Hashirigaki

In the double meaning of running, rushing, writing fluently, outlining - it is the first word of the traveling recitative of the Kabuki piece "Death in Amijima", which was asked to be written by the Japanese author Chkamatsu - named "Shakespeare of Japan" - on the occasion of a double suicide by order of the theatre of the same town for a performance on the next day, and which he started to write down - coming from a feast - on the way home itself, still in the sedan...

Hashirigaki

In the double meaning of running, rushing, writing fluently, outlining - it is the first word of the traveling recitative of the Kabuki piece "Death in Amijima", which was asked to be written by the Japanese author Chkamatsu - named "Shakespeare of Japan" - on the occasion of a double suicide by order of the theatre of the same town for a performance on the next day, and which he started to write down - coming from a feast - on the way home itself, still in the sedan...

I Just Wasn´t Made For These Times

Brian: "It´s about a guy who was crying out because he thought he was too advanced, and that he´d eventually have to leave people behind.
All my friends thought I was crazy to do PET SOUNDS."
PRODUCTION NOTE: It was on this track that Brian first experimented with the Theremin (possibly the first time it had been used on a rock record.) Shortly after this track was recorded Brian used the Theremin extensively on GOOD VIBRATIONS.
(The Beach Boys: Pet Sounds - CD-Booklet)

Über Steins Americans

Nach "On the Roadoo bedeutet "Visions of Cody" (1951), ein längeres, hervorragendes Stück Prosa, den Durchbruch für Jack Kerouacs Entfaltung, genau wie Gertrude Steins großes Prosaexperiment, "The Making of Americans", für den ihren steht. Eintausend Seiten verrücktes Bewusstseinsgeplapper. Ich weiß nicht, ob Sie diesen Text kennen. Kennt irgend jemand "The Making of Americans" von Gertrude Stein? Ich denke, es ist tatsächlich eines der großen Prosameisterwerke dieses Jahrhunderts ist. Stein hatte ähnliche Absichten wie die, die ich Kerouac zugeschrieben habe - sie war eine Studentin von William James in Harvard, eine Studentin des Bewußtseins, eine Expertin des Psychodelischen gewissermaßen, um es für Sie mit einem vertrauten Referenzpunkt zu verbinden. Sie interessierte sich für Bewusstseinszustände, und sie interessierte sich für Kunst als Ausdruck von verschiedenen Bewusstseinszuständen, und sie interessierte sich für Prosakompositionen als eine Form der Meditation, wie Yoga.
Und die Sprache interessierte sie - wie Yoga - als reine Gebetsmeditation, vielleicht sogar losgelöst von all ihren Assoziationen. Um ein Beispiel zu geben (wenn dies eine zu abstrakte und zu komplizierte Idee ist): "Alfred, Lord Tennyson, wiederholte, um sich selbst in einen hypnotischen Zustand zu versetzen, seinen Namen: ,,Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson", bis die Laute mit keiner Vorstellung mehr verknüpft werden konnten, sondern nur noch reine Klänge in einem weiten, physikalischen Universum waren. Und so versetzte er sich in eine komische Art von ekstatischem, 'ich-freiem' Zustand.
Auch Getrude Stein interessierte ein Gebrauch von Sprache, die gleichermassen Bedeutung trägt und sich im lauten Aussprechen von jeglicher Bedeutung löst und in ihrer puren rhythmischen Struktur hervortritt. Falls sie jemals die Gelegenheit haben, sollten Sie sich eine Aufnahmen anhören, die sie auf Caedmon gemacht hat, kleine Prosastücke über Matisse und Picasso rezitierend, kleine Stücke wie: "Napoleon aß Eis Creme auf Elba. Napoleon aß Elba auf Eis Creme. Napoleon aß Eis auf Elba Creme. Napoleon aß auf Creme Elba Eis. Auf Napoleon Eis aß Creme Elba. Auf Elba aß Napoleon Eis Creme. Eis Creme aß Napoleon auf Elba." Kleine Formulierungen, die kreisen, um die Welt herum, und auf diese Weise kam sie zu ihrer berühmten Aussage, die, wie Sie alle wissen, lautet: "Eine, Rose ist eine Rose ist eine Rose". Dies ist das Ende von langen, langen Seiten kreisender Prosa, die das Wort Rose in vielen verschiedenen syntaktischen Setzungen ausschöpft.
Ihr großartiges Buch, "The Making of Americans", ist die Untersuchung des Bewußtseins einer einzigen Familie. Nur wenige Leute haben das Buch ganz gelesen, mich eingeschlossen - ich habe es nicht. Ich habe gelesen, Saite um Seite; und laut gelesen ist es wirklich hervorragend.
(Allen Ginsberg)

