“Love Hurts” is the name of a song, written and composed by Boudleaux Bryant and Felice Bryant. First recorded by The Everly Brothers in July 1960, as an album track on “A Date with The Everly Brothers”.
The first hit version of the song was by Roy Orbison, who earned Australian radio play, hitting the Top Five of that country’s singles charts in 1961. The most successful recording of the song was by hard rock band Nazareth, who took the song to the U.S. Top 10 in 1975 and hit number one in Norway and the Netherlands. In the UK the most successful version of the song was by former Traffic member Jim Capaldi, who took it to number four in the charts in November 1975 during a 11-week run. The song was also covered by Cher in 1975 for her album Stars. Cher re-recorded the song in 1991 for her album of the same name. Source: Wikipedia, the free encyclopedia.
See “Love Hurts” by Nazareth, live in Brazil, on YouTube and see how the vocalist looks like Bilbo Baggins from the Lord of the Rings… Yes, it is a great song but time does not forgive anyone…:
See also the original 1976 Nazareth Video for “Love Hurts”:
LOVE HURTS Music and lyrics by Boudleaux Bryant and Felice Bryant
Love hurts, Love scars, Love wounds and marks Any heart not tough or strong enough To take a lot of pain, take a lot of pain Love is like a cloud, it holds a lot of rain Love hurts, Ooo-oo love hurts
I’m young, I know, But even so I know a thing or two, I learned from you I really learned a lot, really learned a lot Love is like a flame It burns you when it’s hot Love hurts, Ooo-oo love hurts
Some fools think Of happiness, blissfulness, togetherness Some fools fool themselves, I guess They’re not foolin’ me I know it isn’t true I know it isn’t true Love is just a lie made to make you blue Love hurts, Ooo-oo love hurts
I know it isn’t true I know it isn’t true Love is just a lie made to make you blue Love hurts, Ooo-oo love hurts Ooo-oo, love hurts, Ooo-oo
And as the flames climbed high into the night To light the sacrificial rite I saw Satan laughing with delight The day the music died… A fragment of the song “American Pie”, by Don McLean
JOHN LENNON 9 October 1940 – 8 December 1980
John Lennon was an English musician who gained worldwide fame as one of the founders of The Beatles, for his subsequent solo career, and for his political activism and pacifism. He was shot by Mark David Chapman at the entrance of the building where he lived, The Dakota, in New York City, on Monday, 8 December 1980; Lennon had just returned from Record Plant Studio with his wife, Yoko Ono.
Lennon was pronounced dead on arrival at St. Luke’s-Roosevelt Hospital Center, where it was stated that nobody could have lived for more than a few minutes after sustaining such injuries. Shortly after local news stations reported Lennon’s death, crowds gathered at Roosevelt Hospital and in front of The Dakota. He was cremated on 10 December 1980, at the Ferncliff Cemetery in Hartsdale, New York; the ashes were given to Ono, who chose not to hold a funeral for him.
Photo of John Lennon signing a copy of his Double Fantasy album for Mark David Chapman, taken by Paul Goresh, 8 December, 1980.
People say I’m crazy doing what I’m doing, Well they give me all kinds of warnings to save me from ruin, When I say that I’m o.k. they look at me kind of strange, Surely your not happy now you no longer play the game,
People say I’m lazy dreaming my life away, Well they give me all kinds of advice designed to enlighten me, When I tell that I’m doing Fine watching shadows on the wall, Don’t you miss the big time boy you’re no longer on the ball?
I’m just sitting here watching the wheels go round and round, I really love to watch them roll, No longer riding on the merry-go-round, I just had to let it go,
People asking questions lost in confusion, Well I tell them there’s no problem, Only solutions, Well they shake their heads and they look at me as if I’ve lost my mind, I tell them there’s no hurry… I’m just sitting here doing time,
I’m just sitting here watching the wheels go round and round, I really love to watch them roll, No longer riding on the merry-go-round, I just had to let it go.
SEE THIS VIDEO FOR WATCHING THE WHEELS ON YOUTUBE:
EMPTY GARDEN: A TRIBUTE TO JOHN
“Empty Garden (Hey Hey Johnny)” is a hit ballad from British pop-rock performer Elton John’s 1982 album “Jump Up!”. He dedicated the song in memory of John Lennon. John and Elton were good friends. As part of his 1982 “Jump Up!” tour, Elton performed the song live at Madison Square Garden, with Lennon’s widow Yoko Ono and their son Sean in the audience. Elton is Sean’s godfather, but he rarely performs the song live, as he has said it brings back many painful memories of Lennon’s death. The “Empty Garden” referred to in the song is Madison Square Garden, where Lennon performed a duet with Elton in 1974.
