According AP police on Long Island had to shut down a mall appearance by teen pop singer Justin Bieber after thousands of young girls showed up, and got a little too wild.
Girls and adults in the Friday crowd of nearly 3,000 started pushing and shoving as they waited for the 15-year-old to show at a clothing store at the Roosevelt Field Mall in Garden City.
Bieber’s appearance was still two hours away when things got out of hand. Five people were taken to hospitals with minor injuries.
“People started screaming, ‘Justin!’ And they ran forward and the ropes collapsed,” said 13-year-old Aimee Macchi. She said she was knocked to the floor in the rush. “Everyone was pushing. There was no room to breathe.”
Sometimes I need some time
On my own
Sometimes I need some time
All alone
Everybody needs some time
On their own
Don’t you know you need some time
All alone
When I look into your eyes
I can see a love restrained
But darlin’ when I hold you
Don’t you know I feel the same
‘Cause nothin’ lasts forever
And we both know hearts can change
And it’s hard to hold a candle
In the cold November rain
We’ve been through this
Such a long long time
Just tryin’ to kill the pain
Yeahh..
But lovers always come
And lovers always go
And no one’s really sure
Who’s lettin’ go today
Walking away
If we could take the time
To lay it on the line
I could rest my head
Just knowin’ that you were mine
All mine
So if you want to love me
Then darlin’ don’t refrain
Or I’ll just end up walkin’
In the cold November rain
Do you need some time
On your own
Do you need some time
All alone
Everybody needs some time
On their own
Don’t you know you need some time
All alone
I know it’s hard to keep an open heart
When even friends seem out to harm you
But if you could heal a broken heart
Wouldn’t time be out to charm you
Sometimes I need some time
On my own
Sometimes I need some time
All alone
Everybody needs some time
On their own
Don’t you know you need some time
All alone
And when your fears subside
And shadows still remain
I know that you can love me
When there’s no one left to blame
So never mind the darkness
We still can find a way
‘Cause nothin’ lasts forever
Even cold November rain
Don’t ya think that you
Need somebody
Don’t ya think that you
Need someone
Everybody needs somebody
You’re not the only one
You’re not the only one
Don’t ya think that you
Need somebody
Don’t ya think that you
Need someone
Everybody needs somebody
You’re not the only one
You’re not the only one
Don’t ya think that you
Need somebody
Don’t ya think that you
Need someone
Everybody needs somebody
You’re not the only one
You’re not the only one
Don’t ya think that you
Need somebody
Don’t ya think that you
Need someone
Everybody needs somebody
Dont you know that you’re so beautiful to me? That’s it!:-) Beautiful song about beautiful feelings which are so regular and so unusual at the same time. Love and beauty, beauty and love, beauty of love all of us are dreaming about. This is like “If I has to choose between loving you, and breathing. I would use my last breath to say I LOVE YOU.” This is the time when you can’t fall asleep because reality is much amazing than your dreams. But as you know the greater things in life are unseen thats why you close your eyes when you kiss, cry, or dream…
You are so beautiful to me
Can’t you see
Your everything I hoped for
Your everything I need
You are so beautiful to me
Such joy and happiness you bring
Such joy and happiness you bring
Like a dream
A guiding light that shines in the night
Heavens gift to me
You are so beautiful to me
Don´t tell me to stop
Tell the rain not to drop
Tell the wind not to blow
´Cause he said so
Tell me love isn´t true
It´s just something we do
Tell me everything I´m not
Don´t tell me to stop
Tell the sun not to shine
Not to get up this time
Let it fall by the way
Leave me where I lay
Tell the leaves not to turn
Don´t tell me I´ll learn
Take the black off a crow
But don´t tell me go
Tell the bed not to lay
Like the mouth of a grave
Not to stare up at me
Like a calf on its knees
Tell me love isn´t true
It´s just something we do
Tell me everything I´m not
But don´t tell me to stop
Tell me everything I´m not
Don´t tell me to stop
Lizz Wright’s first two Verve releases, Salt and Dreaming Wide Awake, established her as one of the jazz world’s most celebrated rising stars, both an accomplished songwriter and a versatile, deeply expressive singer. On her third album The Orchard, the Georgia-bred, New York-based artist takes a substantial leap forward, transcending genre distinctions to deliver a vibrant, intensely creative milestone.
The largely self-penned The Orchard finds Wright mining her own experience to create an unmistakably personal musical statement. The warmth and resonance of Wright’s gospel-trained contralto is matched by the intimacy and authority of such original compositions as “Coming Home,” “My Heart,” “Another Angel” and “When I Fall.” Wright’s interpretive skills are equally impressive on revelatory readings of the Ike and Tina Turner classic “I Idolize You,” Sweet Honey in the Rock’s “Hey Mann,” the Led Zeppelin ballad “Thank You” and Patsy Cline’s haunting “Strange.”
The Orchard reflects Wright’s lifelong musical journey. The artist was born in the small rural town of Hahira, Georgia, one of three children of a minister father and a mother who sang gospel at church services. In her childhood, she began playing piano and singing in church with her two siblings. In high school, she broadened her musical horizons by studying choral singing, performing with groups of various sizes and winning several regional and national awards.
Her 2003 debut Salt introduced Wright as both an accomplished songwriter and an effortlessly magnetic performer, delivering subtly persuasive vocal performances in understated jazz/R&B settings. Salt won international acclaim, earning Wright comparisons with such formidable figures as Nina Simone and Abbey Lincoln. It also struck a chord with the public, reaching the Number Two slot on Billboard’s Contemporary Jazz chart.