On Steins Americans

After "On the Road", a longer, more extraordinary piece of prose, "Visions of Cody" (1951), makes the breakthrough for Jack Kerouac's development just as Gertrude Stein's great prose experiment, "The Making of Americans", stands for hers. A thousand pages of insane consciousness babble. I don't know if you know that text. Does anybody know of "The Making of Americans" by Gertrude Stein? That's actually I think one of the great prose masterpieces of the century. Stein had intentions very similar to those I've ascribed to Kerouac - she was student of William James at Harvard, a student of consciousness, a psychedelic expert, so to speak, to join it to a familiar reference point for you; she was interested in modalities of consciousness, and she was interested in art as articulation of different modalities of consciousness, and she was interested in prose composition as a form of meditation, like yoga.
And, like yoga, she was interested in the language as pure prayer-meditation, removed perhaps even from its associations. To give an example (if this is too abstract and complicated an idea), like Alfred, Lord Tennyson, in order to get himself in an hypnotic state would repeat the name "Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson," until the sounds no longer had any association but were just pure sounds in a spacious physical universe, and he would get into a funny kind of ecstatic egoless state that way.
So Gertrude Stein was interested in using prose in the same way, that it both have a meaning and at the same time be completely removed from meaning and just become pure rhythmic structures pronounceable aloud. If you ever get a chance, you can listen to a record she made on Caedmon reciting some little prose compositions about Matisse and Picasso where she has little things like "Napoleon ate ice cream on Elba. Napoleon ate ice cream. Napoleon ate ice on Elba cream. Napoleon ate on cream Elba ice. On Napoleon ice ate cream Elba. On Elba ate Napoleon ice cream. Ice cream ate Napoleon on Elba." Little formulas that go round, round the world, which is how she arrived at her famous statement which as you alle know is "A rose is a rose is a rose." That's the end of long, tong pages of circular prose that exhausts the word rose in many different syntactical combinations.
Her great book, "The Making of Americans", is an examination of the consciousness of one single family. Very few people have read it through, including me - I haven't. I've read, you know, page upon page of it, and read aloud it's really exquisite.
(Allen Ginsberg)

That is what The Making of Americans was intended to be. I was to make a description of every kind of human being until I could know by these variations how everybody was to be known. Then I got very much interested in this thing, and I wrote about nine hundred pages, and I came to a logical conclusion that this thing could be done. Anybody who has patience enough could literally and entirely make of the whole world a history of human nature. When I found it could be done, I lost interest in it. As soon as I found definitely and clearly and completely that I could do it, I stopped writing the long book. It didn´t interest me any longer.
(Gertrude Stein: How writing is written)

Ich sah mich in dieser Zeit des Partizip Präsens ganz instinktiv verwenden, in "The Making of Americans" konnte ich mich nicht vom Partizip Präsens losmachen weil ich dunkel fühlte dass ich wissen musste, was ich wusste und wusste dass Anfang und Mitte und Ende nicht das war wo ich anfing,
(Gertrude Stein: Narration)

I found myself at this time wuite naturally usin the present participle, in "The Making Of Americans" I could not free myself from the present participle because dimly I felt that I had to know what I knew and I knew that the beginning and middle and ending was not where I began.
(Gertrude Stein: Narration)

Ich begann dann wieder über die Natur des Menschen nachzudenken, ich begann mit enormen Interesse zu hören, wie alle immer und immer wieder das Gleiche sagten, bis man es schließlich, wenn man mit größter Intensität zuhörte, an- und abschwellen hören konnte und sagen konnte, was da alles in ihnen war, nicht soe sehr wegen der jeweiligen Worte, die sie benutzten oder den Gedanken, die sie hatten, sondern wegen der Bewegungsrichtung ihrer Gedanken und Worte, endlos gleich und endlos verschieden.
(Gertrude Stein: The Gradual Making of the Making of the Americans)

I then began again to think about the bottom nature in people, I began to get enormously interested in hearing how everybody said the same thing over and over again until finally if you listened with great intensity you could hear it rise and fall and tell all that that there wasinside them, not so much by the actual words they said or the thoughts they had but the movement of their thoughts and words endlessly different.
(Gertrude Stein: The Gradual Making of the Making of the Americans)

