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- "A Thousand Miles" started off as just a riff.
- Lirik Lagu dan Chord Gitar A Thousand Miles - Vanessa Carlton
I didn't really know When I played it in the house one time, my mother, who's a classic Jewish mother from Queens, goes, " Vanessa, that's a hit song" in that really thick accent. That's the closest I got to feedback. I think people just love that hook, you know? I write in that style, so it didn't really seem like something that would be some hit song. No one knows what people are going to connect with or why.
It ended up becoming a huge hurdle for me personally, professionally. I am not a pop star.
Vanessa Carlton - A Thousand Miles - SingStore™ - SingStar
I wasn't going to be able to write a bunch of top hits because that one piano song became a thing—not going to happen. And when you're young you don't really know. I had a lot of top executives around me and there was a lot of money because the music industry was still huge at the time. But, also, it's amazing that it happened and I was able to survive it. I have this really vibrant and satisfying career that is sustainable now.
I had to jump off that train and rewrite my whole map of what I wanted to do. I left the major label system in after a record that really didn't make much sense in many ways, and I was really not happy or connected to what I was doing anymore. When I left, I took about a year where I self-destructed—which we all need, to kind of destroy ourselves before we can build back up again—and then I decided I wanted to make my dream record, which was Rabbits on the Run. I was able to fund it myself because of that song, and that was the real beginning for me, in terms of collaboration with other artists, and really deciding and honing my aesthetic.
I am a late bloomer. I am fine with it now.
I am not mad at the song. I mean, I am mad at the machine that I think I let myself be a part of. I was unmanageable, don't get me wrong—this is not my manager's fault, but you really need a great manager during a time like that and I wouldn't have been able to have that because I didn't trust anybody. It all ended up the way it was meant to end up. I am making these records I have always wanted to make, I live in Nashville with my beautiful daughter and partner, and I was able to solve it and not go off the deep end.
I love the expression "one hit wonder," because I still wonder how I ever had a hit. I wonder it all the time. People get that kind of schadenfreude thing: "Oh, she only had one hit. My cousin who lives in Cairo is like, " Vanessa, they're playing it in Egypt. It was really fun. It was two days [of filming].
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I was on a flatbed truck that they put the piano on, and they just had a little seatbelt on me, under my skirt. I really don't know what was going on with those red sweatbands—that was the director's choice. It is surely not least among the glories of learning, that those who adorn it most and work hardest should ever be readiest to share the stores of their knowledge. I am anxious also to express my cordial thanks to Mr.
Pearson, under whose superintendence the whole of the illustrations have been engraved. To say that his patience and courtesy have been inexhaustible, and that he has spared neither time nor cost in the preparation of the blocks, is but a dry statement of facts, and conveys no idea of the kind of labour involved. Where engravings of this kind are executed, not from drawings made at first-hand upon the wood, but from water-colour drawings which have not only to be reduced in size, but to be, as it were, translated into black and white, the difficulty of the work is largely increased.
In order to meet this difficulty and to ensure accuracy, Mr. Pearson has not only called in the services of accomplished draughtsmen, but in many instances has even photographed the subjects direct upon the wood. Of the engraver's work — which speaks for itself — I will only say that I do not know in what way it could be bettered. It seems to me that some of these blocks may stand for examples of the farthest point to which the art of engraving upon wood has yet been carried.
The principal illustrations have all been drawn upon the wood by Mr. Percival Skelton; and no one so fully as myself can appreciate how much the subjects owe to the delicacy of his pencil, and to the artistic feelings with which he has interpreted the original drawings. Of the fascination of Egyptian travel, of the charm of the Nile, of the unexpected and surpassing beauty of the desert, of the ruins which are the wonder of the world, I have said enough elsewhere.
I must, however, add that I brought home with me an impression that things and people are much less changed in Egypt than we of the present day are wont to suppose. The household life and social ways of even the provincial gentry are little changed. Water is poured on one's hands before going to dinner from just such a ewer and into just such a basin as we see pictured in the festival-scenes at Thebes.
Though the lotus-blossom is missing, a bouquet is still given to each guest when he takes his place at table. The head of the sheep killed for the banquet is still given to the poor.
