great journey lyrics

Journey - Greatest Hits Album Lyrics

In the shadows of a golden age A generation waits for dawn Brave carry on Bold and the strong

[Chorus:] Only the young can say They're free to fly away Sharing the same desires Burnin' like wildfire

They're seein' through the promises And all the lies they dare to tell Is it heaven or hell? They know very well

A singer in a smokey room A smell of wine and cheap perfume For a smile they can share the night It goes on and on and on and on

Strangers waiting Up and down the boulevard Their shadows searching In the night Streetlights, people Livin' just to find emotion Hidin', somewhere in the night

Workin' hard to get my fill Everybody wants a thrill Payin' anything to roll the dice Just one more time Some will win Some will lose Some were born to sing the blues Oh, the movie never ends It goes on and on and on and on

[Instrumental Interlude]

[Chorus:] Wheel in the sky keeps on turnin' I don't know where I'll be tomorrow Wheel in the sky keeps on turnin'

I've been trying to make it home Got to make it before too long I can't take this very much longer I'm stranded in the sleet and rain Don't think I'm ever gonna make it home again The mornin' sun is risin' It's kissing the day

They say that the road Ain't no place to start a family Right down the line It's been you and me And lovin' a music man Ain't always what it's supposed to be Oh, girl, you stand by me I'm forever yours Faithfully

Circus life Under the big top world We all need the clowns To make us smile Through space and time Always another show Wondering where I am Lost without you

And being apart Ain't easy on this love affair Two strangers learn to fall in love again I get the joy of rediscovering you Oh, girl, you stand by me I'm forever yours Faithfully

Whooa, oh-oh-ooh Whooa, oh-oh-ooh, oh Whooa, oh-oh-oh, oh-whoooooa-oh Faithfully I'm still yours

I do these things... (It's all because of you) I keep holding on, but I'll try (try not to think of you) Love don't leave me lonely I'll be alright without you

There'll be someone else...I keep tellin' myself I'll be alright without you Oh...love's an empty face, I can't replace (you don't need it)

People wonderin' why we broke apart The great pretender here I go again These things I do (It's all because of you)

I'll keep holdin' but I'll try (try not to think of you) All I wanted was to hold you I'll be alright without you There'll be someone else, I keep tellin' myself

I'll be alright without you Love's an empty face...Oh I've got to replace I'll be alright without you There'll be someone else, I keep tellin' myself

Any way you want it That's the way you need it Any way you want it She said, Any way you want it That's the way you need it Any way you want it

I was alone I never knew What good love could do Ooh, then we touched Then we sang About the lovin' things

Ooh, all night, all night Oh, every night So hold tight, hold tight Ooh baby, hold tight Oh, she said,

[Chorus:] As you search the embers Think what you've had, remember Hang on, don't you let go now You know, with every heartbeat, we love Nothing comes easy Hang on, ask the lonely

You've got some fascination With you high expectations This love is your obsession Your heart, your past possession Let down your defences Won't be up to the one who cares

Hang on, ask the lonely When you're feeling love's unfair You just ask the lonely When you're lost in deep despair You just ask the lonely

[Chorus 2x]

One love feeds the fire One heart burns desire Wonder who's cryin' now Two hearts born to run Who'll be the lonely one Wonder who's cryin' now

So many stormy nights So many wrongs or rights Neither could change Their headstrong ways And in a lover's rage They tore another page The fightin' is worth The love they save

Only so many tears you can cry 'Til the heartache is over And now you can say your love Will never die

Whoooooa-oh-whoa Whoooa-oh Ooooooh-whoa, ooh-whooa

Feelin' that it's gone Can't change your mind If we can't go on To survive the tide Love divides

Someday love will find you Break those chains that bind you One night will remind you How we touched And went our separate ways If he ever hurts you True love won't desert you You know I still love you Though we touched And went our separate ways

Troubled times Caught between confusions and pain, pain, pain Distant eyes Promises we made were in vain In vain, vain

If you must go I wish you love You'll never walk alone Take care my love Miss you love

Oooooooooh Someday love will find you Break those chains that bind you One night will remind you If he ever hurts you True love won't desert you You know I still love you

So you think you're lonely Well my friend I'm lonely too I want to get back to my City by the bay Ooh, ooh

It's sad, oh there's been mornings out on the road without you, Without your charms, Ooh, my, my, my

Lovin', touchin', squeezin' each other When I'm alone all by myself You're out with someone else Lovin', touchin', squeezin' each other

You're tearin' me apart Every day, every day You're tearin' me apart Oh what can I say? You're tearin' me apart

It won't be long, yes till you're alone When your lover, oh, he hasn't come home Cause he's lovin' oo, he's touchin', He's squeezin' another

So now I come to you With open arms Nothing to hide Believe what I say So here I am With open arms Hoping you'll see What your love means to me Open arms

Living without you Living alone This empty house seems so cold Wanting to hold you Wanting you near How much I wanted you home

But now that you've come back Turned night into day I need you to stay

[Chorus:] The girl can't help it, she needs more He hasn't found what he's lookin' for They're still standing in the rain He can't help it, and she's just that way And when he calls her She tells him that she still cares Under the moonlight, He wonders why she can't be there...why Why do they go on alone When they're missin' each other

[Chorus:] Send her my love, memories remain Send her my love, roses never fade Send her my love

The same hotel, the same old room I'm on the road again She needed so much more Than I could give We knew our love could not pretend Broken hearts can always mend.

Callin' out her name I'm dreamin' Reflections of a face I'm seein' It's her voice That keeps on haunting me

[Chorus:] Be good to yourself when, nobody else will Oh be good to yourself You're walkin' a high wire, caught in a cross fire Oh be good to yourself When you can't give no more They want it all but you gotta say no

I'm turnin' off the noise that makes me crazy Lookin' back with no regrets To forgive is to forget I want a little piece of mind to turn to

Covenant religion

From Halopedia, the Halo wiki

The Covenant religion , [2] based upon the worship of the ancient race of beings known as the Forerunners . The Covenant commonly referred to the religion and its teachings as the Path . [1] [3]

• 1 Background
• 2.1 Reformists and Stoics
• 2.2 Conflict and spread
• 2.3 Development and rebellion
• 2.4 The rise and fall
• 2.5 Post-Schism
• 3.1 Divine Ones
• 3.2 The Great Journey
• 3.3 The Halo Array
• 3.4 Afterlives
• 3.5 The Mantle
• 3.6 The Parasite
• 3.7 Oracles
• 3.8 Order of Devotion
• 3.9 The Arbiter
• 3.10 Demons
• 3.11 Heresy of the Chosen
• 4 Known Scriptures
• 5.1 Sangheili
• 5.2 Jiralhanae
• 5.4 Kig-Yar

Background [ edit ]

According to the Covenant religion, the Forerunners, a race of enlightened beings regarded as nearly omniscient and all-powerful, discovered a way to transcend the physical world and became divine gods by activating the Halos , or "Sacred Rings" as referred to by members of the Covenant. [4] The Halos supposedly uplifted the Forerunners into transsentience , but left all lesser, unworthy races behind. The Covenant believed themselves to be the chosen inheritors of the Forerunners, and sought to reclaim the "gifts" they left behind, in most cases lost technology. Their ultimate goal was to locate and activate the Halo installations. In doing so, it was believed that all faithful adherents to the Covenant religion would be uplifted as the Forerunners were, following them on a Great Journey resulting in godhood. This belief was shared, with varying degrees of sincerity, amongst all the Covenant's client races.

History [ edit ]

Reformists and stoics [ edit ].

What would eventually become the Covenant religion was first practiced on Janjur Qom , the San'Shyuum homeworld. Janjur Qom was home to two influential factions, the Stoics and the Reformists . Although both factions believed in the prophecy of ascendancy and the holiness of artifacts left behind by their gods, they held different views on how the religion should be practiced; the Reformists believed that the religion could spread throughout the galaxy through travel in their lords' ship —a Forerunner Keyship that had reseeded Janjur Qom with San'Shyuum millennia earlier, unbeknownst to the populace—but the Stoics viewed their actions as desecrating the memory of the Forerunners. This initiated the San'Shyuum Schism , a conflict which resulted in the defeat of the Stoics. The Reformists used the Keyship to leave Janjur Qom, traveling through the stars in search of more Forerunner Relics.

Conflict and spread [ edit ]

While the exact date remains unrecorded, the Ages of Conflict spanned thousands of years and were a significant period in the spreading of what started out as solely the San'Shyuum's Faith (and by extension, their empire). In the First Age of Conflict, the San'Shyuum Reformists eventually encountered a saurian species known as the Sangheili . This alien race had developed a religion based on the worship of Forerunner deities independently of the San'Shyuum. However, while the two species shared similar religious beliefs, the Sangheili believed that tampering with the artifacts of their gods was an unforgivable offense. Their first contact soon led to the San'Shyuum-Sangheili War . The war ended with the submission of the Sangheili and the formation of a new empire through the Writ of Union . The Sangheili would take the role as the warriors, with the San'Shyuum acting as their superiors in matters of technology and faith, advising their allies on how best to achieve the Great Journey.

Development and rebellion [ edit ]

The development of the Covenant religion took place across seven ages; the Age of Abandonment , Ages of Conflict , Age of Reconciliation , Age of Discovery , Age of Conversion , Ages of Doubt and the Ages of Reclamation . These ages saw the expansion of the Empire's power and the belief in the Great Journey throughout its new vassal races. In 1342 , the Kig-Yar became the first race to be converted as a whole to the Covenant religion (though most were influenced by monetary rewards granted by the San'Shyuum). Next, in 2142 , came the Unggoy . The Jiralhanae , in 2492 , were the last species to be fully integrated into the Covenant Empire, and thus their religion.

The Covenant religion was not without internal conflicts and heretical movements, as evidenced by several conflicts throughout Covenant history such as the Struggle for Ideological Purity . In the final years of the Covenant Empire's rule, an irreligious splinter group known as the Banished split off from the Covenant out of a lack of commitment to the hegemony's cause. Later, a heretic uprising on Threshold , near Alpha Halo , was born as a result of 343 Guilty Spark revealing the truth about the Halos to the artifact retrieval group commander Sesa 'Refumee . An Arbiter , Thel 'Vadamee , was appointed and sent with a strike force to deal with the threat.

The rise and fall [ edit ]

The Covenant religion reached its zenith when the Fleet of Particular Justice discovered Installation 04 by accident, chasing the UNSC Pillar of Autumn from their victory at Reach . This unexpected discovery led to the immediate presence of the holy city High Charity and its accompanying fleet. However, efforts to ignite the ring were prevented by John-117 , who destroyed the ring in order to stop the release of the Flood . This perceived sacrilege ignited widespread anger and grief among the ranks of the Covenant, having come so close to the fulfillment of their Great Journey.

Only a month later, Installation 05 was discovered when the High Prophet of Regret made a slipspace journey to the Coelest system . However, the Covenant was once again denied in their efforts. The Master Chief and a small force of humans from the UNSC In Amber Clad made their way onto the ring and killed the Prophet in order to stop him from activating it. In response, the fleet glassed the temple from where Regret had been giving a sermon, though the Master Chief escaped. The Prophet of Truth used Regret's death as an excuse to initiate the Changing of the Guard , the first step in his plot to remove the Sangheili from the Covenant. This, and the subsequent orders for the Sangheili to be exterminated, culminated in the Great Schism . The humans from In Amber Clad , in conjunction with a force of Sangheili led by Thel 'Vadamee and Rtas 'Vadum , were also successful in stopping Tartarus in his efforts to activate the ring while the battles of the Schism raged around them. Though Installation 05 was not destroyed in its emergency shutdown, the entire Halo Array was automatically moved to standby status in preparation for firing from The Ark .

The High Prophet of Truth was aware of this fact and left High Charity early, before the UNSC intervened in Installation 05's firing. During the Covenant invasion of Earth, Truth had his fleet excavate The Portal , which would enable him and his fleet to journey towards the Ark. The UNSC along with its newfound allies, the Sangheili , traveled to the Ark to do battle with the Prophet-allied forces. The humans were successful, destroying the path to the Ark and removing the threat of the Halo Array.