EMPTY GARDEN (HEY HEY JOHNNY) ELTON JOHN
Music: Elton John
Lyrics: Bernie Taupin
What happened here As the New York sunset disappeared I found an empty garden among the flagstones there Who lived here He must have been a gardener that cared a lot Who weeded out the tears and grew a good crop And now it all looks strange It’s funny how one insect can damage so much grain
And what’s it for This little empty garden by the brownstone door And in the cracks along the sidewalk nothing grows no more Who lived here He must have been a gardener that cared a lot Who weeded out the tears and grew a good crop And we are so amazed we’re crippled and we’re dazed A gardener like that one no one can replace
And I’ve been knocking but no one answers And I’ve been knocking most all the day Oh and I’ve been calling oh hey hey Johnny Can’t you come out to play
And through their tears Some say he farmed his best in younger years But he’d have said that roots grow stronger if only he could hear Who lived there He must have been a gardener that cared a lot Who weeded out the tears and grew a good crop Now we pray for rain, and with every drop that falls We hear, we hear your name
Johnny can’t you come out to play in your empty garden
“It was like being in the eye of a hurricane. You’d wake up in a concert and think, Wow, how did I get here?”
“A dream you dream alone is only a dream. A dream you dream together is reality.”
“Everybody loves you when you’re six foot in the ground.”
“Everything is clearer when you’re in love.”
“I believe in everything until it’s disproved. So I believe in fairies, the myths, dragons. It all exists, even if it’s in your mind. Who’s to say that dreams and nightmares aren’t as real as the here and now?”
“War is over … If you want it.”
“Christianity will go.. It will vanish and shrink. I needn’t argue with that; I’m right and I will be proved right. We’re more popular than Jesus now; I don’t know which will go first — rock and roll or Christianity. Jesus was all right, but his disciples were thick and ordinary. It’s them twisting it that ruins it for me.” – 4 March 1966
“I suppose if I had said television was more popular than Jesus, I would have gotten away with it. I’m sorry I opened my mouth. I’m not anti-God, anti-Christ, or anti-religion. I wasn’t knocking it or putting it down. I was just saying it as a fact and it’s true more for England than here. I’m not saying that we’re better or greater, or comparing us with Jesus Christ as a person or God as a thing or whatever it is. I just said what I said and it was wrong. Or it was taken wrong. And now it’s all this.” – Lennon apologized for the comment above, 11 August 1966
“Life is what happens while you are busy making other plans.”
“For our last number, I’d like to ask your help. Would the people in the cheaper seats clap your hands. And the rest of you, if you’ll, just rattle your jewelry.” – Royal Variety Performance in London (4 November 1963) attended by Queen Elizabeth, the Queen Mother, and Princess Margaret.
“As usual, there is a great woman behind every idiot.”
“I believe in God, but not as one thing, not as an old man in the sky. I believe that what people call God is something in all of us. I believe that what Jesus and Mohammed and Buddha and all the rest said was right. It’s just that the translations have gone wrong.”
“It was just a gradual development over the years. Last year was “All You Need Is Love.” This year it’s “Give Peace a Chance.” Remember love. The only hope for any of us is peace. Violence begets violence. If you want to get peace, you can get it as soon as you like if we all pull together. You’re all geniuses and you’re all beautiful. You don’t need anybody to tell you who you are or what you are. You are what you are. Get out there and get peace. Think peace, live peace, and breathe peace and you’ll get it as soon as you like. Okay?”
“My role in society, or any artist’s or poet’s role, is to try and express what we all feel. Not to tell people how to feel. Not as a preacher, not as a leader, but as a reflection of us all.”
“I’m not claiming divinity. I’ve never claimed purity of soul. I’ve never claimed to have the answers to life. I only put out songs and answer questions as honestly as I can… But I still believe in peace, love and understanding.”
“Our society is run by insane people for insane objectives. I think we’re being run by maniacs for maniacal ends and I think I’m liable to be put away as insane for expressing that. That’s what’s insane about it.”
“There are two basic motivating forces: fear and love. When we are afraid, we pull back from life. When we are in love, we open to all that life has to offer with passion, excitement, and acceptance. We need to learn to love ourselves first, in all our glory and our imperfections. If we cannot love ourselves, we cannot fully open to our ability to love others or our potential to create. Evolution and all hopes for a better world rest in the fearlessness and open-hearted vision of people who embrace life.”
“We’ve got this gift of love, but love is like a precious plant. You can’t just accept it and leave it in the cupboard or just think it’s going to get on by itself. You’ve got to keep watering it. You’ve got to really look after it and nurture it.”
