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Cube 2: Hypercube

Cube 2: Hypercube is a 2002 science-fiction film about several strangers trapped inside a hypercube. While the name suggests it is a sequel to the 1998 film Cube, Cube 2: Hypercube does not depend on the events of the first film to set the stage.
 * Directed by Andrzej Sekula. Written by Sean Hood, Ernie Barbarash and Lauren McLaughlin.

Welcome to a new dimension in fear. taglines

Jerry

 * You don't think the guy who makes the toilets for the Space Shuttle gets to see the plans for the rest of it?
 * Who the hell are "them", anyway? The government? The mafia? Aliens?
 * Kate, I'm a healthy married male white engineer who enjoys reading horror novels and eating chocolate ice cream. As well as climbing around psycho jungle gyms.

Kate

 * This place changes your perception about what's possible.
 * God, you know, I wish I was just…smarter.

Max

 * He's a high-tech genius whose morals make Muammar Kadafi look like Mother Teresa!
 * Holy shit, variable time speed rooms!

Mrs. Paley

 * Maybe we're in Hell!
 * I'm not crazy, and I'm not hard of hearing, either! [turns to the wall] I told you no one would believe me!
 * Some things should never be created! They exist for theoretical purposes only!

Sasha

 * I'm just blind, not retarded.

Simon Grady

 * I figure he knows something, something that he didn't want anyone to know. That's usually why people are tortured.
 * Jesus. The gravity shifted. Wow!
 * Don't be so stupid, Kate. You know time works differently in this place.

Dialogue

 * Kate: I thought that you said you'd been wandering these rooms for hours.
 * Jerry: Yeah, that's the weird thing, isn't it. Each one of these rooms has six of these doors or portals, but no matter how many different doors or portals I go through I always wound up in the same three rooms. Until now.

 * Simon: Alright, let's get some real answers.
 * Jerry: His answer was suicide. Not exactly a comforting thought.

 * Kate: Are you okay? Did you hit your head?
 * Max: Yeah. I slipped. It's the wall…it wiggled.
 * Kate: Are you sure you're okay?

 * Jerry: Well, I signed a confidentiality agreement.
 * Simon: Given our current situation, I'd say it's null and void! Jesus Christ!

 * Kate: Let's just say we are in this…hypercube, whatever. Does this diagram show us how to get out?
 * Jerry: Well, uh, no. You see, a hypercube isn't supposed to be real; it's just a theoretical construct.
 * Kate: Well that makes me feel better.

 * Jerry: Sixty thousand, six hundred and fifty nine rooms? Christ.
 * Kate: This place must be huge.
 * Mrs. Paley: Oh yes, yes. In a hypercube, there could be sixty million rooms.
 * Jerry: She could be right.
 * Simon: There's a comforting thought.

 * Julia: What's wrong? What the hell? Where am I?
 * Max: That's the million dollar question.

 * Julia: Hey, is this your jacket?
 * Max: No.
 * Julia: Well then how did I…oh, I must have had more to drink last night than I thought.

 * Max: What are you so scared of, anyway?
 * Simon: I just saw my fucking head taken off by something or other, how's that for starters?

 * Simon: So here's the deal. I'm a private investigator. I'm on a case. Missing persons.
 * Jerry: I think given our current situation this counts as irony.

 * Kate: Look, I know this seems hopeless…
 * Sasha: It is hopeless!
 * Kate: No it's not! I'm going to figure this out.
 * Sasha: Figure it out. Trust me, precious, if I haven't figured it out, you sure as shit aren't going to.

Taglines

 * Welcome to a new dimension in fear.
 * You won't believe what's waiting in the 4th dimension.
 * There is more to fear than you can see.
 * The first one had rules.