Post-Schism [ edit ]

Following the Great Schism and the death of the Prophet of Truth, the Covenant—and the organisation of their religion—effectively dissolved. For more than six years, many members of the former Covenant were involved in brutal civil wars and power struggles. Immediately following Truth's death, the San'Shyuum sought to save themselves from the rage of the Sangheili, and so provided the Jiralhanae with new weapons, ships and other tools to aid in their protection. During this period the Prophets, who already had been few in number, largely disappeared, leading to rumors that they had actually finally achieved the Great Journey. [5]

Even amongst the Covenant remnants their belief in the Forerunners as gods was not completely abandoned, but rather the Schism marked a return to more ancient systems of belief. As one Sangheili Shipmaster believed, "he knew his gods were out there, but he had no idea what they wanted." [5] Members of the Covenant had relied on the Prophets to lead them in spiritual matters. The devout Sangheili, in particular, had not had any need for their own religious leaders for centuries, and now found that few among them had the knowledge or the ability to comprehend the will of the gods. For a people whose sole purpose had been enforcing their gods' will, this was a terrifying prospect.

While the Covenant religion itself was more or less defunct as an institution, worship of the Forerunners persisted into the post-war era in various forms. The Servants of the Abiding Truth , a group of Sangheili fundamentalists, continued to uphold their species' pre-Covenant religious beliefs and took aggressive action against the secular regime spearheaded by Thel 'Vadam. Meanwhile, the Keepers of the One Freedom are a Jiralhanae -led militant cult that continue to seek transcendence through the Great Journey. The Keepers are notable in accepting human converts to their religion, many of whom had already joined the faction by mid- 2553 . [6] Another group, one of many to be self-entitled as "the Covenant" , led by former Covenant shipmaster Jul 'Mdama , also continued to revere the Forerunners as gods, and sought out the Didact on the Shield World Requiem in order to ask for his aid in destroying humanity. His efforts were successful, and the Didact awoke with the goal of composing humanity. John-117 and the UNSC Infinity had both arrived at Requiem, however, and managed to stop him. 'Mdama's Covenant was finally defeated on Sanghelios in 2558 .

Articles of faith [ edit ]

Divine Ones [ edit ]

The Forerunners were known to the Covenant as "Great Ones" [7] [8] or "Divine Ones". [9]

The Great Journey [ edit ]

The "Great Journey" is the central goal of the Covenant religion. According to the Covenant, the Forerunners initiated the first Great Journey through the use of the seven Halos, or sacred rings, which unleashed a "divine wind" that swept through the galaxy and elevated the Forerunners to godhood. The Covenant seeks to do the same by finding and activating the sacred rings, which would transcend those worthy to the divine beyond, a heavenly paradise they will share with the Forerunners. The non-believers and those unworthy of the journey would be left behind, as punishment for their heresy.

In addition to being their overall goal, the Covenant also employ the term "Great Journey" in a broader sense; as an expression of the path to transcendence, both collectively and individually. For example, a Sangheili warrior's individual "Great Journey" is said to start when they first begin their training. [10]

The Halo Array [ edit ]

The Halos , otherwise referred to as "Sacred Rings" or "Holy Rings" [11] by members of the Covenant, were seven holy artifacts that, when activated, would propel all "worthy" individuals in the galaxy into a heavenly paradise, where they would exist as divine beings. This could only be achieved by the retrieval of the " Sacred Icon ", a holy artifact that would activate the rings.

Fleets entering unexplored territories were given one of the Luminal Beacons for the express purpose of signalling that they had discovered a Halo ring, should they have encountered one. [12]

In the event that a Holy Ring was to be discovered, a reclamation procedure had to be followed under San'Shyuum leadership. This was known as the "Consecration". [13] The only individual who oversaw such a procedure was the Prophet of Stewardship , though he was unsuccessful due to the first Ring's destruction.

Other components of the Halo Array are referred to by the Covenant:

• "Repository of Fate" - Library [14]
• "Chamber of Consecration" - Control room [15]
• " Silent Cartographer " [16]

Afterlives [ edit ]

There were a few afterlives for the Covenant. The Faithful would proceed to the "One Freedom" while infidels and unbelievers were to be condemned to "Oblivion". [17] Alive unbelievers were considered to be on the "Path to Oblivion". [18] Another known afterlife was the "Circle of Deliverance". [19]

The Mantle [ edit ]

The Covenant are aware of the Forerunner concept of the Mantle, although they appear to misunderstand its true meaning. [20] Whereas the Forerunners' Mantle was their responsibility to protect and watch over all life in the galaxy, the Covenant regard the Mantle as their divine right to inherit dominion over the galaxy, namely through following in the footsteps of their gods.

The Parasite [ edit ]

The Flood, or "The Parasite" as referred to by members of the Covenant, are an unholy, virulent species regarded as one of many tests and obstacles that the believers of the Covenant must conquer in order to achieve the Great Journey. According to the Covenant, the Flood were vanquished by the Forerunners long ago, and were purged from existence when the Great Journey commenced. The latter was later revealed to be false when the Flood reappeared on one of the Sacred Rings.

The Governors of Contrition , a radical sect within the Covenant religion, believed the Flood to be Forerunner creations and therefore sacred. Their views were not widely accepted, however.

Some of the Banished believe the Parasite was propaganda and lies made by the Prophets, but Atriox was aware that the parasite may exist in the Ark. Voridus, one of the Jiralhanae High Commanders who did not believe in the Parasite's existence, was responsible for starting the second Flood outbreak on the Ark after breaking through the containment shield around the ruins of High Charity.

Oracles [ edit ]

The Covenant refer to all Forerunner AIs as "Oracles". They believe these constructs to hold holy knowledge regarding the Great Journey, and hold their words as sacred truths. Mendicant Bias and the Monitors are all regarded as oracles by the Covenant.

Order of Devotion [ edit ]

The "Order of Devotion" was a concept surrounding the species of the Covenant and their roles. The San'Shyuum were to "shepherd" while the Jiralhanae were to fight. [21]

The Arbiter [ edit ]

Arbiter is a traditional and religious title held by a Sangheili in times of great distress and pressure. An Arbiter would only be required to undertake tasks given out by the High Prophets and would be expected to sacrifice their life for the advancement of the Covenant and achievement of the Great Journey. The title of Arbiter was once given to the commander of the Sangheili military, and was regarded as a great honor; after the heresy of Arbiter Fal 'Chavamee, however, the title was appointed to those had disgraced themselves and would only be redeemed through death.

Demons [ edit ]

The Covenant refer to the UNSC's SPARTANs as "demons," and regard them with a mixture of contempt and superstitious fear. [23] [24] [25] Low-ranking client races such as the Unggoy and Kig-Yar would frequently panic upon engaging Spartans, their numbers and advanced technology providing little benefit in a protracted fight. The same would prove true of the San'Shyuum Hierarchs, despising demons for their blasphemous defiance of the Great Journey, yet fearful of their lives in the presence of one. Mgalekgolo [ citation needed ] and Yanme'e were unaffected by the presence of a SPARTAN, as their drastically different nervous systems left them incapable of feeling fear. Sangheili held a more spiteful, begrudging opinion of demons, incredulous that unworthy "vermin" could be the cause of so much havoc. Often, Sangheili or Jiralhanae would disregard tactics and hurl themselves at demons, fighting for the honor of the kill. However such impromptu duels usually resulted in the deaths of the challengers, not the demons. However, after the Great Schism a few Sangheili came to admire the prowess and courage of these warriors, though such views remained rare. Orbital Drop Shock Troopers have been referred to as "imps" in much the same way. [ citation needed ] The term has also been applied to the renegade Arbiter Fal 'Chavamee . [26]

It is a common superstition among the Sangheili that SPARTANs are reanimated soldiers killed in battle, brought back to life through artificial means to fight again. [27]

Amongst the Covenant, John-117 , otherwise known as the Master Chief, the SPARTANs' de facto commander gained the title of The Demon from the Covenant, setting him aside from the rest of the SPARTANs. This came from his destruction of Installation 04 . According to Arbiter Thel 'Vadam , this was done as an insult but also with a modicum of respect, showing that even the Covenant, while fearing and insulting their most hated enemy, also had a level of respect for him and his skills as well.

Even after the Covenant War's conclusion, the nickname "demon" remains emblazoned on the SPARTAN operatives, spoken by even those who don't believe in religion. Atriox , leader of the Banished , condescendingly referred to the members of Red Team as "little demons" after he single-handedly defeated Douglas-042 , forcing Alice-130 and Jerome-092 to retreat, though without the religious undertone. [28] Irreligious Sangheili mercenaries in the Banished also use the term "demon" in a colloquial way to describe them. [29] [30]

Heresy of the Chosen [ edit ]

The "Heresy of the Chosen" is a subversive belief within the Covenant that Humanity were the true successors to the Forerunners, explaining why humanity had a special relationship with Forerunner technology. Veta Lopis theorized that this belief came about due to the seemingly paradoxical fact that humanity had access to Forerunner technology that the Covenant lacked, including and especially for the most powerful of Forerunner technology. [31]

Known Scriptures [ edit ]

The San'Shyuum kept written Psalms which expressed the Covenant's faith on the Forerunners and the Great Journey. Only the Psalms listed by the Minister of Discovery are known. [32]

• Psalm of the Journey
• Psalm of Primacy
• Psalm of Teaching
• Psalm of Sorrow

Members of the religion [ edit ]

Sangheili [ edit ].

The Sangheili were once the most devout believers in the San'Shyuum's vision. However, the events at Installation 05 and the Sangheili's replacement by the Jiralhanae muddied the former's belief in the San'Shyuum and in the Great Journey. After the betrayal of the Sangheili was made known, the Sangheili became enraged and opposed the leadership of the High Prophets , subsequently leading to the Great Schism. By 2559 , some Sangheili continue to revere the Forerunners as gods, though they do not consider the San'Shyuum to be the gods' messengers. [33] The Servants of Abiding Truth, an ancient Sangheili fundamentalist order, continues to engage in worship of the Forerunners.

Jiralhanae [ edit ]

The latest addition to the Covenant Hegemony, the Jiralhanae at the time of their inception were largely disorganized and were essentially barbarians without any known belief system. The San'Shyuum sought to improve the species by associating them closely with the hierarchy figures, enabling them to embrace the Covenant religion with ease. For the most part, the Jiralhanae were blindly loyal to the San'Shyuum, obeying every command.

Unggoy [ edit ]

Many Unggoy care little for religion, as they were forced into the Covenant, but those that do stayed loyal to the San'Shyuum during the Great Schism .

As a species, their opinions may be split; while many of the Unggoy that Dadab attempts to sermon to are too unintelligent to give any thought to religious matters, the fact that at least some Unggoy are shown to hold mass prayer sessions lasting up to an hour or more as well as Dadab's adopted role of a preacher in itself is testament to the fact that a large number of Unggoy are active believers.

Kig-Yar [ edit ]

The Kig-Yar served more as hired mercenaries than true believers, but still remained with the San'Shyuum during the Great Schism. Their religious beliefs are unknown, but their loyalty to the San'Shyuum is unquestionable, though this is more likely because they wished to be on the side of the more powerful faction. This choice later proved to be an unwise decision.

Others [ edit ]

Likewise, Yanme'e and Lekgolo seem to feel no need for religion in their societies, but continued to follow the Prophets. As a result of their hive-minded lifestyle, the Yanme'e obeyed the San'Shyuum without thought or question. Individual beliefs may have played a part in the Lekgolo's decision, but they may have sided with the Prophets for the same reason as the Kig-Yar, if not for beliefs. At least some Lekgolo have sided with the Sangheili in their opposition, however.

As artificial sentient nanomechanical organisms, Huragok were created by the Forerunners. They have no interest in religion, preferring to focus their attentions onto the technology they are responsible for. Even prior to the Great Schism, Huragok seemed to remain neutral in any fights, one even going as far as to create a gift symbolizing peace for the humans and helping the humans escape. Some Yonhet such as Axl have continued to display strong devotion to the Great Journey even after the fall of the Covenant Empire.

