm capable of it.
And after time I can't accept you're still the song on my breath.
You're not easy to forget.
We used to own these streets, head to head, you spinning me.
And now we say that we were young, and what we had has come and gone.
We used to own these streets, head to head, you spinning me
Your back's against a concrete wall,
your body buzzing on the intercom, the intercom, the intercom, the intercom.
The silence and the sirens,
they're all together frightening.
The sounds of someone dying,
and I am only missing you again.
So here's a cheers to treason,
and giving me a reason
for drinking well this season.
When you will learn to leave this lonely bed,
for every word he said.
And will you still come around,
to keep me on the ground?
We might be better off then,
with every inch of distance.
So you don't have to cope with
the pulsing sound that caught you from the start,
and caught me off guard.
And will you still come around,
to keep me on the ground?
And will you still come around,
'Cause I've been breaking down?
She said "Please don't do this,
yeah you know we're still the best of friends."
(Every choice you make.)
"and you know it's not like that,
it's just been way too hard."
(Pushes me away)
She said "lease don't do this,
yeah you know we're still the best of friends."
(I'm better now)
"and you know it's not like that,
it's just been way too hard."
(But you're not here to find out.)
And will you still come around,
to keep me on the ground?
And will you still come around,
Don't be alarmed at that the things that I've said, they're only the truth, love.
I know that your anxious to lay this to bed, your always the scared one.
The air has been rushing hard up against the walls and the windows.
I'll welcome the cool breeze to let itself in and con you to keep close.
It's not the same when your eyes are sinking,
don't be afraid of what I've been thinking.
I know it seems that we're moving to fast,
but don't be afraid of what I've been thinking.
There's so many people here in-between, their constantly moving.
And sneaking around them, tears at the seams of what we've been doing.
There's too many questions, try to let go, there's no harm in hurting.
The crowd that surrounds you, and darling I know, it's what their deserving.
It's not the same when your eyes are sinking,
don't be afraid of what I've been thinking.
I know it seems that we're moving to fast,
but don't be afraid of what I've been thinking.
Baby you've got faith in a smile
I think others would kill for
Baby you've got faith in a smile
I think others would kill for
It's not the same when your eyes are sinking,
don't be afraid of what I've been thinking.
I know it seems that we're moving to fast,
but don't be afraid of what I've been thinking.
Don't be afraid of what I've been thinking.
Turncoat parents and the children that never arrived.
Pawnshop rings and the road swallowed up by the sky.
And though the static on the radio was signaling that this was the end,
they still sang on just like lovers till the day they decided to be just friends,
and never speak again, to keep from caving in.
So baby this is freedom and you finally are out on your own,
Say when and I'll come,
hang my coat at your door.
You can touch me all you want,
with one eye on the clock.
I hold you here in my mind,
Where I am coming undone
With fleeting emotions a landslide is born
and the pieces will tumble through cracks in your floor
Silence is stating intentions
Louder than anything we've ever mentioned.
All that was promised has already fled
Just hold me 'till it ends.
Echo, your voice seems to haunt me
(Oh you should go)
Oh you should go, yeah I'm already leaving
All of your life on the doorstep,
do you turn, do you turn, do you turn your head?
Silence is stating intentions
Louder than anything we've ever mentioned.
All that was promised has already fled
Just hold me 'till it ends, 'till it ends, 'till it ends.
Who could know, what time would show?
Who could know?
Silence is stating intentions.