|YOUR INSIGHT OF THE DAY|
|Our greatest weakness lies in giving up. The most certain way to succeed is always to try just one more time.Unknown|
YOUR INSIGHT OF THE DAY
Success is liking yourself, liking what you do, and liking how you do it.
Maya Angelou – 1928-2014 – Poet-Singer-Memoirist-Civil Rights Activist
Most people have probably listened to a song and, unable to clearly hear a lyric, replaced the correct words with something that sounds similar, whether it makes much sense or not. This is known as a mondegreen, defined by Merriam-Webster as “a word or phrase that results from a mishearing of something said or sung.”
The word “mondegreen” was coined in 1954 by the American writer Sylvia Wright. In an essay for Harper’s Magazine, Wright explained how, when she was a child, her mother would read to her from the Reliques of Ancient English Poetry, a book of poems and ballads. One of her favorite poems contained the lines, They hae slain the Earl Amurray, / And laid him on the green.” Wright, however, misheard “laid him on the green” as “Lady Mondegreen.” The words stuck in her mind and made sense. And from this the word “mondegreen” was born — the word itself being a mondegreen.
Children are a particularly rich source of mondegreens, and it’s not uncommon for school kids to butcher the pledge of allegiance or the National Anthem (“José, can you see…”). But adults are also highly susceptible, especially when it comes to songs — and especially when the singer has a habit of singing indistinctly, like Nirvana’s Kurt Cobain or R.E.M.’s Michael Stipe, both of whom appear below. This has led to some classic and widespread mondegreens from famous songs, with unexpectedly funny results.
Incorrect: The girl with colitis goes by
Correct: The girl with kaleidoscope eyes
— “Lucy in the Sky With Diamonds” by The Beatles
One of The Beatles’ most beautiful lines has unfortunately been misheard by many people, introducing a totally incongruous inflammatory bowel disease into an otherwise lovely song.
Incorrect: ‘Scuse me while I kiss this guy
Correct: Scuse me while I kiss the sky
— “Purple Haze” by Jimi Hendrix
Listeners have been getting this one wrong since the song’s release in 1967, but even Hendrix sang the confused lines occasionally. He’d sometimes sing “kiss this guy” during live concerts, while pointing at drummer Mitch Mitchell.
Incorrect: Wrapped up like a douche
Correct: Revved up like a Deuce
— “Blinded By the Light” by Manfred Mann
Manfred Mann’s cover of Bruce Springsteen’s “Blinded By the Light” reached number one on the Billboard Hot 100 in1977, giving rise to one of the strangest mondegreens in rock history. Springsteen himself joked about it, saying, “Deuce was like a Little Deuce Coupe, as in a two-seater hot rod. Douche is a feminine hygienic procedure. But what can I say, the public spoke.”
Incorrect: Alex the seal
Correct: Our lips are sealed
— “Our Lips Are Sealed” by The Go-Go’s
Sadly, Belinda Carlisle’s upbeat vocals are not about a seal named Alex. But try telling that to people in Australia, who were convinced the song (actually about vicious gossip) was indeed a tribute to a semi-aquatic marine mammal.
Incorrect: There’s a bathroom on the right
Correct: There’s a bad moon on the rise
— “Bad Moon Rising” by Creedence Clearwater Revival
Directions to the nearest bathroom are always useful, but that wasn’t the intention in Creedence’s classic song. The misunderstood line is so common that lead singer John Fogerty sometimes sings the lyric for fun during live performances.
Incorrect: I got my first real sex dream
Correct: I got my first real six-string
— “Summer of ‘69” by Bryan Adams
This line has been misheard in all kinds of ways, with six-string (a reference to a guitar) being variously replaced by sex dream, G-string, sex thing, and sex change.
Incorrect: Like a virgin, touched for the thirty-first time
Correct: Like a virgin, touched for the very first time
— “Like a Virgin” by Madonna
Anyone who thinks these are the real lyrics must be seriously confused about what’s going on in one of Madonna’s most defining songs, and her first number one hit.