Trivia [ edit ]

• On Installation 00 , a Terminal left behind by the Forerunners uses "Great Journey" as a translation for the exile undertaken by the surviving Forerunners after the firing of the Halo Array. [34] Through similar records on other Forerunner installations, the Covenant may have learned of the name and used it to apply to their religion in yet another case of misinterpretation. Another possible explanation for the beginning of the Covenant belief in the Great Journey is that, as seen in Promises to Keep , the Forerunners kept the San'Shyuum on the Ark for a few years before reintroducing them to their homeworld. During this time, some San'Shyuum were curious enough to approach the Forerunners who were aware that their discussions might be overheard, but did not care enough to stop it. A major topic of discussion was their planned Great Journey wherein the Forerunners would leave the galaxy forever.
• The fall of the Covenant period can perhaps be understood as somewhat being akin the Protestant Reformation in Western Christianity. A loss of faith in a society's religious leaders did not lead to a complete abandonment of said religion's deities. Rather it led to a period of intense conflict as various factions began to develop their own new interpretations of ancient beliefs. Although the Sangheili no longer believed in the Prophets as the messengers of the gods or in the Great Journey as they had described it, many still believed in their gods.
• The superstition that "Demons" are actually dead soldiers reanimated by artificial means is reminiscent of the battleroids , including the player character from the Marathon trilogy. Battleroids are brought back from the dead to serve as physically and technologically augmented supersoldiers.

Gallery [ edit ]

A mural inside the Elder Council Chamber on Sanghelios representing the Covenant's worship of the Forerunners .

Another mural representing the Covenant's worship of the Forerunner Dreadnought .

Another mural featuring the Dreadnought.

Sources [ edit ]

• ^ a b Halo 2 , campaign level Regret
• ^ Halo Encyclopedia (2022 edition) , page 188
• ^ Halo: Broken Circle , page 304
• ^ Halo 2 , cinematics
• ^ a b Halo: Evolutions - Essential Tales of the Halo Universe , " The Return ", pages 506-507
• ^ Halo: Last Light
• ^ Halo: First Strike , Epilogue
• ^ Halo: Broken Circle , chapter 15
• ^ Halo: Divine Wind , chapter 12
• ^ Halo: Evolutions - Essential Tales of the Halo Universe , "The Return", page 489
• ^ Halo: The Flood , " Priority Broadcast Log/Eleventh Cycle, Third Unit ", page 365 (2010 edition)
• ^ Halo: Oblivion , chapter 5
• ^ Halo: The Flood , "Priority Broadcast Log/Eleventh Cycle, Third Unit", pages 366-368 (2010 edition)
• ^ Halo: The Broken Circle , chapter 17
• ^ Halo: The Broken Circle , chapter 16
• ^ Halo: Combat Evolved , campaign level The Silent Cartographer
• ^ Halo: Shadows of Reach
• ^ Halo: Divine Wind , chapter 1
• ^ Halo: Divine Wind , chapter 5
• ^ Halo Evolutions - Essential Tales of the Halo Universe volume II, page 299
• ^ Halo: Divine Wind , chapter 7
• ^ Halo 2: Anniversary , Prologue
• ^ Halo: Ghosts of Onyx , page 243 ("Voro strained to isolate the human word for demons from their objectionable speech... Spartans ".)
• ^ Halo: Ghosts of Onyx , page 349 ("They would take no chances with these human demons, these 'Spartans' ".)
• ^ Halo: Ghosts of Onyx , page 372 ("The Fleet Master Elite snarled at Kurt, and the translation filtered through his helmet's speaker: 'One last fight, demon' ".)
• ^ Halo Legends , The Duel , ( Unnamed Unggoy : "He's the Demon!" )
• ^ Halo: Glasslands
• ^ Halo Wars 2 , campaign level, The Signal
• ^ Halo Wars 2 , Phoenix Logs : The Blinded : "No longer do I feel the religious reverence or feel humbled in the presence of the ancient's structures and monuments." - Orda Val 'Saham
• ^ Halo Wars 2 , campaign level The Foundry : "You destroyed our carrier, demons!" - Orda Val 'Saham
• ^ Halo: Evolutions - Essential Tales of the Halo Universe , Wages of Sin
• ^ Halo: Evolutions - Essential Tales of the Halo Universe , The Return
• ^ Halo 3 , Terminal 7
• The Covenant
• Articles needing references
• Articles needing fact cleanup

Recent contributors to this article

Lyrical Nonsense

King & Prince - Bokura no Great Journey (僕らのGreat Journey) Lyrics (Romanized)

Home » Artists » King & Prince » Bokura no Great Journey Lyrics

Bokura no Great Journey Lyrics (Romanized)

• SIDE-BY-SIDE

sorezore no oitachi umareta basho sudachi Toki ga tachi ima no katachi yume wo katariatta tomo yo

kono mama ja bokura itsu made mo mitasare wa shinai darou Nukedashitai kakedashitai Itsumo muchuu ni natte itai kara

Level up Level up Level up Ishi no teiji Isogaba mawareba

shararara kokoro ga kanjiru mama Mada minu sekai e Tatakatta namida wa ittsu oorai Dogimagi☆wandaarando Tada matteru dake ja te ni dekinai Rokku na yume mite GO Takara no arika wa doko ni aru no ka sagashi ni Great Journey

kono mama ja boku wa ima yori mo kagayake wa shinai darou Oitsukitai oikoshitai Itsumo kinou koete itai kara

Level up Level up Level up Ishi no teiji Haji kaki asekaki beso kaki Tsugi no suteeji Tonikaku tonikaku tonikaku Hibi imeiji Yaraneba naraneba

We live in the TOKYO TOKAI no MAIGO Yozora no hoshitachi ga mejirushi Doramatikku na kaze ni fukare

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King & Prince - Bokura no Great Journey Lyrics (Romanized)

King & Prince - 僕らのGreat Journey Lyrics (Romanized)

それぞれの生い立ち　生まれた場所巣立ち 時が経ち　今の形　夢を語り合った友よ

このままじゃ僕ら　いつまでも満たされはしないだろう 抜け出したい　駆け出したい いつも夢中になっていたいから

Level up　Level up　Level up 意志の提示 急がば回れば

シャラララ　心が感じるまま まだ見ぬ世界へ 戦った涙はイッツオーライ ドギマギ☆ワンダーランド ただ待ってるだけじゃ手にできない ロックな夢見てGO 宝の在処はどこにあるのか　探しにGreat Journey

このままじゃ僕は　今よりも輝けはしないだろう 追いつきたい　追い越したい いつも昨日超えていたいから

Level up　Level up　Level up 意思の提示 恥かき　汗かき　べそかき 次のステージ とにかく　とにかく　とにかく 日々イメージ やらねばならねば

We live in the TOKYO TOKAIのMAIGO 夜空の星たちが目印 ドラマティックな風に吹かれ

King & Prince『Bokura no Great Journey』Official Music Video (YouTube ver.)

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King & Prince - Bokura no Great Journey (僕らのGreat Journey) Lyrics (Romanized)

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GrEAT journey

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The Best Journey Songs Of All Time

What is Journey's biggest hit? Here are the best Journey songs of all time, ranked by fans everywhere. Journey are indisputably known as one of the greatest rock bands to ever walk the Earth, with former lead singer Steve Perry even crowned "the voice" by many industry moguls. Established in San Francisco, CA, in 1973, Journey has sold out countless concert tours worldwide throughout their five decade career. The arena rock band's legendary music and unparalleled performance style ultimately led to their Rock & Roll Hall of Fame induction in 2017. Some of Journey's top songs include "Don't Stop Believin'" ( Escape , 1981), "Any Way You Want It" ( Departure , 1980), "Lights" ( Infinity , 1978), "Separate Ways (Worlds Apart)" ( Frontiers , 1983), and "Wheel In The Sky" ( Infinity , 1978).

From their new and latest music to their older popular songs, this Journey playlist features all of their greatest hits, according to the fans. Do your favorite Journey songs crack the top 10? Vote up the best songs by Journey, and don't forget to show their underrated tracks love as well.

Don't Stop Believin'

Best Lyrics:

Strangers waiting Up and down the boulevard Their shadows searching in the night Streetlights, people Living just to find emotion Hiding somewhere in the night

Stone in Love

In the heat with a blue jean girl Burning love comes once in a lifetime She found me singing by the rail road tracks Took me home, we danced by the moonlight

Those summer nights are calling Stone in love Can't help myself, I'm falling

When the lights go down in the City And the sun shines on the bay Ooh, I wanna be there in my City, oh Oh, oh, oh

Wheel in the Sky

Winter is here again, oh lord Haven't been home in a year or more I hope she holds on a little longer Sent a letter on a long summer day Made of silver, not of clay I've been runnin' down this dusty road

Wheel in the sky keeps on turnin' I don't know where I'll be tomorrow

Separate Ways (Worlds Apart)

Someday, love will find you Break those chains that bind you One night will remind you How we touched and went our separate ways

If he ever hurts you True love won't desert you You know I still love you Though we touched and went our separate ways

Feeling That Way

Opened my eyes to a new kind of way All the good times that you saved Are you feeling You feeling that way too Or am I just Am I just a fool

And being apart ain't easy on this love affair Two strangers learn to fall in love again I get the joy of rediscovering you Oh girl, you stand by me I'm forever yours, faithfully

Send Her My Love

Callin' out your name I'm dreamin' Reflections of a face I'm seein' It's her voice That keeps on haunting me

Send her, send her my love Roses never fade Memories remain

Any Way You Want It

She said, any way you want it That's the way you need it Any way you want it

I was alone I never knew What good love could do Ooh, then we touched Then we sang About the lovin' things

Who's Crying Now

One love, feeds the fire One heart, burns desire I wonder who's crying now? Two hearts, born to run Who'll be the lonely one? I wonder who's crying now?

Only the Young

Shadows of a golden age A generation waits for dawn Brave carry on Bold and the strong

Only the young can say They're free to fly away Sharing the same desire Burnin' like wildfire

Ask The Lonely

You've got some fascination With you high expectations This love is your obsession Your heart, your past possession Let down your defenses Won't be up to the one who cares

Touchin', Lovin', Squeezin'

It won't be long, yes, till you're alone When your lover, oh, he hasn't come home 'Cause he's lovin' who he's touchin', he's squeezin' another

He's tearin' you apart Ooh, every day, every day

Just The Same Way

Take a chance now the timing's right. You're free to leave the key to my life. Stay with me. Won't you stay the night, In the mornin' feelin' fine, yeah.

That's the same way you love me. 

Girl Can't Help It

If he could hold her, so close in his arms again If she could show him The letter her heart forgot to send why They're livin' dreams on their own Ooh they'll never stop running

The girl can't help it, she needs more He hasn't found what he's lookin' for They're still standing in the rain He can't help it, and she's just that way

Still They Ride

Spinning 'round, in a spell It's hard to leave this carousel 'Round and 'round And 'round and 'round

Still they ride, on wheels of fire They rule the night Still they ride, the strong will survive Chasing thunder

Be Good To Yourself

Runnin' out of self-control Gettin' close to an overload Up against a no win situation Shoulder to shoulder, push and shove I'm hangin' up my boxin' gloves I'm ready for a long vacation

Be good to yourself when, nobody else will Oh be good to yourself You're walkin' a high-wire, caught in a crossfire

I'll Be Alright Without You

I'll be alright without you Oh love's an empty face, I can't replace (You don't need it) People wonderin' why we broke apart The great pretender here I go again These things I do (It's all because of you) I'll keep holdin' but I'll try (Try not to think of you)

Mother, Father

Through bitter tears And wounded years, those ties Of blood were strong So much to say, those yesterdays So now don't you turn away.

Hey, mother, father, sister Hey, come back, tryin', believein' Hey, mother, father, dreamer

The Party's Over (Hopelessly In Love)

So I will tell you this, Our love is in a fix. Just what more can I do. When I'm hopelessly in love with you?