The New York Times’ Stephen Holden praised Wright’s “astonishing maturity and poise” and wrote that she “stirs jazz, gospel and rhythm and blues into a reflective, flowing style that elongates songs into prayerful meditations that never wander into vagueness,” and described her singing as “pitch-perfect, with a smoky, full-bodied texture… impressive in its steadiness, control and rhythmic subtlety.”
Wright’s collaboration with Street continues on The Orchard. While her prior releases boasted contributions from some of the jazz world’s most respected jazz players, The Orchard features an eclectic cast that includes noted singer/songwriter Toshi Reagon, who co-wrote several songs with Wright; Calexico members Joey Burns and John Convertino; avant-guitar hero Oren Bloedow; longtime Bob Dylan sideman Larry Campbell; Ollabelle member Glenn Patscha; and guest vocalists Catherine Russell and Marc Anthony Thompson (aka Chocolate Genius).
“The Orchard started with a trip that I took home to see my grandparents, and watching how they interacted with their neighbors and friends,” Wright recalls. “It got me thinking about where I was born and grew up, and that really inspired me a lot. I took some pictures of that area, and I made a little slide show and set it to the Tom Waits song “I Hope That I Don’t Fall In Love With You” and I took that to Verve and said ‘This is what I want to do.’ We went back to do another photo shoot, before we’d even recorded any music. And when I sat down with Craig and the writers and musicians, I showed them the pictures and played them the Tom Waits song. Everyone responded to them in their own way, and everyone brought their own insight and sensibilities to this concept that I showed them, and that helped to take the record to a different place.
“I liked the idea of this record having a soul that was centered around the orchard,” she explains. “But I didn’t feel compelled to stay married to the concept. I Initially wanted this record to be very much about home, about Hahira, and I took a lot of signals from there, but it ended up becoming something else. I wanted to name it The Orchard because that’s where it started.”
Before they began recording, Wright and Reagon debuted The Orchard’s songs with a series of low-key live sets at the small East Village club Banjo Jim’s. “We played through everything to figure out how we wanted to approach the songs. We tried out a lot of arranging ideas and different approaches, and the arrangements changed every night. That was a great process, and it was a challenge to me to make something real out of these songs that I didn’t really know yet. It’s the first time I’ve done that, working through songs live before making a record and learning just how far I could push myself.”
That organic approach was maintained throughout the recording process, which took place at studios in upstate New York’s Catskill mountains, in Tucson, Arizona and Brooklyn. The sessions emphasized spontaneity and chemistry. “We exchanged different sounds and different textures, and worked out the arrangement right then and there,’” Wright notes. “We didn’t decide before going into the studio what the songs would sound like; we just had an idea or a feeling, and sometimes Craig would suggest something or someone would play something and we’d follow the vibe. All of the musicians who were involved in this record had something to do with the way we ended up playing the songs, and I think that gave the project breadth and depth.”
That rare ability to exist within the musical moment is one of the qualities that make Lizz Wright a special artist and The Orchard a career milestone. “This record was a huge learning experience, in every way, and I think it showed me a lot about myself,” she states. “I never would have imagined that I would have written some of the things I wrote on this record, or told some of these stories. But I felt really free and I really let myself go, and I surprised myself.”
via http://www.lizzwright.net/
Hello darkness, my old friend,
Ive come to talk with you again,
Because a vision softly creeping,
Left its seeds while I was sleeping,
And the vision that was planted in my brain
Still remains
Within the sound of silence.
In restless dreams I walked alone
Narrow streets of cobblestone,
neath the halo of a street lamp,
I turned my collar to the cold and damp
When my eyes were stabbed by the flash of
A neon light
That split the night
And touched the sound of silence.
And in the naked light I saw
Ten thousand people, maybe more.
People talking without speaking,
People hearing without listening,
People writing songs that voices never share
And no one deared
Disturb the sound of silence.
Fools said i,you do not know
Silence like a cancer grows.
Hear my words that I might teach you,
Take my arms that I might reach you.
But my words like silent raindrops fell,
And echoed
In the wells of silence
And the people bowed and prayed
To the neon God they made.
And the sign flashed out its warning,
In the words that it was forming.
And the signs said, the words of the prophets
Are written on the subway walls
And tenement halls.
And whisperd in the sounds of silence.
don’t tell me to stop
tell the rain not to drop
tell the wind not to blow
’cause you said so mmm
tell the sun not to shine
not to get up this time no no
let it fall by the way
but don’t leave me where i lay down
chorus
tell me love isn’t true
it’s just something that we do
tell me everything i’m not
first time but please don’t tell me to stop
all other times but don’t ever tell me to stop
tell the leaves not to turn
but don’t ever tell me i’ll learn no no
take the black off a crow
but don’t tell me i have to go
tell the bed not to lay
like the open mouth of a grave yeah
not to stare up at me
like a calf down on its knees
chorus
chorus prefixing 1st and 3rd lines with don’t you ever
don’t you ever
please don’t
please don’t
please don’t tell me to stop
don’t you ever
don’t you ever
don’t ever tell me to stop
tell the rain not to drop
tell the bed not to lay
like a open mouth of a grave yeah
not to stare up at me
like a calf down on its knees