In December of 1966, I heard the album RUBBER SOUL by the Beatles. It was definitely a challenge for me. I saw that every cut was very artistically interesting and stimulating. I immediately went to work on the songs for PET SOUNDS.
I called in a collaborator named Tony Asher and we spent two months working on and off together. He proved to have the lyrical ability to work with me. In January, I started making the instrumental tracks for the album. I made each track a sound experience of its own. I was obsessed with explaining, musically, how I felt inside. This, I thought, could be the beginning of a new type of sophisticated-feeling music. I definitely felt the need to compete with the Beatles. After doing twelve tracks and totally exhausting some of my musical creativity, I proceeded to play the tracks to the boys, who had just gotten home from the road. They all flipped for the tracks and the songs. I did most of the singing on PET SOUNDS because I needed to directly express my feelings to people. It was a special project because the music world had heard from me through the Beach Boys, but I needed to get this one album out to my fans and the public from my heart and soul. I was in a loving mood for a few months and it found its way to recorded tape. My voice turned up sweet this time.
Caroline No was my favorite on this album. The boys filled out the album with me and we had a classic on our hands. I experimented with sounds that would make the listener feel loved. The album was artistically set out in front of other albums and was, in truth, at that time, my biggest and best production. It was the first time I used more traditional and inspired lyrics which emitted feelings from my soul and not the usual "Beach Boy" kind of an approach. PET SOUNDS was an album alone. I think Don't Talk was good for me to make, giving me peace of mind and spiritual satisfaction, knowing that man people would feel like I did...
(Brian Wilson from The Beach Boys - 1990)

Excerpts from the textbook

one is doing

M: One is doing something and then doing that thing again and then doing another thing and then doing that thing again and then doing the one thing and then the other thing and that one certainly would be doing some other thing and doing that thing again and would be then doing another thing and would be doing that thing again and would then be doing the one thing and then would be doing the other if that one were not doing the things that one is doing in being one being living. Certainly some are doing something and doing that thing and doing another thing and certainly some are completely ones needing to be ones doing that thing and that thing again and then some other thing and then that other thing again and then one thing and then another and then another thing to be ones being being ones living. Certainly some are doing something and are doing it again and are doing another thing and are doing it again and are doing the one thing and are doing the other thing and are completely wanting to be needing to be doing the one thing and the other thing to be one being living.
C: There are some that certainly are almost completely wanting that they should be ones needing to be one doing one thing, to be one doing that thing again, to be one doing another thing, to be one doing that again to be one doing the one thing and the other thing, to be one needing doing the one thing and the other thing to be one being living.
M: There are some who are almost completely wanting that they should be one who is one that is needing being one doing the one thing and doing it again and doing another thing and doing it again and doing the one thing and the other thing to be one being living.
C: Certainly each one being living is doing something and doing another thing and the one thing again and the other thing again and the one thing and the other thing and something and that thing again and something.
M: Each one being living is one being one doing something and doing it again
C: and another thing
M: and something
C: and another thing
M: and doing something
C: and doing another thing again.
M: Each one being living is one doing something and doing that thing
C: and another thing
M: and that thing
C: and another thing
M: and another thing
C: and that thing
M: and another thing
C: and another thing again.

M: Certainly each one living is one in some way doing something,
C: doing another thing,
M: in some way needing doing something,
C: doing another thing,
M: in some way wanting to be needing doing something,
C: doing another thing,
M: doing another thing
C: and doing something again
M/C: and another thing again and another thing again.
M: Some are certainly needing to be ones doing something and they are doing one thing
Y: and doing it again and again and again and again
M: and they are doing another thing
Y: and they are doing it again and again and again
M: and they are doing another thing
Y: and they are doing it again and again and again
C: and such a one might have been one doing a very different thing then and doing another very different thing then and doing another very different thing then and doing that then each or any one of them and doing it again and again and again. umbrella in the mud