When You Love A Woman

When you love a woman You see your world inside her eyes When you love a woman (Well) You know she's standing by your side A joy that lasts forever There's a band of gold that shines Waiting somewhere, oh, yeah

After The Fall

But a head strong stubborn man Only works it out the best he can Valentines he never sent There's not enough time he's a working man

Can't stop falling Heartaches calling Finds you after the fall

I see your face at the movies I hear your voice on the radio You're making love on the silver screen I want you more than you will ever know Temptation...Infatuation

Suzanne, don't walk away

Why Can't This Night Go On Forever

Lost in twilight, the memories Precious moments, you and me We've been old friends, all through the years Picture postcards, sharing tears

What's in our hearts, there's never time, to say Need you tonight, lover don't fade away I've seen your city lights As I walk away Why can't this night...go on forever

After All These Years

A faded wedding photograph You and me in our first dance Our eyes are closed We're lost in one sweet embrace Since those days the world has changed But our love remains the same God knows we've had our share of saving grace

Where Were You

I didn't know what the hell was goin' on, Someday you're gonna break. So don't try to get yourself straight, You're just a little too late.

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• Journey Lyrics
• Journey: Greatest Hits Album

Journey - Journey: Greatest Hits Album

Artist: Journey

Album: Journey: Greatest Hits

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Top 10 Journey Songs

From the ashes of Santana and Frumious Bandersnatch born this beast of a band in San Francisco in 1973. Full of artistic ups and downs, Journey’s strongest times were between 78′ and 87′ when Steve Perry was the lead vocalist.

For some of us, they are the band that wrote “that song from 80’s movies(Song #3),” and for some of us, they’re the summit of our teenage years. Let’s take a look at the top 10 songs of this amazing band!

Table of Contents

1. In My Lonely Feeling / Conversations

Released in one of their earliest albums ‘Journey’, the band influenced by the psychedelic feels of their previous bands, decided to take on a memorable riff that has you bobbing your head for days. 

Here’s a link to the performance at Winterland:

2. Nickel & Dime 

Journey got you covered with this 1977 instrumental, this track is filled with energy and real rock n’ roll. A classic hit from their third album that cannot be skipped! 

Here’s a link to the instrumental: 

3. Look Into The Future

We all like to reminiscence every now and then, or ‘reflect’ for those that don’t want to admit it. With all their emotions literally felt through the song, this song is probably the best option for a get together. 

Here’s a link to the winner of the list: 

4. It’s All Too Much

It’s summer, burgers are nearly done and in the meanwhile you’re nibbling on chips whilst you’re trying to dance in a socially acceptable manner. You just can’t help but shake it with this song! 

Here’s a link to the track: 

Released in their third album, this song meets the criteria of ‘I want a song that’s perfect start to my drive’. 

Here’s a link to your new Sing-A-Long track: 

6. Sweet & Simple

I mean, the song is sweet and simple… 

Here’s a link to something that will have you in your feels: 

7. Natural Thing

Soulful & genuine, the vocals alone will have you in a trance for the whole 3 mins. 

Here’s a link to that long needed shower song: 

Compared to the likes of Hendrix, this rockin’ piece will help you move on and let go of whatever it is that made you want to listen to this in the first place. 

Here’s a link: 

9. Any Way You Want It 

This opening track of Departure is an immense, energy-filled, good vibes track. It is usually used as the last song on any Journey show. Finishing in a  high tune like that is an experience that sticks in a good way. If you haven’t heard this song in 2010 during the heavily saturated world of Glee advertisements everywhere on your screen, then you’re quite lucky. 

Here’s a link to probably one of the second most famous Journey songs:

10. Keep on Runnin’ 

You’re missing out on that Journey tribute that’s going on in town? Don’t fret, this performance will have you feeling like you’re back in 1981! 

Here’s a link to the song: 

11. Lovin’, Touchin’, Squeezin’ 

From the romantic mind of Perry, this extremely personal song about a relationship (which is believed to be inspired by true events) was the band’s first song to break into the Billboard top twenty, and It peaked at number 16.

12. Only The Young 

As you can guess from the title, this song is about the infinite promise and freedom of youth. Unfortunately, there’s a sad story about this song; this song was played to a 16-year-old fan with cystic fibrosis as part of a request from Make a Wish Foundation. Unfortunately, the fan died a day later, leaving the band with a broken heart.

13. Wheel In the Sky 

Started slowly by peaking at number 57 in the US – this song has gone on to become one of the strong Journey classics.

14. Lights 

One of the first Journey songs featuring Steve Parry, this one also started as a minor hit (#68 on charts) but became one of the signature songs.

15. Who’s Crying 

This soulful piece is Dressed in a beautiful piano riff. It is one of the most successful songs of the band. Peking at #4 in the US and becoming the highest UK charting Journey single at the time.

16. Open Arms 

This track is also one of the most successful songs of the band, earning them their highest position on the Billboard 100 (#2). Song was introduced to a wider and more contemporary audience by becoming a staple of many pop artists’ covers, including Mariah Carey.

17. Faithfully 

One of the most powerful Journey songs. Written by Jonathan Cain on the road and was completed very quickly (which the religious Cain puts down to divine intervention). 

18. Separate Ways 

The song tells the story of a couple who have broken up and gone their separate ways but will still always share a connection because of the time they spent together. As some of us know as ” that song from the 80s’ movies.”

19. Don’t Stop Believin’ 

The most iconic song of this band. This amazing song taken from 1981’s Escape is one of the most anthem-like catchy rock songs of all time. 

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What Guitar Does Alex G Play: Unveiling the Indie Icon’s Instrument of Choice

Examples of technology use in music classrooms, alternative ways to discover music: beyond torrent sites, what guitar does colter wall play: unveiling the singer’s instrument of choice, harmonies of humanity – exploring the dynamic interplay between music and culture.

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30+ Songs About Life’s Journey & Lessons Along the Way

Updated 11/5/2021

Published 07/7/2020

Amy Wolkenhauer, BA in English/Creative Writing

Contributing writer

Cake values integrity and transparency. We follow a strict editorial process to provide you with the best content possible. We also may earn commission from purchases made through affiliate links. As an Amazon Associate, we earn from qualifying purchases. Learn more in our affiliate disclosure .

If you’re looking to create a celebration of life ceremony for a truly remarkable person, then consider any one of the songs below. We’ve divided them into six sections to make the search a little easier.

Jump ahead to these sections:

Best songs about life’s journey, best songs about life’s changes, best songs about life and death, modern pop songs about life, r&b and hip-hop songs about life, country songs about life.

Each of the artists has something poignant to offer, whether that’s about learning from mistakes or revisiting one’s past. Or, how one’s journey is more intensely related to our thoughts than the roads we travel. So, check out some really great songs below and hopefully you’ll find a few that work well when honoring your loved one.

Below are a few artists singing about the reflections and revelations made after taking journeys of the mind. Through their experiences, you’ll glean how these experiences lead to either affirmations or resolutions.

1. “One” by U2

While the meaning of the song is ambiguous, it’s nonetheless about relationships, whether they are political, social, or familial. The singer reveals that what is vital in life revolves around us all supporting one another and living life to the fullest .

2. “(Sittin’ on) The Dock of the Bay” by Otis Redding

Posthumously released in 1967, Redding’s song was the first of its kind to top the charts at number one. For six weeks after vocal cord surgery, he was forced to sit outside his temporary home—a boathouse in Sausalito—recovering and reflecting on the life that brought him there.

3. “Harvest Moon” by Neil Young 

The full moon has been significant for Young’s decision-making, meaning that he would often decide to join projects guided by its presence. His long career now includes numerous environmental advocacy roles.

4. “Yesterday” by The Beatles

One man’s journey comes to a standstill in “Yesterday” as the subject of the song chooses to live in the past rather than move on after a breakup. He needs time to mourn a significant loss.

5. “Husavik” by Molly Sandén and Will Ferrel

This Icelandic-English song is about a partner who realizes that her journey no longer includes following her love interest—it’s at home. No longer will she give up her heart to follow the dreams of another, but she needs him to see that it’s his home, too.

Experiences and dreams mandate one’s path in life. No matter what happens, hope is the underlying vehicle for change.

6. “Náttúra” by Björk

 “Náttúra” has two meanings. The first is about environmental preservation, while the second is about convincing others to adopt the same mindset. This change in behavior is what Icelandic artist Björk hopes to achieve through protesting pollution while promoting Icelandic heritage.

7. “Redemption Song” by Bob Marley & The Wailers

Bob Marley dedicated his life to the Rastafari movement, relief for the socially deprived, and living a life that was true to himself and his beliefs. For these reasons, Marley is an icon in the African diaspora fighting for rights and truth. That makes this one of the top albums to listen to before you die .

8. “Season of Wither” by Aerosmith

You’ll come to this song at different times in your life, and with a different take on its meaning each time. But, because it’s almost so foreboding by nature, you won’t be able to help but choose the worst parts of your life on which to reflect.

9. “Sweet Sixteen” by Billy Idol

When love turns to obsession, there’s no other song that competes. Idol’s interpretation of one man’s lifelong plight to retrieve a lost love highlights how passion turns into addiction. That compulsion is now the famous Coral Castle located in Miami-Dade County, Florida. 

10. “A Change is Gonna Come” by Sam Cooke

Civil rights, the search for equality, and desegregation are fluid thoughts within this song. Although Cooke may not have been alive to see the changes, his song resonates with communities on the paths toward better tomorrows. It’s truly an inspirational song .

Both in fictional and non-fictional references, songs about life and death take hold. Below you’ll discover ones that match truth and circumstance against the backdrop of stories told with creative license.

11. “Who Wants to Live Forever” by Queen

Queen was commissioned to write and perform this beautiful song for the original Highlander film starring Christopher Lambert. In it, Lambert’s character must say goodbye to his true love, knowing he’ll outlive any lover now or in the future.

12. “Buffalo Soldier” by Bob Marley & The Wailers

The Buffalo Soldiers were African Americans fighting against Native Americans during the Indian Wars from 1866 to the 1890s. Marley’s song reveals the protest and subjugation of people being forced to kill and create a subjugated people.   

13. “Lithium” by Nirvana

Lithium is a drug used by doctors to help prevent the risk of suicide. The song is about a man who finds god amid suicidal thoughts. Tragically, Nirvana’s lead singer committed suicide not many years later.

14. “November Rain” by Guns-n-Roses

The prolific “November Rain” may be about contemplation or shadows. Nonetheless, as the song and interpretations go, the rain can only last so long. 

15. “Ebony Eyes” by The Everly Brothers

In the fictional song, “Ebony Eyes,” the story unfolds with a marriage prevented by a plane crash, flight 1203. While the song was banned from the UK radio for being too upsetting, it reached 8 th in the pop charts here in the US.

Because life is categorized by individual experiences, songs that can resonate with your personal experiences will be diverse. Considering that, each of the artists below has a unique way of conveying life with meaning.

16. “Yellow” by Coldplay

Commitment and sacrifice are inherent in the lyrics. That devotion has less to do with love and more to do with humanity as a whole.

17. “Good Times” by All Time Low

Creative exploration of one’s life isn’t without the “bare-knuckle” recognition of a recent past. It’s also an appreciation of how one’s past helps them find the nerve to move forward into a life unknown.

18. “I Lived” by OneRepublic

Gut-tethered, honest lyrics pay homage to a fan with cystic fibrosis. The words conjure an ambition to live past one’s limitations and create a life worth living.

19. “Float On” by Modest Mouse

The song reflects on the idea that no matter how much pain or strife comes at you, there’s an absolute truth to living. No matter how heavy the events seem right now, things will eventually get better.

20. “Running with the Wolves” by Courtney Jenaé and Adrian Grahn

This super short tune on the “Eurovision” soundtrack has a distinct theme of wolves and pack running. The underlying theme rests on finding a space where you belong among people that accept you for who you are.

The few songs below are about resolution and strength. Sometimes in the journey of the mind that brings you there.

21. “Good as Hell” by Lizzo

This “self-loving anthem” by Lizzo is about finding your true self above the pain. Although relationships end, there are no reasons to get down on the fabulous person that you are.

22. “7 Years” by Lukas Graham

This piano-led song leads the listener down a path of remembrance. In it, you’ll discover that achieving great things requires that you bring your whole self along the way. 

23. “Just Fine” by Mary J. Blige

Blige sings that no matter what is happening in life, or how wild it seems, as long as you’re positive and doing everything you want to do, everything will be just fine.

24. “Soldier of Love” by Sade

A trumpet and snare drum engage the listener from the onset. Then the lyrics invite you into a world where the singer is an expert on love. She knows her journey is to remain steadfast in the goal of achieving all things related to life with respect.