“I’ve always considered my work one piece and I consider that my work won’t be finished until I am dead and buried and I hope that’s a long, long time.”
“I’m not going to change the way I look or the way I feel to conform to anything. I’ve always been a freak. So I’ve been a freak all my life and I have to live with that, you know. I’m one of those people.”
“The postman wants an autograph. The cab driver wants a picture. The waitress wants a handshake. Everyone wants a piece of you.”
“Love is the answer, and you know that for sure; Love is a flower, you’ve got to let it grow.”
“I don’t believe in killing whatever the reason!” – November 21, 1980, New York: John Lennon and Yoko Ono come out of 5 years’ seclusion to promote their new album, “Double Fantasy”; they walked around Central Park and posed in front of the Dakota building.
“Count your age by friends, not years. Count your life by smiles, not tears.”
“That’s part of our policy, is not to be taken seriously, because I think our opposition, whoever they may be, in all their manifest forms, don’t know how to handle humor. You know, and we are humorous, we are, what are they, Laurel and Hardy. That’s John and Yoko, and we stand a better chance under that guise, because all the serious people, like Martin Luther King, and Kennedy, and Gandhi, got shot.”
“Imagine all the people living life in peace. You may say I’m a dreamer, but I’m not the only one. I hope someday you’ll join us, and the world will be as one.”
“Time you enjoy wasting, was not wasted.”
“I’m not afraid of death because I don’t believe in it. It’s just getting out of one car, and into another.” – On the afternoon of 8 December 1980, photographer Annie Leibovitz went to Ono and Lennon’s apartment at 2:00pm to do a photo shoot for Rolling Stone magazine.
“Happiness is just how you feel when you don’t feel miserable.” – Annie Leibovitz recalled that “nobody wanted Yoko on the cover” of magazine; John then insisted that both he and his wife be on the cover.
“If you tried to give rock and roll another name, you might call it ‘Chuck Berry’.”
“If someone thinks that love and peace is a cliche that must have been left behind in the Sixties, that’s his problem. Love and peace are eternal.”
“When you’re drowning, you don’t say ‘I would be incredibly pleased if someone would have the foresight to notice me drowning and come and help me,’ you just scream.”
“These critics with the illusions they’ve created about artists — it’s like idol worship. They only like people when they’re on their way up … I cannot be on the way up again. … What they want is dead heroes, like Sid Vicious and James Dean. I’m not interesting in being a dead (expletive) hero. … So forget ’em, forget ’em.”
“Part of me suspects that I’m a loser, and the other part of me thinks I’m God Almighty.”
“Forced perspective” is a technique that employs optical illusion to make an object appear farther away, closer, larger or smaller than it actually is. It is used primarily in photography, filmmaking and architecture. It manipulates human visual perception through the use of scaled objects and the correlation between them and the vantage point of the spectator or camera.
Movies (especially B-movies) in the 1950s and 1960s produced on limited budgets sometimes feature forced perspective shots which are completed without the proper knowledge of the physics of light used in cinematography, so foreground models can appear blurred or incorrectly exposed.
Early instances of forced perspective used in low-budget motion pictures showed objects that were clearly different from their surroundings: often blurred or at a different light level. The principal cause of this was geometric. Light from a point source travels in a spherical wave, decreasing in intensity (or illuminance) as the inverse square of the distance travelled. This means that a light source must be four times as bright to produce the same illuminance at an object twice as far away. Thus to create the illusion of a distant object being at the same distance as a near object and scaled accordingly, much more light is required.
Opening the camera’s iris lets more light into the camera, allowing both near and far objects to be seen at a more similar light level, but this has the secondary effect of decreasing depth of field. This makes either the near or the far objects appear blurry. By increasing the volume of light hitting the distant objects, the iris opening can be restricted and depth of field is increased, thus portraying both near and far objects as in focus, and if well scaled, existing in a similar lateral plane.
Since miniature models would need to be subjected to far greater lighting than the main focus of the camera, the area of action, it is important to ensure that these can withstand the significant amount of heat generated by the incandescent light sources typically used in film and TV production.
As with many film genre and effects, forced perspective can be used to visual-comedy effect. Typically, an object or character is portrayed in a scene, its size defined by its surroundings. A character then interacts with the object or character, in the process showing that the viewer has been fooled and there is forced perspective in use.
The 1930 Laurel and Hardy movie “Brats” used forced perspective to depict Stan and Ollie simultaneously as adults and as their own sons.
Peter Jackson’s film adaptations of “The Lord of the Rings” make extended use of forced perspective. Characters apparently standing next to each other would be displaced by several feet in depth from the camera. This, in a still shot, makes some characters appear much smaller (for the dwarves and Hobbits) in relation to others.