Now there will be some description of young living in some. Now there will be a little description of very young living in one.
This one, and the one I am now beginning describing is a little girl and this is a little story of the acting in her of her being in her very young living, this one was a very little one then and she was running and she was in the street and it was a muddy one and she had an umbrella that she was dragging and she was crying. "I will throw the umbrella in the mud," she was saying, she was very little then, she was just beginning her schooling, "I will throw the umbrella in the mud" she said and no one was near her and she was dragging the umbrella and bitterness possessed her, "I will throw the umbrella in the mud" she was saying and nobody heard her, the others had run ahead to get home and they had left her, "I will throw the umbrella in the mud," and there was desperate anger in her; "I have throwed the umbrella in the mud" burst from her, she had thrown the umbrella in the mud and that was the end of it all in her. She had thrown the umbrella in the mud and no one heard her as it burst from her, "I have throwed the umbrella in the mud," it was the end of all that to her.2-
As I was saying when she was a little one a very little one and the others were running ahead and she had the umbrella for one of them and she was struggling to catch up with the rest of them and they were disappearing and she was being filled fuller always with angry feeling and resentment and desperation and she was crying out, "I will throw the umbrella in the mud," and nobody was hearing and she was repeating again and again and then in a moment of triumphing she did throw the umbrella in the mud and then she went on crying and saying, "I did throw the umbrella in the mud," this is a description of an action that many very different kinds of children could have been doing when they were left behind struggling. loving repeating
There is always then repeating, always everything is repeating,
this is a history of every kind of repeating there is in living,
this is then a history of every kind of living.
There is always then in every one, repeating,
there are always being made then millions of every kind of being.
Each one of all of them have in them their individual existing,
their own history in them, their own living in them.
There is then always repeating, there is then always individual existing. There is then always repeating,
there is then always repeating in each one,
in each kind of them,
in pairs of them,
in pairs of women,
in pairs of men,
in pairs of men and women.
Always more and more in living it comes out how kinds of them in pairing are always repeating,
this is true in loving,
in friendly being between men and women.
Sometimes in living one sees so many repeating,
so many who seem when one knows them to be so individual
there can never be any one anything like them,
a pair of them with so individual a relation made up of two
who are so singular in their being that it never seems
that there can be others just like them.
Always then one sees another pair of them
and sometimes it is almost dizzying,
it gives to each one of the pairs of them an unreal being,
and then it comes again that one understands then
that repeating is the whole of living.
Repeating is the whole of living
and by repeating comes understanding,
and understanding is to some the most important part of living. copying
Many have not enough feeling in them to make it real repeating,
in such of them it comes to be a copy of the repeating
that once came out of them in feeling;
some copy others around them and make of this a repeating in them,
some make of such a copying a repeating in feeling,
some never have in such a copying a real repeating feeling.
There are some who have not enough activity inside them
to go in this way in their repeating,
these have to copy themselves in their way of talking,
ometimes in their loving,
often in their way of walking,
of moving their hands and shoulders,
i n their ways of smiling,
there have been some and always will be some
who copy themselves so in all their living,
in their eating and drinking,
in every moment of their daily living.

every afternoon

C: I get up.
M: So do you get up.
C: We are pleased with each other.
M: Why are you.
C: Because we are hopeful.
M: Have you any reason to be.
C: We have reason to be.
M: What is it.
C: I am not prepared to say.
M: Is there any change.
C: Naturally.
M: I know what you mean.
C: I consider that it is not necessary for me to teach languages.
M: It would be foolish of you to.
C: It would here.
M: It would anywhere.
C: I do not care about Peru.
M: I hope you do.
C: Do I begin this.
M: Yes you began this.
C: Of course we did.
M: Yes indeed we did.
C: When will we speak of another.
M: Not today I assure you.
C: Yes certainly you mentioned it.
M: We mentioned everything.
C: To another.
M: I do not wish reasons.
C: You mean you are taught early.
M: That is exactly what I mean.
C: And I feel the same.
M: And when have you leisure.
C: Reading and knitting.
M: Reading or knitting.
C: Reading or knitting.
M: Yes reading or knitting.
C: In the evening.
M: In Marseille.
C: I cannot understand words.
M: Cannot you.
C: You are so easily deceived you don´t ask what do they decide what are they to decide.
M: There is no reason.
C: But there is no reason.
M: Between meals.
C: Do you really sew.

