A Quote by Peter R. Grant

To summarize, the particular song a male sings, and the behavioral responses of females to song and morphological signals, are not genetically inherited in a fixed manner but are determined by learning early in life.
If you listen, you can hear it. The city, it sings. If you stand quietly, at the foot of a garden, in the middle of the street, on the roof of a house. It's clearest at night, when the sound cuts more sharply across the surface of things, when the song reaches out to a place inside you. It's a wordless song, for the most, but it's a song all the same, and nobody hearing it could doubt what it sings. And the song sings the loudest when you pick out each note.
He who sings a song to Christ in the night, sings the best song in all the world; for he sings from the heart.
Each race (or variety) is characterized by a more or less distinct combination of inherited morphological, behavioral, physiological traits.
Almost nothing is known from hybridization studies about the inheritance of courtship behavior of females, or of their responsiveness to particular male signals.
I'm in a house where if the washing machine shuts off, it sings a song. If iPad gets a message, it sings a song. I'm living in a real postmodern time - every single thing sings to you to tell you it's started, it's stopped, you've got a message, you didn't get a message.
The life of every river sings its own song, but in most the song is long marred by the discords of misuse.
If somebody sings a song that I wrote, I feel like it's a nice point of validation for the song, because it shows that the song is able to stand on its own. I like that.
If somebody sings a song that I wrote, I feel like its a nice point of validation for the song, because it shows that the song is able to stand on its own. I like that.
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.
I got to meet Rachel Platten, who sings 'Fight Song,' I love that song.
If we were to use the success of 'Need You Now' as the barometer for every other song, then we'll probably be highly disappointed. That song will probably undoubtedly be the biggest song of our career. We can hopefully have success for 20 years, but we may not ever have the success of that one particular song again.
God sings, we hum along, and there are many melodies, but it's all one song - one same, wonderful, human song.
But once you've made a song and you put it out there, you don't own it anymore. The public own it. It's their song. It might be their song that they wake up to, or their song they have a shower to, or their song that they drive home to or their song they cry to, scream to, have babies to, have weddings to - like, it isn't your song anymore.
I learned very early in life that: 'Without a song, the day would never end; without a friend, a man ain't got a friend; without a song, the road would never bend-without a song.' So I keep singing a song.
All my earlier awards were for a particular film or a song. Even the Oscar or the Grammy was for a particular song, but Dadasaheb Phalke is for my entire work so it is the biggest honor for me.
I can't make a song for a particular person or demographic. If I love it, I'm gonna do it. I have to perform it for the rest of my life. A song is like a tattoo - you can never get away from it.
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