Incorrect: Hold me closer, Tony Danza
Correct: Hold me closer, tiny dancer
— “Tiny Dancer” by Elton John
No, Elton John did not write a wistful, pining song about the star of the TV shows Taxi and Who’s the Boss? The lyrics were written by Elton’s long-time collaborator Bernie Taupin, and are actually about his then-wife, Maxine Feibelman. Sorry, Tony.
Incorrect: It doesn’t make a difference if we’re naked or not
Correct: It doesn’t make a difference if we make it or not
— “Livin’ on a Prayer” by Bon Jovi
Bon Jovi’s chart-topping single from 1986 isn’t a rallying cry for naturists everywhere. It’s actually about a working-class couple who struggle to make ends meet.
Incorrect: Calling Jamaica
Correct: Call me when you try to wake her
— “The Sidewinder Sleeps Tonite” by R.E.M.
In 2010, Michael Stipe’s high-velocity singing of the words “Call me when you try to wake her” was voted the most frequently misheard by listeners in a U.K. poll.
Incorrect: A year has passed since I broke my nose
Correct: A year has passed since I wrote my note
— “Message in a Bottle” by The Police
This song is basically the story of a castaway on an island. But the castaway never broke his nose, as far as we know.
Incorrect: Here we are now, in containers
Correct: Here we are now, entertain us
— “Smells Like Teen Spirit” by Nirvana
Nirvana’s anthem for apathetic kids is one of the most popular songs of all time. Still, plenty of people wondered why the grunge kids were in containers.
Incorrect: I said maybe… you’re gonna be the one at Sainsbury’s
Correct: I said maybe… you’re gonna be the one that saves me
— “Wonderwall” by Oasis
Liam Gallagher was looking for salvation, not for someone wandering around in the U.K.’s second-largest chain of supermarkets.
Incorrect: Got a lot of Starbucks lovers
Correct: Got a long list of ex-lovers
— “Blank Space” by Taylor Swift
The second single from Taylor Swift’s Grammy-winning album 1989 caused some confusion among fans and a lot of free publicity for Starbucks. Even Swift’s mother agreed that it sounded a lot like “Starbucks lovers.”
Incorrect: I’m farting carrots, I’m farting carrots
Correct: I’m on my 14 carats, I’m 14 carat
— “Good for You” by Selena Gomez
U.K. listeners were so confused by Selena Gomez’ seemingly gaseous opening line that radio DJ Scott Mills asked her about it live on air. The line actually refers to 14 carat diamonds.
|This is the weekly email digest of the daily online journal Brain Pickings by Maria Popova. If you missed last week’s edition — John Coltrane on creativity and perseverance against rejection, poet Jane Hirshfield on the power and magic of metaphor, gorgeous 19th-century plants — you can catch up right here. If my labor of love enriches your life in any way, please consider supporting it with a donation – for a decade and a half, I have spent tens of thousands of hours, made many personal sacrifices, and invested tremendous resources in Brain Pickings, which remains free and ad-free and alive thanks to reader patronage. If you already donate: THANK YOU.|
“Across the morning sky, all the birds are leaving,” Nina Simone sang in 1969. “How can they know that it’s time to go?”
A decade earlier, a young Swiss psychologist traversed the Atlantc to begin a new life in America. Watching the migratory geese from the salt-stained railings of her own migratory vessel, she wrote in her journal: “How do these geese know when to fly to the sun? Who tells them the seasons? How do we, humans, know when it is time to move on?” Elisabeth Kübler-Ross would go on to revolutionize our understanding of what it means and what it takes to move on through her epoch-making 1969 model of the five stages of grief.