25. “Not Afraid” by Eminem

If you’re looking for a king of life anthem, take a listen to Eminem’s “Not Afraid.” You’ll come to realize that it’s less about life’s little transgressions and more about being bigger than them.

The country songs below speak to the reflective journey. Everything you experience makes you who you are today.

26. “Life Changes” by Thomas Rhett

Rhett makes a case for being open to the circumstances as they come. That thinking has led him to find a wife, have three daughters, and enjoy a budding career. All of this has been the result of being open to love as it became available.

27. “The House That Built Me” by Miranda Lambert

Lambert’s song recognizes that returning home can help you remember who you are and also help with the healing process on this short road of life.

28. “Letter to Me” by Brad Paisley

Paisley's song reflects on the idea of writing a letter to your younger self. He also understands that fatherhood can give you a second chance to make things right.

29. “Fifteen” by Taylor Swift

First loves are going to happen with or without a happy ending. Swift's song doesn't just come from that angle, though. She also begins with the idea that you can't take everything so seriously in life.

30. “Springsteen” by Eric Church

Some people merely exist in our lives fleetingly or because their presence was triggered by a circumstance. That said, they still have value, because without them, you wouldn’t be the person you are today. 

Celebrating Remarkable Journeys

It’s not easy to find fitting songs to celebrate someone because of all the complex histories and journeys they’ve lived throughout life. But hopefully, you’ve found several here that you.

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20 Songs With Great Lyrics About Life (Deep & Thought Provoking)

Some of us love to look at life more deeply than the average person does. Others say we read into things too much; we say that they don’t read into things enough! For those of you deep thinkers, it’s likely that you adore listening to thought provoking music. If that’s you, these 20 songs will make you really think about life and what it all means.

1. Invisible by Hunter Hayes

First on the list is ‘Invisible’ by ‘Hunter Hayes’ that contains some powerful lyrics for anyone who feels different and does not want to follow the herd. This is for the conscious thinkers of the world who dare to think different and pave their own path to life.

Snippet of the lyrics:

2. Don’t Let It Get You Down by JOHNNYSWIM

So often, doubters and naysayers get inside our heads when we’re trying to dream big; if you’ve ever had an “unrealistic” dream, and you’ve heard your friends or family telling you that you need to “get off your high horse”, etc., this song’s for you– remember not to let it get you down!

3. Anklebiters by Paramore

Why do we let others’ opinions dictate how we feel about ourselves, anyway? Anklebiters by Paramore reminds us that sometimes, our own love is the only love we need, especially when it seems like everybody else is against us.

4. Surprise Yourself by Jack Garratt

How can you know that you won’t succeed at something, if you’ve never tried? So many of us dream of writing a book, playing an instrument, applying for a job, starting a business, taking a trip, or otherwise putting ourselves out there in some way… But we may never do so, for fear of “failure” in some sense. Jack Garratt asks, what if you gave yourself the opportunity to surprise yourself?

5. True Colors by Zedd & Kesha

In order to live an incredibly fulfilling life, we must be willing to be ourselves, to follow our own passions, and to love ourselves unconditionally. Zedd and Kesha remind us, in this beautiful song, to show off our magnificent true colors.

6. Glory by Bastille

When you think about it, the common philosophy of rushing through life, from school, to work, to retirement, is essentially just living as if we’re waiting to die. Glory by Bastille reminds us not to live our entire lives preparing for the next thing, but rather, to live in the present moment.

7. Live In The Moment by Portugal. The Man

How many minutes out of your day do you spend thinking about what you have to do later, or something you did earlier? Moreover, how much time do you spend truly living in the moment, in your body and your five senses, experiencing what’s right in front of you? If you struggle with presence, this Portugal. The Man song will remind you to live in the moment!

8. No Plan by Hozier

This is a beautiful song by Hozier where he tries to convey the fact that life has no meaning as such except the meaning you give it. And the reason why you need to become more conscious of the simple joys of life .

9. Flames by David Guetta & Sia

‘Flames’ contains some powerful lyrics that encourages you to get in touch with your inner strength and to keep persisting in life.

10. Way Back When by Kodaline

This is a beautiful song by Kodaline about rest and relaxation. It helps you connect with your inner child so you can begin again to enjoy the simple joys of life.

11. Nothing Else Matters by Metallica

This song by Metallica has powerful lyrics that encourage you to embrace your true authentic self and stop worrying about other people.

12. It’s My Life by Bon Jovi

Lovely track by Bon Jovi that encourages you to live in the moment and to live your life to the fullest.

13. Read All About It by Emeli Sande

If you are looking for some inspiration to put yourself out there in life, then this is the song for you.

14. Dust in the Wind by Kansas

‘Dust in the Wind’ is not the most uplifting song, but it has lyrics that will liberate you. The song helps you understand the eventual reality of life and the meaninglessness of it all, realizing which will help you let go and relax. It also brings you the realization that life may be meaningless but that only means that you have the freedom to give it any meaning you want.

15. Foreverglow by Lindsey Stirling

“Your shine won’t last forever, but you’ll forever glow,” sings Lindsey Stirling in this gorgeous piece. This song reminds us that even when we’re gone, we’re sure to leave something beautiful behind.

16. Funny The Way It Is by Dave Matthews Band

Do you ever think about the fact that somebody, somewhere in the world, died at the exact moment that you were being born? Dave Matthews explores mind-bending facts of life such as this one in ‘Funny The Way It Is’, which emits a sense of both heart-opening and heartbreaking love for humanity as a whole.

17. One More Light by Linkin Park

Your life is not insignificant, Linkin Park tells us in this tear-jerking song. Even though you are only one person among billions, your light is meaningful, and people care about you. You are important and you belong here.

18. Don’t Panic by Coldplay

If the Earth was destroyed tomorrow, we’d learn that we should’ve appreciated all of her beauty today. Don’t Panic by Coldplay, a reference to the movie Hitchhiker’s Guide to the Galaxy (in which our planet is destroyed), reminds us that our Earth is magnificent, and that we should love her with every chance we get.

19. Hallelujah by Leonard Cohen

“Love is not a victory march / It’s a cold and it’s a broken hallelujah”. This song has over two hundred covers, and has resonated with millions of hearts, likely because it so precisely encapsulates the human experience: life is messy, life is painful, and life is beautiful, even within all of the mess.

20. Dare You to Move by Switchfoot

It’s entirely human to live our lives in fear of what could happen, or in regret of what we think we did wrong. This song by Switchfoot dares us to live life on the edge anyway. What could happen if we were to truly go for our greatest dreams? And if we don’t, how will we ever know who we could become?

Whether you hope to shift to a more inspired mindset, or gain some perspective on your life, any of these songs can help you to see a bird’s eye view of things. Make a playlist to listen to while creating or walking in nature, or simply meditate on the meaning of any of these songs to see where your consciousness takes you!

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Hello, and welcome to the second edition of No Skips, a column where I analyze an album and deem every track as unskippable. This week, we will look at Journey’s “Greatest Hits,” an album that defined my childhood and built a musical bond between my dad and me. 

I was first exposed to Journey as a child when my dad played their hits while driving in his blue Ford Mustang. I knew all their songs at a young age and sang along to all the words (and guitar solos) with my dad. 

Journey is an American rock band that formed in San Fransisco, California in the 1970s. Being a San Franciscan myself — and my dad growing up a stone’s throw away in San Jose — enjoying Journey’s music was no surprise. My dad saw them multiple times in concert during his teens and twenties and shared his love of the band with both me and my little brother. Nowadays, I listen to Journey on warm sunny days and reminisce about drives with the windows down in the back of my dad’s car. 

With tracks like “Don’t Stop Believing,” “Lights” and “Any Way You Want It,” Journey’s “Greatest Hits” has no skips. The album is filled with rock songs that maintain an edge even 35 years after they originally came out. Furthermore, the album was remastered this year, demonstrating its reach and popularity as a “no skips” album. 

The album, as illustrated in the title, is filled with the band’s greatest hits. It opens with “Only the Young,” a rock powerhouse that always merits a listen. “Only the Young” holds a lot of meaning to me because a) I would listen to it with my dad growing up, and b) it covers themes of growing up and having dreams — ideas that hit pretty hard as a 22-year-old college senior. 

The next few tracks, “Don’t Stop Believing,” “Wheel in the Sky” and “Faithfully,” are arguably Journey’s most famous releases. “Don’t Stop Believing” is one of those songs that, as soon as it comes on, everyone is singing along to both the lyrics and the screaming guitar solos. You can never skip “Don’t Stop Believing,” especially at a sporting event or karaoke bar. “Wheel in the Sky” is also a classic. Every time it comes on, I catch myself singing and dancing along to the track. 

The album continues to live up to its namesake with other phenomenal songs like “Separate Ways (Worlds Apart),” which had a resurgence in popularity with its remixed feature on the fourth season of “Stranger Things.” This song has been and always will be unskippable due to its thrumming bass lines and roaring drums. Additionally, the “Stranger Things” remix with Bryce Miller and Alloy Tracks is also a bop — one that I listened to a lot in the summer of 2022. 

Love songs are also common on this album. “Faithfully,” “Open Arms” and “Send Her My Love” each have messages of love and care for one’s partner and are great songs musically as well. “Faithfully” is one of my favorite Journey songs of all time and illustrates Journey’s ability to create powerful lyrics and even more powerful scores. 

On the flip side, the album also features themes of loss and heartbreak. “I’ll Be Alright Without You,” “Who’s Crying Now” and “Ask the Lonely” emphasize those themes. “I’ll Be Alright Without You” touches on moving on after a breakup and working through those big emotions. The drums and tone of this song are softer than many other Journey songs, and it continues to be a profound piece by the band. 

The album ends with “Be Good to Yourself” and “When You Love a Woman” — two songs that are just as significant as the 14 other tracks on this powerhouse of an album. “Be Good to Yourself” continues the roaring guitar and upbeat keyboard that are characteristic of Journey’s discography and maintains its place (alongside “Faithfully”) as one of my favorite Journey songs of all time. 

To conclude, this album is a perfect reminder of summer drives and a shared love of music with my dad. The lack of skips on this album highlights Journey’s ability to craft rock music with a timeless sound that continues to gain fans 35 years after being released. I highly recommend this album to everyone reading this column — especially as the weather gets warmer and summer quickly approaches. 

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Perfect for the ‘Gram: Use these 15 Cardi B lyrics for your IG captions

H ailing from the Bronx, New York, Cardi B’s journey from stripper to social media sensation and eventually Grammy Award-winning rapper has been nothing short of extraordinary. Bursting onto the scene with her smash hit "Bodak Yellow" in 2017, she quickly solidified her status as a force to be reckoned with in the music industry. Cardi’s unapologetic authenticity propelled her to unprecedented heights and earned the emcee multiple accolades, including a Grammy Award for Best Rap Album for her debut LP, Invasion of Privacy .

In an era where social media captions serve as digital snapshots of personal expression, Cardi B’s lyrics have emerged as a ubiquitous language, resonating with millions across the globe. From her fierce debut to chart-topping hits, the superstar’s lyrical prowess defined a generation and her most popular songs have become the go-to for social media captions.

From empowering anthems like "WAP" to infectious party tracks like "I Like It," her discography boasts a treasure trove of memorable lines that effortlessly find their way into social media feeds.

Here are REVOLT’s picks of the best Cardi B lyrics that would make great Instagram captions.

In this sassy snippet, Cardi serves up a dose of confidence with a side of skepticism. With the swagger of someone who knows they can command any room, she declared her ability to set the party on fire and get the dance floor moving. Yet, within this proclamation of power was a subtle warning – she won’t buy into empty claims. Cardi's sharp wit shined a light on a world full of pretenders. So, if you're not really with her, good luck keeping up with this firecracker.

This Cardi lyric is your caption secret weapon. It's got all the confidence you’ll need and a playful warning to anyone trying to steal your shine. This savage one-liner screams, "I rule this game, and I look amazing doing it." So, post that fierce photo and let Cardi's words do the talking – your followers won't know what hit 'em.