Cast

 * Kari Matchett — Kate Filmore
 * Geraint Wyn Davies — Simon Grady
 * Grace Lynn Kung — Sasha
 * Matthew Ferguson — Max Reisler
 * Neil Crone — Jerry Whitehall
 * Barbara Gordon — Mrs. Paley
 * Lindsey Connell — Julia

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Cube 2: Hypercube


text:
Paul Simon

Paul Frederic Simon (born 13 October 1941) is an American singer-songwriter and guitarist, half of the folk-singing duo Simon and Garfunkel who continues a successful solo career. He is the husband of Edie Brickell, whom he married in 1992. In 2006, Time Magazine called him one of the "100 people who shape our world."

Quotes

 * And the war rages on in a land called somewhere And Generals order their men to kill And to fight for a cause they've long ago forgotten While a little cloud weeps on the side of a hill.
 * "The Side of a Hill" (written under the pseudonym "Paul Kane" out of his admiration for the film Citizen Kane) on The Paul Simon Song Book (1965)

 * I like them all. … They're all pictures of me when I wrote them. … I have no favorite songs.
 * Pop Chronicles Show 36 - The Rubberization of Soul: The great pop music renaissance. Part 2, interview recorded (20 December 1967)

 * I wanted to sing other types of songs that Simon and Garfunkel wouldn't do. "Mother and Child Reunion" for example, is not a song that you would have normally thought that Simon and Garfunkel would have done. It's possible that they might have. But it wouldn't have been the same, and I don't know if I would have been so inclined in that direction. So for me it was a chance to break out and gamble a little bit … The breakup had to do with a natural drifting apart as we got older and the separate lives that were more individual. We weren't so consumed with recording and performing. We had other activities … there was no great pressure to stay together other than money, which exerted very little influence upon us. … We didn't need the money.
 * On the breakup of Simon and Garfunkel as a musical team. Interview with Jon Landau for Rolling Stone (1972); republished in The Rolling Stone Interviews: 1967-1980 (1989) edited by Peter Herbst, p. 210

 * There was always some kind of strain, but it was workable. The bigger you get, the more of a strain it is, because in your everyday life, you're less used to compromising. As you get bigger, you have your own way. But in a partnership you always have to compromise. … When you get into a partnership, you're not the boss. There's no boss. That makes it hard.
 * Interview with Jon Landau for Rolling Stone (1972); republished in The Rolling Stone Interviews: 1967-1980 (1989) edited by Peter Herbst, p. 211

 * Instead of thinking in terms of chords, I think of voice-leading; that is, melody line and bass line, and where the bass line goes. If you do that, you'll have the right chord. [These voices] will give you some alternatives, and you can play those different alternatives to hear which one suits your ear... Keep the bass line moving so you don't stay in one spot: if you have an interesting bass line and you roll it against the melody, the chords are going to come out right.
 * As quoted in "Paul Simon's Workshop at the Guitar Study Center" by Richard Albero and Fred Styles in Guitar Player (April 1975), p. 20

 * I didn't want to repeat the same notes in the second verse that I used in the first, so I wrote out all the notes of the song and all the notes that were missing in the scale, given that there are twelve notes from octave to octave. All those notes that weren't in the scale were the ones I wanted in for the next verse. The listener isn't aware that they are new notes, but the sound is pleasing to the ear. I change the key, and somehow it's fresh because you haven't heard those notes before.
 * As quoted in "Paul Simon's Workshop at the Guitar Study Center" by Richard Albero and Fred Styles in Guitar Player (April 1975), p. 21

 * Well its great to do a neighborhood concert. I hope everyone can hear us. I hope that the sound is good. I hope we are blasting Central Park West and Fifth avenue pretty much away. I just want to thank the police department and the fire department and the parks commissioner, and Ed Koch [Audience boos] — and particularly, you know, people that never get recognized for doing good things for the city, a group of people that have donated half of the proceeds that they're making tonight — the guys who are selling loose joints are giving the city half of their income tonight.
 * During the Concert At Central Park (19 September 1981)

 * I am editing myself as we go along
 * Paul Simon Talks About Art Garfunkel | Letterman ([[youtube] video ~13:05) (1982)

 * I have gone through different phases in my music writing. There was a time when I used a little exercise — incorporating all of the twelve notes in the chromatic scale — to get me going. I used this technique for a while, but I don't any longer because I am going back to simpler melodies. Originally I moved away from the simple songs because I thought they were too simple.
 * "Songwriting" in Making Music (1983) edited by George Martin, p. 70