While the death of a loved one can make the notion of moving on unfathomable at first, it also makes it, by definition, inevitable — there is no other recourse, for such loss is unambiguous and irreversible. But there is a species of grief, spawned of a type of loss that is more ambiguous and elastic, that muddles the notion of moving on into an impassable and disorienting swamp: the cyclical grief of loving someone on the grounds of their highest nature and watching them fall short of it over and over, in damaging and hurtful ways, which you excuse over and over, because of their impassioned apologies and vows of reform, or because of the partly noble, partly naïve notion that a truly magnanimous person is one who always has the breadth of spirit to forgive — a notion rooted in a basic misapprehension of what forgiveness really means.
To move on from such relationships is one of life’s most difficult, triumphant feats of maturity — largely because we enter them and stay in them for reasons that far predate the particular person or situation, reasons rooted in our earliest attachments, those formative relationships in which perpetual optimism is both part of a child’s natural innocence and a necessary survival strategy for the helplessness of being in the care of a damaged and damaging adult.
Those dynamics — and how to break them with dignity, mindfulness, and emotional maturity — is what the soulful philosophical writer and School of Life founder Alain de Botton examines in one of his animated essays exploring the beautiful complexity of human relationships:
Because the unwillingness to walk away from a hurtful person is rooted in the belief that people change, the predicament gnaws at the fundaments of human nature and our ongoing effort to better understand what we are made of. Because relationships are the most fertile crucible of growth and transformation, because decades of research into psychology and the science of limbic revision have demonstrated that “who we are and who we become depends, in part, on whom we love,” this wager we place on the prospect of change is a transcendently optimistic belief. It is also a dangerous belief, for optimism can often metastasize into willful blindness. (To say nothing of the counterpoint possibility that, across a span of time and unfaced trauma, people can change for the worse, their good qualities eroded, for instance, by the twin metastasis of addiction and unhappiness feeding each other as they destroy their host.)
Mary McCarthy captured the optimism in asking her friend Hannah Arendt: “What’s the use of falling in love if you both remain inertly as-you-were?” Arendt captured the danger in cautioning her against the “crooked corkscrews of the heart” that keep us in painful relationships — a phrase she borrowed from her poet-friend W.H. Auden, who struggled with the paradox himself, oscillating between the aspiration to be “the more loving one” and the lucid awareness that false enchantment can poison a life with its toxic staying power.
De Botton explores the bipolar pull of the can-people-change question in another animated essay that illuminates the logical fallacies into which emotion drags us:
Perhaps Arendt captured this best — this great paradox and great heartbreak of relationships with unhealed people, this false and dangerous optimism that we can ever love someone out of their trauma — in her observation that “you can’t expect somebody who loves you to treat you less cruelly than he would treat himself.”
Pleasure and Spaciousness: Poet Naomi Shihab Nye’s Advice on Writing, Discipline, and the Two Driving Forces of Creativity
“A self-respecting artist must not fold his hands on the pretext that he is not in the mood,” Tchaikovsky wrote to his patron as he contemplated the interplay of discipline and creativity. A century later, James Baldwin echoed the sentiment in his advice on writing, observing: “Talent is insignificant. I know a lot of talented ruins. Beyond talent lie all the usual words: discipline, love, luck, but most of all, endurance.”
But for those of us who show up to do what we do day after day, inner rain or shine, as the days unspool into years — Brain Pickings turns 15 this year — there is something more than white-knuckle discipline making the steadfast labor not only bearable, not only sustainable, but vitalizing, inspiriting, joyful. What fuels the engine of endurance is a passionate enchantment — something of which Baldwin’s “love” reflects a glimmer but does not fully capture.
The most marvelous part of it is this: It is an enchantment we cast upon ourselves.
How to cast that enchantment and how to couple it with the requisite endurance is what Your People’s Poet Laureate Naomi Shihab Nye, composer of the existentially symphonic “Kindness,” explores in a short, splendid prose reflection tucked into the final pages of her altogether soul-broadening collection Everything Comes Next: Collected and New Poems (public library).