For fans who may be feeling played by their significant other, Cardi has your next revenge Instagram caption. It reminds them that while they might be chasing something new, they risk losing someone irreplaceable. It's the perfect amount of shade and self-worth rolled into one. Post that flawless pic and let Cardi's words do the talking.

This lyric is the ultimate "versatile queen" statement. Whether you're rocking streetwear one day or a ball gown the next, this caption lets everyone know you can pull off anything and look fire doing it. Plus, there's a touch of the “WAP” emcee’s signature sass, reminding everyone that each look you serve is a certified head-turner.

Exes seem to be a recurring theme among her lyrics, and this Cardi caption could be your Instagram mic drop. It's the perfect blend of celebrating success and arising victorious after any negative situation. So, post that celebratory pic and let these words from “I Like It” tell the story for you. Your followers will be living for your success as you send a not-so-subtle message to a certain ex or two.

Channel your inner Bronx boss with this fire bar. Feeling like someone's trying to steal your shine? This quote is your saucy shield letting everyone know you don't play when it comes to what's yours.

This caption lets everyone know you set the bar high because, frankly, the competition isn't cutting it. In this line, you’ll catch a hint of playful dominance to showcase your own relentless drive and success. Your followers already know you're the queen, and this caption serves as an official decree.

For when you’re feeling ahead of your competition, this Cardi lyric is the ultimate "Been here, done that, still on top" statement. Use it to send a wink (and some serious shade) to the haters who still haven't caught up.

Cardi rewrote the script on outdated expectations with this verse. As the married woman next to the Houston Hottie, she took fans to school. A new fiancée or wife might use this line for an Instagram caption to evoke a tone of playful defiance – yes, you got the man but on your own terms.

This lyric is for those living their best lives and slaying the game. It's a classic one-two punch of confidence and outright shade. When you use this caption , you're not just serving looks, you're setting the standard.

This feature on Maroon 5’s “Girls Like You,” pushed back on outdated notions of romance and put a new spin on classic fairytales. If you're independent, successful and have your own definition of happily ever after – one that glitters with diamonds and roars with horsepower – use this caption on a bomb selfie.

For the girlies who slay all day and are never off-duty, this Cardi lyric is your Instagram caption for a flawless face photo. In this line, the “Drip” rapper is making the ultimate declaration of constant gorgeousness, no matter the occasion. So, if your face card never declines, this line is for you.

When you need a caption for that “Here I go” moment, pull out this Cardi lyric from “MotorSport.” It lets everyone know you don't sweat the small stuff, especially whispers from haters, detractors, naysayers or any other nonfactor. When you’re feeling especially unbothered, post that pic and your followers will be living for how you shut down the noise.

This verse is loaded with poignant caption-worthy bars , but this is a particular standout. In an age where first impressions mean more than ever before, the line says a mouthful in just a few words. This bar lets everyone know you're smoking hot and owning it.

Need a caption for those moments when you’re feeling yourself but want to shut down haters in one fell swoop? Look no further than lines from Cardi’s verse on “Backin’ It Up.” This Bardi gem oozes confidence with a hint of New York attitude. Post that fierce look and let the world know you aren't here for the negativity.

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Maggie Rogers’s Journey from Viral Fame to Religious Studies

By Amanda Petrusich

In the fall of 2021, the singer and songwriter Maggie Rogers entered the graduate program at Harvard Divinity School. For anyone unacquainted with the particulars of the degree Rogers was pursuing—a master’s in religion and public life—it might have sounded as though she were abandoning burgeoning pop stardom to reinvent herself as a priest. “It’s a peace-and-justice program, it’s not a seminary,” Rogers told me over dinner in Cambridge, in early February. “I’m not from any particular religious tradition. I was not trained in any particular religious tradition.” Rogers, who is twenty-nine, was trying to make her life feel more useful and less surreal. “I woke up one day and I was famous,” she said. “I was really burnt out. I was diagnosed with chronic fatigue. I thought I wanted to quit music. A lot of what I came here to do was to think about how to create a more sustainable structure around a creative practice.” This spring, Rogers will release her third album, “Don’t Forget Me,” a breezy collection of pop-rock songs that she wrote in consecutive order, during five kinetic, bountiful days last winter. It is, in many ways, the loosest and most elemental music she’s made.

In 2016, Rogers was “discovered”—though the word almost feels too intentional—by the polymath hitmaker Pharrell Williams, while she was attending New York University. Williams visited one of Rogers’s classes at the Clive Davis Institute of Recorded Music, a program within the Tisch School of the Arts; he was an artist-in-residence there, and she was a senior. The institute is the sort of place where, say, Questlove might teach a seven-week course on the Beastie Boys, and the Beastie Boys might show up on the final day. During Williams’s visit, Rogers played him an early version of “Alaska,” a song she’d written after going to Berlin and having “a really spiritual experience” with dance music. “Club culture, for an N.Y.U. freshman or sophomore, always meant tight dresses, a certain amount of money, the meatpacking district,” Rogers said. “I didn’t have clothes for that.” The scene in Berlin was different—less preening, more raw. “They said I had to wear sneakers or I wouldn’t get in,” Rogers recalled. Meanwhile, she was learning more about how to produce and manipulate rhythm, using both analog and electronic elements (drums, bass, synthesizers, outboard gear, programming software). “I had always thought that singing was the oldest and most primal way to connect,” she said. “When I discovered the connection people can have through rhythm, something really changed.”

“Alaska” is a brittle meditation on interpersonal dissonance. “You and I, there’s air in between,” Rogers sings on the chorus. That tension is deftly mirrored in the song’s sound. There’s something earthy about Rogers’s presence (she was brought up in rural Maryland, and played the harp and the banjo as a teen-ager), yet the song’s production is spectral, icy, electronic. Rogers told me that she wrote “Alaska” in five minutes, which is how she often works: urgently and with deep focus, as though she were channelling a faint signal.

Williams’s meeting with the class was filmed. Rogers was wearing jeans, a thrifted L. L. Bean shirt, and a necklace made from two elk vertebrae strung on cooking twine. She told Williams that she had previously made only folk music. Her professor, the producer and engineer Bob Power, interrupted: “But kind of postmodern stuff, too. It was not just boom-chicka-boom-chicka.” She clarified her intentions for the track. “All I want to do is kind of combine that folk imagery and harmony and natural samples that I’ve been picking up while hiking over the last couple years with the sort of backbone and energy of dance music,” she said. “We’ll see if I’m successful.” As the song started to play, Rogers seemed a little unsure of where to direct her gaze. The video is endearing: a young artist presenting her work and nervously awaiting judgment. It soon becomes clear that Williams is feeling it. When the track ends, he tells her that he has “zero, zero, zero notes,” and then compares her individuality to that of the Wu-Tang Clan. “I can hear the journey,” Williams tells her. “I’ve never heard anything that sounds like that. . . . That’s a drug for me.”

The full thirty-minute clip of the class, including Williams’s responses to other students, was uploaded to his label’s YouTube channel in March of that year; in June, a fan posted Rogers’s portion to Reddit. It didn’t take long for the clip to go viral. One of Rogers’s childhood friends, Nora Neil, remembered Rogers calling to say that she was trending on Reddit. “I was at my grandmother’s house,” Neil recalled. “And I said, ‘I unfortunately do not know what that means.’ That first day, those first few hours, it was, like, ‘Whoa, what is this?’ . . . Her life really did change overnight.”

Rogers was one of the first pop stars to achieve fame by unintentionally captivating the Internet, and, strangely, she was also one of the last. These days, virality is not so much a lightning strike as a marketing scheme, reverse engineered by executives and masquerading as serendipity. A. & R. representatives often scout new talent by dissecting social-media numbers, as though music could be a “Moneyball”-style game of statistics. But in 2016 the online-to-IRL catapult was still unpredictable. It was exhilarating to watch the arc of its fling.

It helped that the distinctive sound of “Alaska”—a fusion of organic and synthesized—was beginning to take hold in independent music. For a brief moment, it seemed as though drum machine meets trail mix might be the next big vibe. A bidding war broke out among interested record labels. Rogers eventually signed with Capitol, where she was given her own imprint, Debay Sounds. In early 2017, she released an adventurous, genre-bending EP, “Now That the Light Is Fading,” which included an updated version of “Alaska.” She was invited to appear on the “Tonight Show” and “Saturday Night Live,” conspicuous bookings for an artist who had officially released only a handful of songs. Those early performances were magnetic. The first time I saw her live—in April, 2017, at Music Hall of Williamsburg, a six-hundred-and-fifty-person venue in Brooklyn—the room had the charged feel of a tent revival. Onstage, Rogers can be a little wild. Her movement is spontaneous, erratic; she can appear almost possessed. In the video for “Alaska,” she strides through a forest at dusk, wearing jeans and a baggy zippered sweatshirt, her hair down, no visible makeup, periodically twisting and jerking her body in a way that reminds me of both the best modern dancers and my toddler when she hears the Supremes.

Rogers told me that when she was in middle school she won an essay contest with a piece about watching other people have fun. “I fit in enough —I’ve always had amazing friends,” she said. “I don’t mean to self-aggrandize, like I’m some great weirdo. I think I’m a pretty normal dude.” She paused, and laughed. “But also, I’m pretty abnormal.” She described her favorite artists as “fearless freaks,” and said that she believes a little bit of estrangement can be a useful creative tool: “To make something real, sometimes it helps to know what it’s like to not be like everybody else.”

Rogers’s first full-length album, “Heard It in a Past Life,” came out in January, 2019, and débuted at No. 2 on the Billboard 200. The following year, she was up for Best New Artist at the Grammys. Speaking about it now, Rogers tends to emphasize that her time line was measured, nearly quaint by some standards—almost three years passed between her viral moment and the release of her first LP—but it’s clear that the pace and the scale of her success were nonetheless unnerving. On “Light On,” a single from “Heard It in a Past Life,” Rogers sings of feeling alienated, panicked:

Tried to slow it all down Crying in the bathroom, had to figure it out With everyone around me saying “You must be so happy now”

“I was so young, but I was also old compared with the age of people going through it now. I got to fully develop, go to college, fuck off, and think I was gonna be a journalist,” she told me. “I was in dumb bands playing in clubs and there’s no footage of it.” The experience of being thrust into celebrity meant, ironically, that she didn’t have time to make music. “I’d never been less of an artist than when I became a professional artist,” she said. “There was a really specific moment, in 2017 or 2018, where I was at camera blocking for what must have been my fourth or fifth or sixth late-night performance singing ‘Alaska.’ I had a massive panic attack. I was just, like, ‘What the fuck is my life?’ I felt like a show pony.”

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Rogers’s second album, “Surrender,” from 2022—a hungry, carnal pop record about yearning for transcendence—shares a title with her master’s thesis; her appearance at Coachella in April of that year fulfilled the degree’s public-presentation component. Rogers is now in the midst of a postgraduate fellowship, which will end in May. She’s using the time to adapt her thesis into a book, a process she has found similar, in one way, to songwriting. “You have to be specific about experience,” she said. The manuscript focusses on the idea of creativity as a form of religion, and stardom as a kind of default modern pulpit. “Early in my career, people were using religious language to describe my shows,” she said. “ Rolling Stone published a piece in 2019 with the headline ‘Maggie Rogers: Festival Healer.’ The BBC published one that said ‘Billie Eilish is my cult leader. . . . Maggie is my God.’ ”

Headlines are overblown by design, but her audience’s devotion—something akin to worship—was real. The tumult of the Trump Administration and the pandemic meant that Rogers’s fans, like everyone, were increasingly desperate for moral guidance. But Rogers was, too. “I was looking for answers, just the same as everybody else,” she said. “It was really jarring—people asking me for advice on suicide, or to perform marriages. I started to realize that there was this functional misalignment with the work that I had trained to do and the work that I was being asked to perform. I was put in this unconventional ministerial position without having undergone any of the training. Anyway, that’s how I made it to divinity school. What I ended up doing was developing a system for myself to hold these things. And then I went out and tested it.”

On a recent press tour in Britain, Rogers was reminded of how much more at ease she feels now. “I was being asked to do quippy promo stuff,” she said. “But that’s not who I am or what I do. The twenty-two-year-old version of me just wanted to be great at this thing. But I can’t improv with you—I can’t be the cool, funny girl.” She went on, “I wanted to have this life, and I was willing to do whatever I needed to do to support it. But then I learned that there had to be boundaries, because I’d walk away feeling like I’d betrayed myself.”