 * I write from instinct, from inexplicable sparkle. I don't know why I'm writing what I'm writing. Usually, I sit and I let my hands wander on my guitar. And I sing anything. I play anything. And I wait till I come across a pleasing accident. Then I start to develop it. Once you take a piece of musical information, there are certain implications that it automatically contains — the implication of that phrase elongated, contracted, or inverted or in another time signature. So you start with an impulse and go to what your ear likes.
 * Interview with Tony Schwartz in Playboy (February 1984) p. 166

 * [Rock 'n' roll] really is not given to thinking — and resents thinking. Which I believe is the big error of rock 'n' roll. It's always aspired to be the music of the working class. And it's never been looked upon as a vocabulary for art and artistic thinking... We have to be able to expand the vocabulary to express more complex thoughts.
 * Interview in Musician (March 1984), p. 66-68

 * This is near enough true bliss.
 * "Look at That" on You're the One (2000)

Song lyrics

 * Slip slidin' away Slip slidin' away. You know the nearer your destination The more you're slip slidin' away.
 * Slip Slidin' Away

 * God only knows God makes his plan The information's unavailable To the mortal man. We work our jobs Collect our pay Believe we're gliding down the highway When in fact we're slip slidin' away.
 * Slip Slidin' Away

Wednesday Morning, 3 A.M. (1964)

 * Hello darkness, my old friend I've 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.
 * The Sound of Silence Full lyrics online

 * 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 shared No one dared Disturb the sound of silence.
 * 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.
 * The Sound 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 sign said "The words of the prophets Are written on the subway walls And tenement halls And whispered in the sound of silence"
 * The Sound of Silence

Sounds of Silence (1966)

 * A winter's day In a deep and dark December; I am alone, Gazing from my window to the streets below On a freshly fallen silent shroud of snow. I am a rock, I am an island.
 * I Am a Rock

 * I’ve built walls, A fortress deep and mighty, That none may penetrate. I have no need of friendship; friendship causes pain. It’s laughter and it’s loving I disdain.
 * I Am a Rock

 * I am shielded in my armor Hiding in my room safe within my womb I touch no one and no one touches me. I am a rock. I am an island. And a rock feels no pain. And an island never cries.
 * I Am a Rock

Parsley (1966)

 * I'm sitting in the railway station. Got a ticket to my destination. On a tour of one-night stands my suitcase and guitar in hand. And ev'ry stop is neatly planned for a poet and a one-man band.
 * Homeward Bound

 * Home where my thought's escaping, Home where my music's playing, Home where my love lies waiting Silently for me.
 * Homeward Bound

 * Tonight I'll sing my songs again, I'll play the game and pretend. But all my words come back to me in shades of mediocrity Like emptiness in harmony I need someone to comfort me.

 * Slow down, you move too fast. You got to make the morning last. Just kicking down the cobblestones. Looking for fun and Feelin' Groovy.
 * The 59th Street Bridge Song

Bookends (1968)

 * Let us be lovers we'll marry our fortunes together. I've got some real estate here in my bag. So we bought a pack of cigarettes and Mrs. Wagner's pies, And we walked off to look for America
 * America

 * Laughing on the bus, playing games with the faces, She said the man in the gabardine suit was a spy, I said, 'Be careful, his bowtie is really a camera.'
 * America

 * Preserve your memories, they're all that's left you.
 * Bookends

 * And here's to you, Mrs. Robinson, Jesus loves you more than you will know. Whoa, whoa, whoa God bless you, please, Mrs. Robinson, Heaven holds a place for those who pray. Hey hey hey, hey hey hey.
 * Mrs. Robinson

 * Where have you gone, Joe DiMaggio? A nation turns it's lonely eyes to you Ooo ooo ooo. What's that you say, Mrs. Robinson? "Joltin' Joe has left and gone away." Hey hey hey, hey hey hey.
 * Mrs. Robinson