Virtually all of the most bizarre and fascinating scenes in the movie “Eternal Sunshine of the Spotless mind” were created with old fashioned camera, editing, lighting and prop/set tricks. The use of digital effects was very limited. The striking kitchen scene with Joel as a child was created with an elaborate forced perspective set-up similar to some used by Peter Jackson in “The Lord of the Rings” trilogy.
Henry Wadsworth Longfellow (February 27, 1807 – March 24, 1882) was an American poet and educator whose works include “Paul Revere’s Ride”, “The Song of Hiawatha”, and “Evangeline”. He was also the first American to translate Dante Alighieri’s “The Divine Comedy” and was one of the five Fireside Poets.
Henry Wadsworth Longfellow in 1868 by Julia Margaret Cameron (1815 – 1879)
Henry Wadsworth Longfellow was born in Portland, Maine, in 1807, and educated at Bowdoin College, where one of his classmates was Nathaniel Hawthorne. He became a national literary figure by the 1850s, and a world-famous personality by the time of his death in 1882. He was a traveler, a linguist, and a romantic who identified with the great traditions of European literature and thought. At the same time, he was rooted in American life and history, which charged his imagination with untried themes and made him ambitious for success.
Was he a great poet? He was certainly a grand poet, and in the public mind the grandest of his day and age. No American poet of any era, it’s safe to say, has been both as awesomely prolific and prodigiously popular. If Walt Whitman, his younger contemporary by a dozen years, is enshrined as the founding father of modern American poetry, Longfellow deserves no less than to be remembered as the native bard who gave mythic dimension to the country’s historical imagination, a national poet of epic sweep and solemn feeling who came along right at the moment when the emerging nation had the most need for one.
A PSALM OF LIFE By Henry Wadsworth Longfellow (1807-1882) Tell me not, in mournful numbers, Life is but an empty dream! For the soul is dead that slumbers, And things are not what they seem.
Life is real! Life is earnest! And the grave is not its goal; Dust thou art, to dust returnest, Was not spoken of the soul.
Not enjoyment, and not sorrow, Is our destined end or way; But to act, that each to-morrow Find us farther than to-day.
Art is long, and Time is fleeting, And our hearts, though stout and brave, Still, like muffled drums, are beating Funeral marches to the grave.
In the world’s broad field of battle, In the bivouac of Life, Be not like dumb, driven cattle! Be a hero in the strife!
Trust no Future, howe’er pleasant! Let the dead Past bury its dead! Act,–act in the living Present! Heart within, and God o’erhead!
Lives of great men all remind us We can make our lives sublime, And, departing, leave behind us Footprints on the sands of time;–
Footprints, that perhaps another, Sailing o’er life’s solemn main, A forlorn and shipwrecked brother, Seeing, shall take heart again.
Let us, then, be up and doing, With a heart for any fate; Still achieving, still pursuing, Learn to labor and to wait.
THE CHILDREN’S HOUR By Henry Wadsworth Longfellow (1807-1882)
Between the dark and the daylight, When the night is beginning to lower, Comes a pause in the day’s occupations That is known as the Children’s Hour.
I hear in the chamber above me The patter of little feet, The sound of a door that is opened, And voices soft and sweet.
From my study I see in the lamplight, Descending the broad hall-stair, Grave Alice, and laughing Allegra, And Edith with golden hair.
A whisper, and then a silence: Yet I know by their merry eyes They are plotting and planning together To take me by surprise.
A sudden rush from the stairway, A sudden raid from the hall! By three doors left unguarded They enter my castle wall!
They climb up into my turret O’er the arms and back of my chair; If I try to escape, they surround me; They seem to be everywhere.
They almost devour me with kisses, Their arms about me entwine, Till I think of the Bishop of Bingen In his Mouse-Tower on the Rhine!
Do you think, O blue-eyed banditti, Because you have scaled the wall, Such an old moustache as I am Is not a match for you all?
I have you fast in my fortress, And will not let you depart, But put you down into the dungeons In the round-tower of my heart.
And there will I keep you forever, Yes, forever and a day, Till the walls shall crumble to ruin, And moulder in dust away!
THE ARROW AND THE SONG By Henry Wadsworth Longfellow (1807-1882)
I shot an arrow into the air, It fell to earth, I knew not where; For, so swiftly it flew, the sight Could not follow it in its flight.
I breathed a song into the air, It fell to earth, I knew not where; For who has sight so keen and strong, That it can follow the flight of song?
Long, long afterward, in an oak I found the arrow, still unbroke; And the song, from beginning to end, I found again in the heart of a friend.
All That I Love 