In a sentiment evocative of Bertrand Russell’s lovely notion of “largeness of contemplation” in calibrating the relationship between intuition and the intellect, Nye writes:
Two helpful words to keep in mind at the beginning of any writing adventure are pleasure and spaciousness. If we connect a sense of joy with our writing, we may be inclined to explore further. What’s there to find out? Perhaps too much stock has been placed in big ideas or even small ones — a myth! — but regularity seems like a key. Don’t start with a big idea. Start with a phrase, a line, a quote. Questions are very helpful. Begin with a few you’re carrying right now.
In consonance with John Steinbeck’s life-tested, Nobel-earning conviction that “in writing, habit seems to be a much stronger force than either willpower or inspiration,” she adds:
Small increments of writing time may matter more than we could guess. One thing leads to many — swerving off, linking up, opening of voices and images and memories. Nearby notebooks — or iPads or tablets or laptops — are surely helpful.
With this, Nye turns to the ongoing dialogue between the magic of creation and the mechanics of discipline:
Make a plan, and return to it. It’s a party to which we keep inviting ourselves.
And we have so many realms of material that are very close by:
Spoken language woven into poems — something someone said to you a long time ago and you still remember it — why, out of all the talk, do you remember that thing?
Being Sick, Being Well
What we see out our windows
History — what used to be in this very place where we are sitting now?
Although such constructed starting points might seem mechanistic, they are the lever that unlatches the expanse where the unexpected can begin to unfurl. That incubus where ideas collide with one another into the unconscious combinatorial process we call creativity is also the place where the joy of all creative labor lives.
Returning to the twin consecrating forces of discipline, pleasure and spaciousness, Nye writes:
Spaciousness — any page is wider than it looks. You have no idea where this thing might be going. Write in nuggets — here are my questions, here are some details I saw within the last 24 hours, here are some quotes I heard people say today. Gather material first — then select and connect from it… Each thing gives us something else.
The more any of us writes, the more our words will “come to us.” If we trust in the words and their own mysterious relationship with one another, they will help us find things out… Consider the pleasure we feel when we go to a beach. The broad beach, the bigger air, the endless swish of movement and backdrop of sound. We feel uplifted, exhilarated. Writing regularly can help us feel that way too.
In a short poem from the same book, calling to mind poet Ross Gay’s reflection on writing by hand as an instrument of thought, Nye considers the practical tools that carve out this observant spaciousness in which impressions can collide and coalesce into ideas:
ALWAYS BRING A PENCIL
by Naomi Shihab Nye
There will not be a test.
It does not have to be
a Number 2 pencil.
But there will be certain things —
the quiet flush of waves,
ripe scent of fish,
smooth ripple of the wind’s second name —
that prefer to be written about
It gives them more room
to move around.
For more practical and philosophical reflections on the craft from great poets, savor Mary Oliver’s advice on writing, Elizabeth Alexander on language as a vehicle for the poetry of personhood, and Rilke on the relationship between solitude, love, and creativity, then revisit Rachel Carson on the sacred loneliness of writing and Walt Whitman on the discipline of creative self-esteem.
“To forgive is to assume a larger identity than the person who was first hurt,” poet and philosopher David Whyte observed as he dove for the deeper meanings of our commonest concepts. But, as James Baldwin and Margaret Mead demonstrated in their historic conversation about forgiveness and the crucial difference between guilt and responsibility, Western culture has a confused understanding of what forgiveness really requires of us and what it really gives us — a confusion tangled in the conflicting legacies of Ancient Greek culture, that primordial womb of drama and democracy, with its politically immature notions of justice, and Christian dogma, with its incomplete and psychologically puerile conceptions of love.
To disentangle this cultural confusion into a lucid and luminous understanding of forgiveness demands an uncommon largeness of spirit and depth of intellect, an uncommon breadth of erudition and historical knowledge, and an uncommon sensitivity to what it means to be human. That is what the uncommon Hannah Arendt (October 14, 1906–December 4, 1975) accomplishes throughout The Human Condition (public library) — the superb 1958 book that gave us her insight into how we invent ourselves and reinvent the world.