 * Time, time, time, see what's become of me, While I looked around for my possibilities, I was so hard to please, But look around, the leaves are brown, And the sky is a hazy shade of winter.
 * A Hazy Shade of Winter

 * Hang on to your hopes, my friend. That's an easy thing to say, But if your hopes should pass away Simply pretend that you can build them again.
 * A Hazy Shade of Winter

 * Seasons change with the scenery; Weaving time in a tapestry. Won't you stop and remember me At any convenient time?
 * A Hazy Shade of Winter

 * Someone told me It's all happening at the zoo. I do believe it, I do believe it's true.
 * At The Zoo

 * The monkeys stand for honesty, Giraffes are insincere, And the elephants are kindly but They're dumb. Orangutans are skeptical Of changes in their cages, And the zookeeper is very fond of rum.
 * At The Zoo

 * Zebras are reactionaries, Antelopes are missionaries, Pigeons plot in secrecy, And hamsters turn on frequently.
 * At The Zoo

Bridge over Troubled Water (1970)

 * When you're weary Feeling small When tears are in your eyes I will dry them all I'm on your side When times get rough And friends just can't be found Like a bridge over troubled water I will lay me down.
 * Bridge over Troubled Water

 * I'll take your part When darkness comes And pain is all around.
 * Bridge over Troubled Water

 * Sail on Silver Girl, Sail on by Your time has come to shine All your dreams are on their way See how they shine If you need a friend I'm sailing right behind...
 * Bridge over Troubled Water

 * I'd rather be a sparrow than a snail Yes I would, if I could, I surely would I'd rather be a hammer than a nail Yes I would, if I only could, I surely would
 * El Condor Pasa (If I Could)

 * Cecilia, you're breaking my heart You're shaking my confidence daily Oh, Cecilia, I'm down on my knees I'm begging you please to come home.
 * Cecilia

 * In the clearing stands a boxer And a fighter by his trade And he carries the reminders Of ev'ry glove that laid him down Or cut him till he cried out In his anger and his shame "I am leaving, I am leaving." But the fighter still remains.
 * The Boxer

 * I get all the news I need from the weather report.
 * The Only Living Boy in New York — released as a single in 1969

Paul Simon (1972)

 * No I would not give you false hope On this strange and mournful day But the mother and child reunion Is only a motion away, Oh, little darling of mine I can't for the life of me Remember a sadder day I know they say let it be But it just don't work out that way...
 * Mother and Child Reunion

 * When the papa found out, he began to shout, and he started the investigation It's against the law, it was against the law What the mama saw, it was against the law.
 * Me and Julio Down by the Schoolyard

 * I'm on my way, I don't know where I'm goin', I'm on my way, I'm takin' my time, but I don't know where. Goodbye to Rosie, the Queen of Corona See you, me and Julio down by the schoolyard.
 * Me and Julio Down by the Schoolyard

 * A young girl in a parkin' lot was preaching to a crowdSinging sacred songs and reading from the BibleWell, I told her I was lost and she told all about the PentecostAnd I seen that girl as the road to my survival...Even now that sweet memory lingers
 * Duncan

 * Peace like a river ran through the cityLong past the midnight curfewWe sat starry-eyed We were satisfied...You can beat us with wires You can beat us with chainsYou can run out your rulesBut you know you can't outrun the history train
 * Peace Like a River

There Goes Rhymin' Simon (1973)

 * When I look back on all the crap I learned in high school, It's a wonder I can think at all, And though my lack of education hasn't hurt me none, I can read the writing on the wall.
 * Kodachrome

 * Kodachrome, They give us those nice bright colours, Give us the greens of summers, Makes you think all the world's a sunny day, Oh, yeah, I got a Nikon camera, I love to take a photograph, So Mama, don't take my Kodachrome away.
 * Kodachrome

 * Come on, take me to the Mardi Gras, Where the people sing and play, Where the music is elite and there's dancing in the street, Both night and day.
 * Take Me To The Mardi Gras

 * Some people never say those words "I love you". It's not their style to be so bold. Some people never say those words "I love you". But like a child, they're longing to be told.
 * Something So Right