M: We are equally pleased.
C: Come and stay.
M: Do so.
C: Do you mean to be rude.
M: I ask you why.
C: Tomorrow.
M: Yes tomorrow.
C: Every afternoon.
M: A dialogue.
C: What did you do with your dog.
M: We sent him into the country.
C: Was he a trouble.
M: Not at all but we thought he would be better off there.
C: Yes it isn´t right to keep a large dog in the city.
M: Yes I agree with you.
C: Yes
M: Coming.
C: Yes certainly.
M: Do be quick.
C: Not in breathing.
M: No you know you don´t mind.
C: We said yes.
M: Come ahead.
C: That sounded like an animal.
M: Were you expecting something.
C: I don´t know.
M: Don´t you know about it at all.
C: You know I don´t believe it.
M: She did.
C: Well they are different
M: I am not very careful.
C: Mention that again.
M: Here.
C: Not here.
M: Don´t receive wood.
C: Don´t receive wood.
M: Well we went and found it.
C: Tomorrow.
M: Come tomorrow.
C: Come tomorrow.
M & C: Yes we said yes. Come tomorrow.
C: We will gladly come Saturday.
M: She will go.
C: Oh yes she will.
M: What is a conversation.
C: We can all sing.
M: A great many people come in.
C: A great many people come in.
M: Why do the days pass so quickly.
C: Because we are very happy.
M: Yes that´s so.
C: That´s it.
M: That is it.
C: Who cares for daisies.
M: Do you hear me.
C: Yes I can hear you.
M: Very well then explain.
C: That I care for daisies.
M: That we care for daisies.
C: Come in come in.
M: Yes and I will not cry.
C: No indeed.
M: We will picnic.
C: Oh yes.
M: We are very happy.
C: Very happy.
M: And content.
C: And content.
M: We will go and hear Tito Ruffo.
C: Here.
M: Yes here.

