A Quote by Margaret Atwood
You think I'm not a goddess? Try me. This is a torch song. Touch me and you'll burn.
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Do you wanna be a poet and write? Do you wanna be an actor up in lights? Do you wanna be soldier, and fight for love? Do you wanna travel the world? Do you wanna be a diver for pearls? Or climb the mountain, and touch the clouds above? Be anyone you want to be. Bring to life your fantasies. But I want something in return, I want you to burn, burn for me, baby. Like a candle in the night. Oh burn, burn for me, burn for me.
Don't listen to me. Listen to yourself ... People often ask me at this age, 'Who am I passing the torch to?' First of all, I'm not giving up my torch, thank you! I'm using my torch to light other people's torches. ... If we each have a torch, there's a lot more light.
The editing of a song is largely what makes the song for me and I think that actually if I had started going like 'I want you to burn' it would have pinned that song down to a particular thing and made that song a smaller idea than what it is. By leaving that off it's much more open, broader.
Reach me a gentian, give me a torch!
let me guide myself with the blue, forked torch of this flower
Cheap music, childish images, the vulgate in language, in its crassest sense, can penetrate to the deeps of our necessities and dreams. It can assert irrevocable tenure there. The opening bars, the hammer-beat accelerando of Edith Piaf's Je ne regrette rien - the text is infantile, the tune stentorian, and the politics which enlisted the song unattractive - tempt every nerve in me, touch the bone with a cold burn and draw me into God knows what infidelities to reason, each time I hear the song, and hear it, uncalled for, recurrent inside me.
Goddess of song, teach me the story of a hero.
Please think of me like an endangered species and just observe me quietly from far away. If you try to talk to me or touch me casually, I may get intimidated and bite you. So please be careful.
That's really what was wonderful for me growing up, since I got to know so many of the songwriters who liked me and thought I had talent. They would then tell me how to read a lyric and sing a song, and challenge me to try and find a different end to a song.
Mo Nighean donn," he whispered," mo chridhe. My brown lass, my heart." Come to me. Cover me. Shelter me. a bhean, heal me. Burn with me, as I burn for you.
The main objective in any song, the songs that I write, has always been that it reflect the way I feel, that it touch me when I'm finished with it, that it moves me, that it can take me along with it and involve me in what its saying.
Life is no brief candle to me. It is a sort of splendid torch which I have got a hold of for the moment, and I want to make it burn as brightly as possible before handing it on to future generations.
Reach me a gentian, give me a torch! Let me guide myself with the blue, forked torch of a flower down the darker and darker stairs, where blue is darkened on blueness even where Persephone goes, just now, from the frosted September to the sightless realm where darkness is awake upon the dark.
I try to write down every song that comes to me, even though I know that every song that comes to me isnt a song that I need to sing.
I try to write down every song that comes to me, even though I know that every song that comes to me isn't a song that I need to sing.
I think maybe the vehicle for me was 'Sam Cooke's Greatest Hits.' It has a song called, 'Touch the Hem of His Garment.' Do you know that song? I kind of got obsessed with that song and started exploring and getting more of his old recordings with the Soul Stirrers and really getting into that super, super deeply.
I was born a Love Goddess. My parents, Caesar and Joanne, always told me that I was a little Goddess and Petite Flower. I was a Petite Flower, and I had all these brothers who were always trying to boss me around. I told them, "No. You must kiss my hand or kiss my feet". That's how I became the Goddess.
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