 * When I was a little boy, (when I was just a boy) And the devil would call my name (when I was just a boy) I'd say "Now who do, Who do you think you're fooling?"
 * Loves Me Like a Rock

 * And if I was the President, (was the President) And if'n the Congress called my name (was the President) I'd say "Now who do, Who do you think you're fooling?"
 * Loves Me Like a Rock

Still Crazy After All These Years (1975)

 * I met my old lover on the street last night, She seemed so glad to see me, I just smiled, And we talked about some old times, and we drank ourselves some beers, Still crazy after all these years, Oh, still crazy after all these years.
 * Still Crazy After All These Years

 * Now I sit by my window and I watch the cars I fear I’ll do some damage One fine day But I would not be convicted By a jury of my peers Still crazy Still crazy Still crazy after all these years.
 * Still Crazy After All These Years

 * In my little town I grew up believing God keeps his eye on us all.
 * My Little Town, written with Simon Garfunkle

 * The problem is all inside your head, she said to me The answer is easy if you take it logically I'd like to help you in your struggle to be free There must be fifty ways to leave your lover.
 * 50 Ways to Leave Your Lover

 * Just slip out the back, Jack, make a new plan, Stan Don't need to be coy, Roy, just listen to me Hop on the bus, Gus, don't need to discuss much Just drop off the key, Lee, and get yourself free.
 * 50 Ways to Leave Your Lover

 * She said, why don't we both just sleep on it tonight And I believe, in the morning you'll begin to see the light And then she kissed me and I realized she probably was right There must be fifty ways to leave your lover, fifty ways to leave your lover
 * 50 Ways to Leave Your Lover

One-Trick Pony (1980)

 * Then I learned to play some lead guitar, I was underage in this funky bar And I stepped outside to smoke myself a j When I came back to the room, everybody just seemed to move And I turned my amp up loud and I began to play.
 * Late in the Evening

 * First thing I remember when you came into my life I said I wanna get that girl, no matter what I do Well I guess I've been in love before and once or twice have been on the floor But I've never loved no-one the way that I love you.
 * Late in the Evening

Hearts and Bones (1983)

 * One and one half wandering Jews, Free to wander wherever they choose, Are travelling together in the Sangre de Christo, The blood of Christ mountains of New Mexico, On the last leg of a journey they started a long time ago, The arc of a love affair, Rainbows in the high desert air.
 * Hearts and Bones

 * Mountain passes slipping into stones, Hearts and bones.
 * Hearts and Bones

 * Everybody loves the sound of a train in the distance Everybody thinks its true.
 * Train In The Distance

 * Two disappointed believers Two people playing the game Negotiations and love songs Are often mistaken for one and the same.
 * Train In The Distance

 * And what is the point of this story? What information pertains? The thought that life could be better Is woven indelibly into our hearts and our brains.
 * Train In The Distance

Graceland (1986)

 * These are the days of miracle and wonder, This is the long distance call, The way the camera follows us in slo-mo, The way we look to us all, The way we look to a distant constellation That's dying in a corner of the sky, These are the days of miracle and wonder And don't cry, baby, don't cry, don't cry.
 * The Boy In The Bubble

 * It's a turn-around jump-shot, It's everybody jump-start, it's, Every generation throws a hero up the pop-charts, Medicine is magical and magical is art, Think of the boy in the bubble and the baby with the baboon heart...
 * The Boy In The Bubble

 * The Mississippi Delta was shining like a National guitar, I am following the river down the highway Through the cradle of the Civil War.
 * Graceland

 * I'm going to Graceland, Graceland, Memphis, Tennessee, Well, I'm going to Graceland. Poor boys and pilgrims with families And we are going to Graceland, And my travelling companion is nine years old, He is the child of my first marriage, But I've reason to believe We both will be received in Graceland.
 * Graceland

 * And she said 'Losing love is like a window in your heart, Everybody sees you're blown apart, Everybody feels the wind blow.'
 * Graceland