butterflies and beetles

It happens very often that a man has it in him,
that a man does something,
that he does it very often
that he does many things,
when he is a young man
when he is an old man,
when he is an older man.
One of such of these kind of them had a little boy
and this one,
the little son wanted to make a collection of butterflies and beetles
and it was all exiting to him and it was all arranged then and then the father said to the son
you are certain this is not a cruel thing that you are wanting to be doing, killing things to make collections of them,
and the son was very disturbed then
and they talked about it together the two of them
and more and more they talked about it then
and then at last the boy was convinced it was a cruel thing
and he said he would not do it
and his father said
the little boy was a noble boy to give up pleasure
when it was a cruel one.
The boy went to bed then and the father
when he got up in the early morning saw a wonderfully beautiful moth in the room
and he caught him
and he killed him
and he pinned him
and he woke up his son then
and showed it to him
and he said to him
"see what a good father I am to have caught and killed this one,"
the boy was all mixed up inside him
and then he said he would go on with his collecting
and that was all there was then of discussing
and this is a little description of something that happened once
and it is very interesting. washing
It´s a great question this question of washing.
One never can find any one who can be satisfied with anybody else´s washing.
The French tell me it´s the Italians who never do any washing,
the French and the Italians both find the Spanish a little short in their washing,
the English find all the world lax in this business of washing,
and the East finds all the West a pig,
which never is clean with just the little cold water washing.
And so it goes. a good deal of noise
A noise is something some one is hearing.
Many are making noises and many are hearing noises.
A noise is a great many things some one is hearing.
A great deal of noise is something some one is hearing.
A good deal of noise,
a very great deal of noise,
noise,
continued noise,
more noise,
always some noise,
always a good deal of noise,
noise is what some one is hearing.
A good deal of noise,
a great deal of noise,
noise is something some one is not hearing.
A great deal of noise,
noise,
continued noise,
a good deal of noise is what some one would be hearing
if there were any noise,
if there were a great deal of noise,
if there were any noise for that one to be hearing.
Some one is sometime hearing very much noise.
Sometimes that one is not hearing any noise.
There is sometimes not any noise for that one to be hearing.
A great deal of noise is something that one is sometimes hearing. I mean, I mean
I mean, I mean and that is not what I mean,
I mean that not any one is saying what they are meaning,
I mean that I am feeling something,
I mean that I mean something
and I mean that not any one is thinking,
is feeling,
is saying,
is certain of that thing,
I mean that not any one can be saying, thinking, feeling,
not any one can be certain of that thing,
I mean I am not certain of that thing,
I am not ever saying, thinking, feeling, being certain of this thing,
I mean, I mean, I know what I mean. living, working, loving
Very many like it that they are doing something, living, working, loving, dressing, dreaming, waking, cleaning something, being a kind of a one, looking like some one, going to be doing something, being a nice one, being a not nice one, helping something, helping some one, winning, conquering, losing, forgetting, being an influence in being a living one, being a dead one, having courage to be going on living, having a troubled living, being a worried one, cleaning themselves all their living, learning something, beginning something, forgetting something, ending something, liking old things, leaving something, liking everything, liking pretty nearly nothing, being disgusted with everything, liking new things, leaving pretty nearly nothing, liking changing, liking being a quiet one, liking fighting, being one making a peace between all men and all women, and all women, and all men, fighting things out to finishing, being honest in living, being failing for a reason, being just failing, being just succeeding, being lucky, being an unlucky one, being a really completely successful one, being one submitting to everything, being loved by every one, being one submitting to almost nothing, being one certain that one should be one submitting to being a good one, being hated by a good many who come to know them, being certain of spending money, of being saving, being one liking eating, being one liking thinking, being one liking waking, being one certainly not afraid to be dying, being one liking starving, being one liking to do anything, being one liking to be resting, being one liking working, being one certainly not afraid of doing anything, being one liking to be in pain for themselves or some one, being one liking cold days in out door living, being one liking rainy days around them, being one liking hot sunshine on them, being one certainly not afraid of anything, being one getting sick with cold or hot or raining weather on them, being one not liking any fresh air on them,being one not able to be breathing without much fresh air on them, being a funny one, being one not liking funny ones, one not liking queer ones in living, being one liking swimming, being one tired of ocean bathing before they have really been in more than twice in a season, being one exited with learning anything, being one being exited at leaving anything, being one learning always a little something, being one not thinking very much about anything, of any one. smelling
Some smell something.
Some smell a good many things.
Some have a very strong feeling when they are smelling something.
Some smell themselves when they are smelling something.
Some are certain that smelling something is something they are always doing.
Some smell something more when they are young ones than when they are older ones.
Some smell themselves when they smell something more when they are young ones than when they are older ones,
some more when they are older ones than when they are young ones,
some all of their living,
all of their living are smelling something,
are smelling themselves when they are smelling something.
Some are smelling something and then they are remembering something. Some are smelling something and are then completely remembering something.
Some are very much interested in this thing in remembering something when they are smelling something.
Some are not really interested in smelling anything.
Some are interested in not smelling anything.
it makes me a little unhappy
Some feel some kinds of things others feel other kinds of things.
Mostly every one feels some kinds of things.
The way some things touch some and do not touch other ones,
and kinds in men and women then,
I will now begin to think some about describing.
It makes me a little unhappy that everything is a little funny.
It makes me a little unhappy that many things are funny and peculiar and strange to me.
It makes me a little unhappy that everything and every one is sometime a little queer to me.
It makes me a little unhappy that every one seems sometime almost a little crazy.
It does make me a little unhappy that every one sometime is a queer one to me.
It does make me sometime a little uncertain,
it does sometimes make me very uncertain about everything
and always then it i perplexing what is certain what is not certain,
who is a queer one,
what is a funny thing for some one to be wanting or not wanting
or doing or not doing
or thinking or not thinking
or believing or not believing.
It does certainly make me a little unhappy that every one sometime is a queer one to me.
It does certainly make me a little unhappy quite often that every one is really inside them or in thinking,
in doing or in feeling
or in believing a queer one.
It certainly does make me an uncomfortable one
and sometimes a little an unhappy,
a gently almost melancholy sulky one
that every one sometime is a queer one. some something
There are very many people being living. Certainly very many come together to see something, to hear something, to do something, to see some see something, to see some hear something, to see some do something, to hear some see something, to hear some do something, to hear some hear something, to feel something, to feel some feel something, to feel some hear something, to feel some see something, to see some one do something, to hear some one do something, to feel some one do something, to do something to some, to do something to some one, to feel some do something to some, to hear some do something to some one, to see some do something to some one, to feel some doing something to some, to hear some do something to some, to see some do something to some, to see some one do something to some, to feel some one do something to some, to hear some one do something to some, to feel some one do something to some one, to see some one do something to some one, to hear some one do something to some one, to believe something, to forget something, to remember something, to like something, to hate something, to believe some, to believe some one, to like some, to like some one, to remember some, to remember some one, to forget some, to forget some one, to hate some one, to hate some, to be happy, to be happy again, to be earnest, to be serious, to be serious again, to be quick, to be quick again, to be frightened, to be frightened again, to be quiet, to be angry, to be angry again, to be brave, to be brave again.

Don´t talk
(Put Your Head On My Shoulder)

I can hear so much in your sighs.
And I can see so much in your eyes
There are words we both could say.
But don´t talk, put your head on my shoulder.
Come close, close your eyes and be still.
Don´t talk, take my hand and let me hear your heart... beat

Being here with you feels so right.
We could live forever tonight.
Let´s not think about tomorrow.
And don´t talk, put your head on my shoulder.
Come close, close your eyes and be still.
Don´t talk, take my hand and listen to myr heart... beat...

Listen. Listen. Listen.

And don´t talk, put your head on my shoulder.
Come close, close your eyes and be still.

(repeat)

(Brian Wilson / Tony Asher, 1966)