Hannah Arendt by Fred Stein, 1944 (Photograph courtesy of the Fred Stein Archive)
The very need for forgiveness, Arendt observes in a chapter titled “Irreversibility and the Power to Forgive,” springs from “the irreversibility and unpredictability of the process started by acting” — a process fundamental to what it means to be alive. We act because we are, but we don’t always act along the axis of who we aspire to be. Aspiration is a sort of promise — a promise we make to ourselves and, sometimes, to the world. Forgiveness is only ever needed, and possible, because of the inherent tension between action and aspiration. Arendt writes:
The possible redemption from the predicament of irreversibility — of being unable to undo what one has done though one did not, and could not, have known what he was doing — is the faculty of forgiving. The remedy for unpredictability, for the chaotic uncertainty of the future, is contained in the faculty to make and keep promises. The two faculties belong together in so far as one of them, forgiving, serves to undo the deeds of the past… and the other, binding oneself through promises, serves to set up in the ocean of uncertainty, which the future is by definition, islands of security without which not even continuity, let alone durability of any kind, would be possible in the relationships between [us].
To live in a world without forgiveness, she intimates, is to make of life an instant fossil record, each imperfect action instantly ossifying us into a failed promise of personhood:
Without being forgiven, released from the consequences of what we have done, our capacity to act would, as it were, be confined to one single deed from which we could never recover; we would remain the victims of its consequences forever, not unlike the sorcerer’s apprentice who lacked the magic formula to break the spell. Without being bound to the fulfillment of promises, we would never be able to keep our identities; we would be condemned to wander helplessly and without direction in the darkness of each man’s lonely heart, caught in its contradictions and equivocalities — a darkness which only the light shed over the public realm through the presence of others, who confirm the identity between the one who promises and the one who fulfills, can dispel. Both faculties, therefore, depend on plurality, on the presence and acting of others, for no one can forgive himself and no one can feel bound by a promise made only to himself; forgiving and promising enacted in solitude or isolation remain without reality and can signify no more than a role played before one’s self.
As a secular philosopher and one of the greatest champions of reason amid one of the most unreasonable epochs in the history of our civilization, Arendt observes:
The discoverer of the role of forgiveness in the realm of human affairs was Jesus of Nazareth. The fact that he made this discovery in a religious context and articulated it in religious language is no reason to take it any less seriously in a strictly secular sense… Certain aspects of the teaching of Jesus of Nazareth which are not primarily related to the Christian religious message but sprang from experiences in the small and closely knit community of his followers, bent on challenging the public authorities in Israel, certainly belong among them, even though they have been neglected because of their allegedly exclusively religious nature.
The capacity for forgiveness and the enactment of that capacity in the willingness to forgive is what holds the sphere of human experience together — the private sphere as much as the public sphere, for forgiveness is as vital in our deepest personal bonds as it is in the collective experience of public life. In a sentiment the great civil rights leader John Lewis would echo in his life-earned conviction that “forgiveness and compassion must become more important principles in public life,” Arendt writes:
Trespassing is an everyday occurrence which is in the very nature of action’s constant establishment of new relationships within a web of relations, and it needs forgiving, dismissing, in order to make it possible for life to go on by constantly releasing men* from what they have done unknowingly. Only through this constant mutual release from what they do can men remain free agents, only by constant willingness to change their minds and start again can they be trusted with so great a power as that to begin something new.
Illustration by Jacqueline Ayer from The Paper-Flower Tree
In a passage evocative of Oliver Sacks’s stirring first-hand lesson in choosing empathy over vengeance, she adds:
In this respect, forgiveness is the exact opposite of vengeance, which acts in the form of re-acting against an original trespassing, whereby far from putting an end to the consequences of the first misdeed, everybody remains bound to the process, permitting the chain reaction contained in every action to take its unhindered course. In contrast to revenge, which is the natural, automatic reaction to transgression and which because of the irreversibility of the action process can be expected and even calculated, the act of forgiving can never be predicted; it is the only reaction that acts in an unexpected way and thus retains, though being a reaction, something of the original character of action. Forgiving, in other words, is the only reaction which does not merely re-act but acts anew and unexpectedly, unconditioned by the act which provoked it and therefore freeing from its consequences both the one who forgives and the one who is forgiven. The freedom contained in Jesus’ teachings of forgiveness is the freedom from vengeance, which incloses both doer and sufferer in the relentless automatism of the action process, which by itself need never come to an end.