 * She said, 'Don't I know you from the cinematographer's party?' I said, 'Who am I to blow against the wind?'
 * I Know What I Know

 * I said 'Hey, is this my problem? Is this my fault?' If that's the way its gonna be I'm gonna call the whole thing to a halt
 * Gumboots

 * She's a rich girl, She don't try to hide it, Diamonds on the soles of her shoes, He's a poor boy, Empty as a pocket, Empty as a pocket with nothing to lose, Sing ta-na-na, ta-na-na-na, She got diamonds on the soles of her shoes.
 * Diamonds on the Soles of Her Shoes

 * A man walks down the street He says why am I soft in the middle now Why am I soft in the middle The rest of my life is so hard I need a photo opportunity I want a shot at redemption Don’t want to end up a cartoon In a cartoon graveyard.
 * You Can Call Me Al

 * If you’ll be my bodyguard I can be your long lost pal I can call you Betty And Betty when you call me You can call me Al.
 * You Can Call Me Al

 * A man walks down the street He says why am I short of attention Got a short little span of attention And woe my nights are so long
 * You Can Call Me Al

 * There were incidents and accidents There were hints and allegations...
 * You Can Call Me Al

 * A man walks down the street It’s a street in a strange world Maybe it’s the third world Maybe it’s his first time around … He looks around around He sees angels in the architecture Spinning in infinity He says Amen and Hallelujah.
 * You Can Call Me Al

 * Homeless, homeless, Moonlight sleeping on a midnight lake.
 * Homeless

The Rhythm of the Saints (1990)

 * Well I'm accustomed to a smooth ride, Or maybe I'm a dog that's lost its bite, I don't expect to be treated like a fool, no, no, I don't expect to sleep long nights, Some people say a lie is just a lie but I say, Why deny the obvious child?
 * The Obvious Child

 * Sonny sits by his window and thinks to himself, How it's strange that some rooms are like cages, Sonny's yearbook from high school is down from the shelf, And he idly thumbs through the pages, Some have died, some have fled from themselves, On a struggle from here to get there, Sonny wanders beyond his interior walls, Runs his hands through his thinning brown hair.
 * The Obvious Child

 * Never been lonely, Never been lied to, Never had to scuffle in fear, Nothing to dive to, Born at the instant, The church bells chime, The whole world whispering, You're born at the right time.
 * Born at the Right Time

 * Moves like a fist through traffic, Anger and no-one can kill it, Shoves a little bump to the momentum, It's just a little lump but you feel it In the creases and the shadows, With a rattling deep emotion. The cool, cool river Sweeps the wild, wide ocean.
 * The Cool, Cool River

 * And sometimes even music Cannot substitute for tears.
 * The Cool, Cool River

Surprise (2006)

 * How can you live in the Northeast? How can you live in the South? How can you build on the banks of a river When the flood water pours from the mouth? How can you be a Christian? How can you be a Jew? How can you be a Muslim, a Buddhist, a Hindu? How can you?
 * How Can You Live In The Northeast?

 * If the answer is infinite light, Why do we sleep in the dark?
 * How Can You Live In The Northeast?

 * Locked in a struggle for the right combination Of words in a melody line, I took a walk along the riverbank of my imagination. Golden clouds were shuffling the sunshine.
 * Everything About It Is a Love Song

 * We don't mean to mess things up, But mess them up we do. And then it's "Oh, I'm sorry." Here's a smiling photograph Of love when it was new. At a birthday party. Make a wish and close your eyes: Surprise, surprise, surprise.
 * Everything About It Is a Love Song

 * I shoot a thought into the future, and it flies like an arrow, through my lifetime. And beyond. If I ever come back as a tree, or a crow, or even the wind-blown dust; find me on the ancient road in the song when the wires are hushed. Hurry on and remember me, as I'll remember you. Far above the golden clouds, the darkness vibrates. The earth is blue. And everything about it is a love song. Everything about it.
 * Everything About It Is a Love Song