After our dinner, Rogers suggested that we visit the Emerson Chapel, a stately, wood-panelled room where she took a writing class with the author and conservationist Terry Tempest Williams. She zipped up a long parka, and we walked across Cambridge, propelled by a glacial wind. The campus was quiet. Rogers swiped us into the building. In 1838, the transcendentalist poet-philosopher Ralph Waldo Emerson delivered his Divinity School Address to a group of six graduates and their theology professors in the room. Emerson had resigned from his position as a Unitarian minister after growing frustrated by the way that Church doctrine cloistered the sacred and the profane. In his address, he suggested that God is present in everything. “He was basically, like, ‘What if the light outside was God?’ ” Rogers said. The room smelled of lemon oil. “I only feel ready for this now ,” she said, of her career. “I feel O.K. in the center of it. Finally.” We hung around, admiring the stained glass and the pipe organ, until a security guard appeared in the doorway and said that it was time to leave.

Rogers made “Don’t Forget Me” at Electric Lady, a recording studio on West Eighth Street, in Greenwich Village. One afternoon, she offered to give me a tour. The studio was built in 1970 for Jimi Hendrix, who died less than a month after it opened but remains its guiding spirit; in a portrait that hangs in a stairwell, he’s wearing some kind of exquisite jacket, four or five necklaces, a thin mustache. His eyes are cast downward. The air smells permanently of palo santo. On a coffee table were bowls of fresh fruit and jelly beans, and a copy of that morning’s Times . Rogers used to live on West Fourth Street. “I studied studios,” she said. “I would walk by every day and look at my reflection in the mirrored glass and be, like, ‘I wonder if I’ll ever get to record here.’ It was a place that I saw myself literally, physically reflected in, during a moment in my life where I was still really, really, really dreaming.”

Even though “Don’t Forget Me” wouldn’t be released for another month, Rogers was already working on songs for her next album. She speaks about songwriting as a full-body process. “When I’m writing, the first thing I do is take my shoes off. My hands get hot. It’s so fucking physical,” she said. The work also seems to require a kind of spiritual stillness. “It’s like a puzzle,” she said. “If you can keep your focus on it for long enough, it appears. It’s right there —but the second your brain moves it’s gone.” She often enters a kind of hyper-focussed state. “When I’m onstage, or when I’m making something, I’m not thinking about who I am or what I’m trying to do. Time gets really sinewy. It’s spidery and slow. There’s wonder. And it’s just special, and I’m in it , and my hands are up, and I’m figuring it out. And then I come out of it, and it doesn’t even ever feel like it was mine to begin with.”

Since “Heard It in a Past Life,” Rogers has mostly eschewed dance music for a fuller, more rock-and-roll-inflected sound. “Don’t Forget Me” reminds me of the mid-seventies output of Linda Ronstadt and Carole King—burly, coltish, tender, fun. Rogers is no longer reliant on confessional first-person writing. “I was picturing a girl in her twenties on a road trip,” she said. “In my brain, this record takes place within the span of twenty-four or forty-eight hours. It felt like writing a movie, scene by scene.” One track, “Never Going Home,” is a rollicking, propulsive recounting of a night out, part Shania Twain, part Sheryl Crow: “We get to talking, but those lips aren’t your lips / We lean together, those hips aren’t your hips,” Rogers sings. She told me, “I’ve never lived that story, but I can picture a version of my life where I was going through a breakup and a friend was, like, ‘Shut the fuck up, we’re going out,’ and took me dancing and made me make out with some guy.” Inhabiting different characters enabled Rogers to be goofier, friskier, more mischievous. “So Sick of Dreaming” contains a chatty spoken interlude about getting stood up at a steak house which ends with “I mean, what a loser!” I told Rogers that there was a giddiness to her delivery on this album that I hadn’t heard before. “My friends all said, ‘This is the side of you that we see,’ ” she said.

Rogers wrote most of the record with the producer Ian Fitchuk. They met in Los Angeles in 2019, when Fitchuk was there for the Grammy Awards. (He was a co-writer and co-producer on Kacey Musgraves’s “Golden Hour,” which won both Album of the Year and Best Country Album.) Rogers was having dinner with the writer Lizzy Goodman, who, years earlier, had hired Rogers as an intern and tasked her with transcribing many of the hundreds of hours of interviews that later made up “Meet Me in the Bathroom,” Goodman’s oral history of the post-9/11 downtown rock scene. After dinner, Rogers and Goodman were going to see the Strokes. “I scared her when I said hi and introduced myself,” Fitchuk recalled. In November, 2022, Rogers sent him a D.M. “We hopped on the phone, and he said, ‘You haven’t captured your live performance on a record yet.’ And I was, like, ‘Yeah, that’s completely true,’ ” she told me. “My record brain and my performance brain are binary. They’ve always felt like separate crafts to me, in a way. The spontaneity is the through line.”

She and Fitchuk booked studio time that December. “I didn’t have any songs written, there was no mood board, no color board, no feeling of ‘I need to document this thing in my life.’ Everything, everything , was a first take,” Rogers said. “I was playing instruments. Ian was playing instruments. I knew when something felt like me and when it didn’t. It was really instinctual.” She added, “We worked from ten to five. I went to dinner with my friends after.”

“Often, a song was fully formed in less than an hour, and then it was on to the next,” Fitchuk said. “I find that it’s easier to work with artists who have strong opinions,” he added. “It makes it easier to know when you’re on the right path.”

Despite the album’s effervescence, many of its tracks describe the protracted dissolution of a romantic relationship. “So much of this record is a breakup album,” Rogers said. “In the time since I made it, I actually have gone through a breakup.” That relationship, which Rogers said lasted five years, ended peacefully. “I’ve really grappled with that for the last couple months,” she said. “What does it mean? It wasn’t a premonition.” For now, Rogers described her heartache as falling in love backward. “You’re as on fire and awake to the world,” she said. “Music sounds better. Food sucks.” She added, “I’ve never been single, really. I’m in a grief season with it. But I also feel a sense of freedom.”

I told Rogers that I’d noticed a theme in her lyrics: the possibility of loving someone without possessiveness or panic. “Oh,” she said. “That’s cool. That’s how I feel about love.” She paused. “I think, in choosing someone, I want to be chosen back. You know? So much of this record is about mutual culpability.” She continued, “The art that means the most to me has some friction. To me, living a beautiful life is so much about devotion, and devotion to art is about telling the truth. That’s not always an easy story to tell, especially when it points back to ‘I’m fucked up, too.’ ”

In late February, Rogers performed at Carnegie Hall, as part of a benefit concert for Tibet House, a nonprofit created at the behest of the Dalai Lama, to protect Tibetan culture under Chinese occupation. The composer Philip Glass, a co-founder of the U.S. iteration of the organization, had sent Rogers a handwritten letter inviting her to participate. “I think you would enjoy it,” he had said.

Rogers told me that she was thinking about dressing “like Beethoven” for the event, and pulled up a selfie in which she was wearing black suit trousers paired with a white ruffled shirt, not unlike the infamous frilly blouse featured in the “Seinfeld” episode “The Puffy Shirt.” “I love clothes,” she told me later. “I love the world-building. That’s the childlike part of me. It’s also an environmental factor that helps me switch between my different brains. Putting the uniform on.” When she performed on the “Today” show shortly after “Heard It in a Past Life” came out, she wore a vintage T-shirt with a picture of Eleanor Roosevelt on it, tucked into high-waisted silk pants. “I was so terrified of being sexualized in any way that I kind of crushed my own sexuality in an effort to protect myself,” she said. Now her look alternates between vaguely professorial and something more glamorous. She has adopted a different hair style for each record, including long, surfer-girl waves for “Heard It in a Past Life” and a dramatic pixie cut for “Surrender.” These days, she wears her hair golden and shoulder-length. “It’s not, like, a pop-star thing,” she said, of the changes. “Anyone who’s known me for ten-plus years is, like, ‘Oh, we’re doing this again?’ I had a pixie cut in the sixth grade, in the eleventh grade, and my sophomore year of college.” I brought up a line from “Alaska.” (“Cut my hair so I could rock back and forth / Without thinking of you.”) “Thank you!” she said, laughing. “I have receipts! To me, it’s about the externalization of an internal transition. It’s sort of the same way I’m not good at hiding the way I feel. I’ll tell you. Or you can just check out my haircut.”

At rehearsals the day before the Carnegie Hall show, Rogers met Joan Baez, who was also scheduled to perform. Rogers told me that she had long admired Baez and her “writer-bohemian” contemporaries, such as Patti Smith and Joni Mitchell. “That’s the lineage that I want to write into,” Rogers said. While the rock band Gogol Bordello ran through its set, Rogers, Baez, and the avant-garde musician Laurie Anderson danced wildly on the side of the stage. Baez was doing a kind of euphoric jig; Anderson launched into a “Saturday Night Fever”-style arm roll. Rogers moved freely, lightly up and down, a blissful bounce that looked more like levitation.

Later that afternoon, Rogers and Baez decided to sing Bob Dylan’s “Don’t Think Twice, It’s All Right” together onstage. Dylan wrote the song in 1962. It’s the most treacherous kind of breakup tune, a little bitter, a little devastated: “I’m a-thinking and a-wonderin’ walking down the road / I once loved a woman, a child, I’m told / I give her my heart but she wanted my soul / But don’t think twice, it’s all right.” Rogers called her parents and encouraged them to come up from Maryland for the concert.

The next evening began with a chanted prayer by Tibetan monks, followed by Anderson performing a version of her song “Walk the Dog,” infused with spoken koans: “We don’t know where we come from,” she intoned. “We don’t know what we are.” What followed was appealingly loose. There were some sound problems—at one point, Michael Riesman, of the Philip Glass Ensemble, performing a section of “Music in Twelve Parts,” abruptly stood up from his keyboard and strode toward the sound board, looking pissed—but the energy was pure. “I am here to read an Allen Ginsberg poem while wearing Fenty Beauty concealer,” the comedian Bowen Yang announced, before reciting “Who Be Kind To,” a lusty and ecstatic piece from 1965. (“Desire given with meat hand and cock, desire taken with / mouth and ass, desire returned.”)

Rogers had nixed the Beethoven ensemble and was wearing a less aggressively collared shirt. She ran through an acoustic version of “Alaska,” backed by the Scorchio Quartet. It was followed by “Don’t Forget Me,” accompanied by the Patti Smith Band. Rogers’s voice gets a little raw on the chorus:

So close the door and change the channel Give me something I can handle A good lover, or someone who’s nice to me Take my money, wreck my Sundays Love me til your next somebody Oh, but promise me that when it’s time to leave Don’t forget me

Soon after that, it was time for the duet. Dylan likely didn’t write “Don’t Think Twice” about Baez, though they were involved in the early sixties, breaking up for good in 1965, as Dylan’s career was taking off. “I think about her and Bob Dylan—it just makes me want to fucking wreck that dude,” Rogers told me. “That song—the more I play it, the more I’m, like, ‘This shit’s fucking sad.’ ‘Don’t Forget Me,’ too. Both are sad as shit. The idea that the baseline is just someone to be nice to me—fuck, man.” Baez’s voice is lower, heavier, and grittier these days; when Rogers joined in for harmonies, it felt like a butterfly landing on a tree branch. They swapped the song’s pronouns (“I once loved a boy, a child, I’m told,” they bellowed), which gave it a pleasantly vengeful feel. The crowd went nuts. Later on, offstage, Baez told Rogers, “You sang all the notes I would have sung.”

Beginning when she was nine, Rogers spent her summers at Wohelo, an all-girls camp founded in 1907, on Sebago Lake, in Maine. There is no electricity or running water in the cabins. One morning, she texted me some old, sepia-toned photos of the place: girls in modest bathing costumes, rowing canoes. “I learned to write letters,” she said. “There were limits on technology in my life growing up that kept my inner kid safe for a long time.” For high school, she attended St. Andrew’s, a boarding school situated on more than two thousand bucolic, wooded acres in Middletown, Delaware. These traditional institutions—including, more recently, Harvard—are steeped in a sense of stoicism, seriousness, and erudition. They have had an undeniable aesthetic and spiritual influence on her. “It wasn’t until I saw ‘The Holdovers’ that I was, like, ‘I am deeply the product of this environment,’ ” Rogers told me. “I’m so obsessed with creating something that feels timeless but modern.”