Those who are helped to meat or drink touch the head and breast in acknowledgment, as of old. The musicians still sit at the lower end of the hall; the singers yet clap their hands in time to their own voices; the dancing-girls still dance, and the buffoon in his high cap still performs uncouth antics, for the entertainment of the guests. Water is brought to table in jars of the same shape manufactured at the same town, as in the days of Cheops and Chephren; and the mouths of the bottles are filled in precisely the same way with fresh leaves and flowers.
The cucumber stuffed with minced-meat was a favorite dish in those times of old; and I can testify to its excellence in Little boys in Nubia yet wear the side-lock that graced the head of Rameses in his youth; and little girls may be seen in a garment closely resembling the girdle worn by young princesses of the time of Thothmes the First. In these and in a hundred other instances, all of which came under my personal observation and have their place in the following pages, it seemed to me that any obscurity which yet hangs over the problem of life and thought in ancient Egypt originates most probably with ourselves.
Our own habits of life and thought are so complex that they shut us off from the simplicity of that early world.
"A Thousand Miles" started off as just a riff.
So it was with the problem of hieroglyphic writing. The thing was so obvious that no one could find it out.
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As long as the world persisted in believing that every hieroglyph was an abstruse symbol, and every hieroglyphic inscription a profound philosophical rebus, the mystery of Egyptian literature remained insoluble. Then at last came Champollion's famous letter to Dacier, showing that the hieroglyphic signs were mainly alphabetic and syllabic, and that the language they spelt was only Coptic after all. If there were not thousands who still conceive that the sun and moon were created, and are kept going, for no other purpose than to lighten the darkness of our little planet; if only the other day a grave gentleman had not written a perfectly serious essay to show that the world is a flat plain, one would scarcely believe that there could still be people who doubt that ancient Egyptian is now read and translated as fluently as ancient Greek.
Yet an Englishman whom I met in Egypt — an Englishman who had long been resident in Cairo, and who was well acquainted with the great Egyptologists who are attached to the service of the Khedive — assured me of his profound disbelief in the discovery of Champollion. As I then knew nothing of Egyptian, I could say nothing to controvert this speech. Since that time, however, and while writing this book, I have been led on step by step to the study of hieroglyphic writing, and I now know that Egyptian can be read, for the simple reason that I find myself able to read an Egyptian sentence.
The study of Egyptian literature has advanced of late years with rapid strides. Papyri are found less frequently than they were some thirty or forty years ago; but the translation of those contained in the museums of Europe goes on now more diligently than at any former time.
Religious books, variants of the Ritual, moral essays, maxims, private letters, hymns, epic poems, historical chronicles, accounts, deeds of sale, medical, magical and astronomical treatises, geographical records, travels, and even romances and tales, are brought to light, photographed, facsimiled in chromo-lithography, printed in hieroglyphic type, and translated in forms suited both to the learned and to the general reader. Not all this literature is written, however, on papyrus. The greater proportion of it is carved in stone.
Lirik Lagu dan Chord Gitar A Thousand Miles - Vanessa Carlton
Some is painted on wood, written on linen, leather, potsherds, and other substances. So the old mystery of Egypt, which was her literature, has vanished. The key to the hieroglyphs is the master-key that opens every door. Each year that now passes over our heads sees some old problem solved. Each day brings some long-buried truth to light. Some thirteen years ago, 2 a distinguished American artist painted a very beautiful pictured called The Secret of the Sphinx.
In its widest sense, the Secret of the Sphinx would mean, I suppose, the whole uninterpreted and undiscovered past of Egypt. In its narrower sense, the Secret of the Sphinx was, till quite lately, the hidden significance of the human-headed lion which is one of the typical subjects of Egyptian Art. Thirteen years is a short time to look back upon; yet great things have been done in Egypt, and in Egyptology, since then. Edfu, with its extraordinary wealth of inscriptions, has been laid bare. The whole contents of the Boulak Museum have been recovered from the darkness of the tombs.
The very mystery of the Sphinx has been disclosed; and even within the last eighteen months, M. Chabas announces that he has discovered the date of the pyramid of Mycerinus; so for the first time establishing the chronology of ancient Egypt upon an ascertained foundation.