 * It's outrageous to line your pockets off the misery of the poor. Outrageous, the crimes some human beings must endure. It's a blessing to wash your face in the summer solstice rain. It's outrageous a man like me stand here and complain. But I'm tired.
 * Outrageous

 * Take me. I'm an ordinary player in the key of C. And my will was broken by my pride and my vanity. Who's gonna love you when you're looks are gone? God will. Like he waters the flowers on your window sill.
 * Outrageous

 * Prayers offered in times of peace are silent conversations, Appeals for love, or love's release, in private invocations But all that is changed now. Gone like a memory from the day before the fires. People hungry for the voice of God Hear lunatics and liars.  Wartime prayers. Wartime prayers In every language spoken. For every family scattered and broken.
 * Wartime Prayers

 * Because you cannot walk with the holy, If you're just a halfway decent man. But I don't pretend that I'm a mastermind With a genius marketing plan. I'm trying to tap into some wisdom, Even a little drop would do. I want to rid my heart of envy And cleanse my soul of rage Before I'm through.
 * Wartime Prayers

 * Snowman sittin' in the sun doesn't have time to waste.
 * Beautiful

 * Little kid dancin' in the grass, legs like rubber band. It's summertime, summertime. There's a line at the candy stand. Keep an eye on them children, eye on them children in the pool. You'd better keep an eye on them children, eye on them children in the pool.
 * Beautiful

 * "The universe loves a drama," you know. And ladies and gentlemen this is the show.
 * I Don't Believe; Simon here quotes a comment by his wife, Edie Brickell, on the 2004 US presidential election.

 * Maybe the heart is part of the mist. And that's all that there is or could ever exist. Maybe and maybe and maybe some more. Maybe's the exit that I'm looking for.
 * I Don't Believe

 * Once upon a time there was an ocean. But now it's a mountain range. Something unstoppable put into motion. Nothing is different, but everything's changed.
 * Once Upon a Time There Was an Ocean

 * The light through the stained glass was cobalt and red. And the frayed cuffs and collars were mended by halos of golden thread. The choir sang, "Once Upon a Time There Was An Ocean." And all the old hymns and family names came fluttering down as leaves of emotion. As nothing is different, but everything's changed.
 * Once Upon a Time There Was an Ocean

 * I am walking up the face of the mountain. Counting every step I climb. Remembering the names of the constellations. Forgotten is a long, long time.
 * "That's Me"

 * I'm gonna watch you shine, gonna watch you grow. Gonna paint a sign so you'll always know. As long as one and one is two. There could never be a father who loved His daughter more than I love you.
 * Father and Daughter

 * Trust your intuition. It's just like goin' fishin'. You cast your line and hope you get a bite. But you don't need to waste your time worrying about the marketplace, Try to help the human race. Struggling to survive its harshest hour.
 * Father and Daughter

title: Paul Simon


text:
Robert Ashley

Robert Ashley (28 March 1930–3 March 2014) is a composer, primarily of opera.

Sourced

 * This fact, the surfacing of structure in an undeliberate action, is too big to take on here, but it was enough to convince me that the structuralists—the advocates of planning music before you hear or care what the plan gives you—were right: do not rely on unplanned music; it comes out as though it were planned, but planned by someone you cross the street to avoid.
 * liner notes to Automatic Writing (1996), referring to both automatic writing and the piece Automatic Writing.

 * It's not what you've been taught - in the conservative sectors - that you have a poverty of materials. You're all healthy, you're all strong enough to make sounds until the end of time.  The only problem you have is deciding whether your sound is any good.  What I'm encouraging you to do is not to think about that too much, not to reevaluate the sounds, but just to examine them, and see what the structure is.  See what's actually there, before you start this process of trying to ask yourself whether Nancy Reagan would like it, or Mrs. Bush.  Just take the whole big first chunk, and then break it down.  Follow what you know about it to where it goes... The music's there.  I'm not trying to be weird, but it's there.  I was taught that I didn't have anything, and it was my job to work hard and get something, and that's just not true.
 * from talks at Mills College, 1989. Published with libretto of Perfect Lives, pages 151-2, Burning Books Press

title: Robert Ashley