Rogers, by her own admission, can be intense. “I’m so fucking headstrong,” she told me one morning. We were eating fried eggs at Washington Square Diner, an old-school breakfast joint near N.Y.U. “I’m not wishy-washy in any way. People get scared of me. But the right people aren’t scared.” In conversation, Rogers is open, generous, and cerebral. But she is not prone to abiding inanity. (Once, when I was pestering her to describe her childhood, she stopped me, suggested that I could probably find most of the information I was looking for online, and then said, “This is a little bit like fact-check-y speed dating,” which did not feel like a celebration of my reportorial prowess.) “I’m fundamentally in the business of selling my own emotions,” she said. “There has to be some real humanity kept sacred.”

It’s easy to be skeptical of artists who suggest that no, really, they can take it or leave it—celebrity requires constant and effortful maintenance, after all—but I came to believe Rogers when she said that she was more interested in the process of making things than in whatever happens afterward. For years, I heard the single “Light On” as about love doomed by bad timing—a person asking, earnestly, What if there was a way for us to hold and care for one another, beyond the sometimes impossible confines of a traditional relationship? The chorus presents a kind of compromise:

If you keep reaching out Then I’ll keep coming back If you’re gone for good Then I’m okay with that If you leave the light on Then I’ll leave the light on

During my time with Rogers, I started to hear the song as a rejoinder to fame. The sort of attention that she commanded at the start of her career has been supplanted by a quieter, steadier sort of stardom, and she is now focussed, she said, on recognizing “that the cup is full, and not overflowing, and how nice that is.” Buttering a triangle of toast, she continued, “That’s even better—there’s no mess. I’m trying to have a good time, and make shit that I love with people I love. If that works, if it communicates or connects, awesome. If it doesn’t, eighty thousand other records came out that day. It’s O.K.!” She went on, “On ‘Heard It in a Past Life,’ I was very commercially ambitious. On ‘Surrender,’ I was very artistically ambitious. Now I’m in this era where it feels very personally ambitious, in the sense that I’m just trying to have the best time while I’m here.”

Musically, a focus on pleasure seems to suit her. The songs on “Don’t Forget Me” aren’t quite as tonally striking as “Alaska,” but they have an intoxicating ease: Rogers sounds unhurried, languid, free. I hear the single “So Sick of Dreaming” as a kind of modern companion piece to Linda Ronstadt’s “When Will I Be Loved,” a No. 1 country hit in 1975, written by the Everly Brothers. Both are refutations of selfish lovers, though “So Sick of Dreaming” contains a bolder declaration of independence. “I’m so sick of dreaming,” Rogers sings. “Oh, I’m all that I’m needing.”

I asked Rogers if she ever wished that her rise to fame had come about differently. She thought for a moment. “I wish that I had uploaded ‘Alaska’ myself,” she said. “But, because of the way it happened, this deeply unguarded version of myself as a student is the version people first saw. My authenticity was full and center. I didn’t have the chance to put on the mask.” She has also had to contend with another very famous person being an inextricable piece of her origin story. “I was being asked about him every single day, and had to be, like, ‘I don’t know him. You’ve seen everything,’ ” she said. More recently, she and Williams have reconnected. “Pharrell and I are friends now. He’s so cool—duh.”

The experience of performing “Alaska” at Carnegie Hall, in front of people culled from various corners of her life—her parents, classmates from Harvard, old professors, her musical peers, Joan Baez—felt like an apotheosis. “I’m gonna get emotional talking about it,” Rogers said, her eyes slowly filling with tears. “It’s been almost ten years since I wrote that song. I was thinking about the person who I was when I wrote it, and thinking about where I am now. I think the girl who wrote that song would be really proud.” She has been experiencing a lot of moments like this lately. In late March, she performed with Bruce Springsteen and the country singer Zach Bryan at the Barclays Center. “Craziest shit in the entire world,” she said the next morning. “My hand is purple. I overenthusiastically tambourined and gave myself a bruise.”

Rogers recently bought an apartment in New York. It was on a list of three things (find an apartment, release a new album, finish the book) that she wants to do before she turns thirty, at the end of April. One afternoon, she and I decided to visit the Dream House, a site-specific “sound and light environment” conceived in the nineteen-sixties by the minimalist composer La Monte Young and his wife, the multimedia artist Marian Zazeela. The Dream House has been situated in a two-room, third-floor space in Tribeca since 1993. (Young, who is eighty-eight, lives downstairs; Zazeela died last month.) Inside, two atonal compositions (one by Young and one by the artist Jung Hee Choi) play on large speakers. Neither of the pieces gestures toward melody or rhythm, and, because of the way that the speakers are arranged, every movement, however slight—a breath, a blink—changes the shape of the sound. Zazeela’s lights give the room a cool, pinkish-purplish glow. If you’ve ever walked by a buzzing neon sign late at night and wondered what it would be like if you could squeeze your entire body inside and slowly dissociate from time and space—welcome to the Dream House.

Shoes are not allowed, and, given the volume, talking isn’t possible. If you arrive with a companion, you will have to figure out a subtle little gesture to indicate to each other that your insides have been rearranged and you are ready to depart. The space features thick white carpeting. A stick of incense is perpetually crumbling to ash. After a while, Rogers and I sort of loonily nodded at each other, and stumbled back onto the street. She asked me if I knew how long we’d been inside. Time felt elastic. I guessed that it had been fifteen minutes—thirty, tops—though it had actually been an hour. “Dude,” Rogers said.

Outside, it was bracingly cold. We wandered around until we found a tiny champagne bar, which felt like an appropriate coda. Inside, we toasted to the Dream House, to dreams, to dreaming. Rogers said she’s trying to inch further away from the isolation of what she refers to as “first name, last name” pop stardom. It has been helpful to focus on music as an inherently communal practice, shared with her collaborators and her fans. “I had all these moments in the early years where I felt really alone,” she said. “I was putting so much of it onto one leg. Now it’s a tripod, and it’s so much more sturdy.” ♦

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By Kelefa Sanneh

By Justin Taylor

‘Flood’ Director Katy Scoggin on Exploring Her Own Escape From Christian Fundamentalism in Visions du Réel Doc (EXCLUSIVE)

"Citizenfour" director Laura Poitras is executive producing the project

By Annika Pham

Annika Pham

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New York-based director/producer Katy Scoggin has worked with high-profile U.S. documentary filmmaker/journalist Laura Poitras on two shorts and three features, notably as co-producer and DP on Poitras’ Oscar-winner “ Citizenfour ” and Cannes Directors’ Fortnight’s “ Risk .”

Poitras now serves as executive producer on Scoggin’s feature debut “Flood,” one of six creative documentaries to be pitched as works in progress April 16, at the Visions du Réel festival in Nyon, Switzerland.

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The documentary was produced by Scoggin and Will Lennon for Archelon Films, and executive produced by Poitras, Nico Opper and Adam Blackman. It received support from ITVS, the Alfred P. Sloan Foundation, the Sundance Institute, Film Independent, DCTV, Doc NYC, the NYU Production Lab, Gotham Documentary Lab, MacDowell, Logan Nonfiction, Women Make Movies and BAVC Media. Delivery is scheduled for later this year.

We spoke to Scoggin ahead of Visions du Réel.

First of all, you’ve collaborated with doc luminary Laura Poitras on many of her award-winning films. What would you say you have learnt from working with her?

Katy Scoggin: Most of what I know about verité-filmmaking comes from working with Laura. I started as an intern, then evolved as an associate producer, a co-producer and camera person. Not every filmmaker would take someone else under their wing. She is still doing this, and this work wouldn’t exist without her.

After working with Laura on three features (“The Oath,” “Citizenfour,” “Risk”) and two shorts (“The Program,” “Death of a Prisoner”), I went home, looked inside my own gut, and found what power I wanted to speak to. Mine was evangelicalism. And the first way to do that, the first step was to make a vérité piece about my dad.

Could you expand on your initial idea for “Flood”?

Scoggin: What triggered the work was a deeply felt need to untie the knots of my most complicated relationships: first and foremost, my relationship to my father. Alongside and connected to that, my relationship to – and my break away from – evangelical Christianity.

Though it was exhibited to me as a subculture, at heart, evangelicalism is a form of Christian fundamentalism. Thus, it can feel all-consuming to a person who was raised inside that paradigm.

Through my creative art and filmmaking practice, I’ve been crafting “Flood” for about 16 years. Its first iteration was as a short scripted film, which I wrote and directed in 2012 as a film school student. I spent a few years adapting it into a feature film. My research took me into the fossil beds of western Kansas, which quickly became a spiritual journey for me.

Then while I was working with radio journalist Karen Duffin on a creative idea we came up with together, she interviewed me about my filmmaking practice, and in becoming her interview subject, I thought I might better be able to understand the version of me I was trying to write.

How did you approach your family, considering you had been estranged from them for a while?

Today, there is deep religious and ideological division in my family. My father is the only one of us who has remained fully in the evangelical Christian fold. I broke away in my early 20s and left entirely aged 25. My mother and sister have evolved away from “the faith,” as we call it.

The first time I approached my dad was through a recorded phone call. He begrudgingly agreed to be filmed. I sat in the back of a car cowering behind my camera and filming the back of his head and his eyes in the rear-view mirror. I felt scared, but eventually, I entered the frame of the camera (what we call entering your own POV in film – Dorothy does it in “The Wizard of Oz”) and thus embarked on our filmmaking journey together.

I was able to use my vérité filmmaking practice to observe him, and documented [among other things] his 25th and final year of teaching math and science at an elementary school. Through my camera lens, I saw him as a loving, wise, very scientifically-minded, sometimes firm and jovial teacher. Here, I regained respect and lost some of the fear I’d held onto since childhood.

What were the biggest challenges during the filmmaking process?

Then letting go of my own anger and rage – at evangelicalism, fundamentalism, misogyny, patriarchy etc. – was a significant challenge. Everyone’s process of releasing anger is a little different, but in sharing my own, perhaps I can inspire other people who have suffered from religious harm.

Building a team was another huge challenge, although almost all of my collaborators are fellow filmmakers with whom I had worked professionally. Laura [Poitras] was a guide and mentor from day one. I approached editor David Cohen after watching all of his previous films and hearing great feedback from trusted colleagues like EP Nico Opper and editor Erin Casper, people who knew his depth and talent and his ability to “cut funny.”

On the production side, how did you hook up with your producer Will Lennon, and how did you raise financing?

Financing-wise, I was working alone for a while. This is how it is in the U.S. – you work until you run out of money, then raise more money. What allowed me to build a team was ITVS, the U.S. public TV funding. They came in with $350,000, which made a big difference.

After “Citizenfour,” having spent a year and a half in Berlin, I came back and was hired as a camera woman on a TV project [“Primaries”], produced by Will. We worked together for a year on the 2016 presidential campaign trail – attending all the conventions – Democrat, Republican and more. We basically saw America together. This is when we got close. He grew up in Missouri, the evangelical heartland of America but never was evangelical himself, so he understands where I come from. He and his partner Sarah Ginsburg [one of the DPs on “Flood” with Spencer Worthley, Michael Rossetti, Nathan Trusdell] also run a philanthropic organization.

Now that the film is closer to complete, on a personal level, I am beginning the grapple with my queerness. The feeling is – I can’t hide anymore, so I might as well be who I really am.

When will you deliver the film?

We hope to do picture lock later this spring and hopefully we’ll premiere it at a festival this fall. I’d like the release to coincide with the U.S. presidential elections. At a time when communities are polarized, and far right movements are on the rise in many parts of the world, it’s urgent to create understanding, to promote communication and love. Hopefully the film will contribute to this.

What do you hope to achieve at Visions du Réel?

First of all, I’m looking forward to reconnecting to the amazing people behind this festival who have been tracking my film since 2018.

(The interview has been edited and condensed for clarity.)

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