Arendt observes that punishment is not the opposite of forgiveness but an alternative to it — one enfeebled by the paradox that human beings are “unable to forgive what they cannot punish and that they are unable to punish what has turned out to be unforgivable.” (Yes, do read that again; turn it over in your mind like a Zen koan — I did — until it unfolds its subtle riches of profound wisdom.) She considers the complicated and often superficially understood relationship between forgiveness and love — the least public emotion upon which, somehow, the foundation of all public and political life rests:
Forgiving and the relationship it establishes is always an eminently personal (though not necessarily individual or private) affair in which what was done is forgiven for the sake of who did it… It is the reason for the [Christian] conviction that only love has the power to forgive. For love, although it is one of the rarest occurrences in human lives, indeed possesses an unequaled power of self-revelation and an unequaled clarity of vision for the disclosure of who, precisely because it is unconcerned to the point of total unworldliness with what the loved person may be, with his qualities and shortcomings no less than with his achievements, failings, and transgressions. Love, by reason of its passion, destroys the in-between which relates us to and separates us from others… Love, by its very nature, is unworldly, and it is for this reason rather than its rarity that it is not only apolitical but antipolitical, perhaps the most powerful of all antipolitical human forces.
With one of her exquisite pirouettes of logic, Arendt thus delivers us at — and delivers us from — the most dangerous fault line in the Christian model, a fault line that must be sealed and healed before we can have a less confused, more complete and generative understanding of forgiveness: one based not on the emotionally intoxicating but unstable experience we call love but on the ethically and intellectually grounded orientation of respect. She writes:
If it were true, therefore, as Christianity assumed, that only love can forgive because only love is fully receptive to who somebody is, to the point of being always willing to forgive him whatever he may have done, forgiving would have to remain altogether outside our considerations. Yet what love is in its own, narrowly circumscribed sphere, respect is in the larger domain of human affairs. Respect, not unlike the Aristotelian philia politikē, is a kind of “friendship” without intimacy and without closeness; it is a regard for the person from the distance which the space of the world puts between us, and this regard is independent of qualities which we may admire or of achievements which we may highly esteem. Thus, the modern loss of respect, or rather the conviction that respect is due only where we admire or esteem, constitutes a clear symptom of the increasing depersonalization of public and social life.
Against this backdrop, forgiveness can only ever be a communal experience. More than half a century after Arendt, in a cultural moment so inflamed with reflexive indictment and so clouded with the saccharine delirium of self-righteousness, it is nothing less than an act of countercultural courage and resistance to regard this wisdom with unwincing receptivity. Such courage asks of us what Arendt terms “the good will to counter the enormous risks of action by readiness to forgive and to be forgiven, to make promises and to keep them.” There is, after all, nothing riskier than willingness, and nothing more rewarding.
Complement this fragment of Arendt’s enduringly illuminating The Human Condition with philosopher Martha Nussbaum — in many ways an intellectual heir of Arendt’s — on anger and forgiveness, then revisit Arendt herself on love and how to live with the fundamental fear of loss.
Nelson Mandela International Day – 18 July
This day celebrates the birth anniversary of Nelson Mandela and sheds light on his way of life.
Content marketing ideas:
- Listicle idea: A look at the people Nelson Mandela was inspired by
- Infographic idea: X Basic rights that were denied to South Africans during apartheid
- Video idea: What was Nelson Mandela’s relationships with world leaders?
- Podcast idea: Lessons you can learn from Nelson Mandela