your long journey lyrics

"Your Long Journey" lyrics

Robert plant & alison krauss lyrics.

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Robert Plant - Your Long Journey Lyrics

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Your Long Journey Lyrics

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Your Long Journey

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Your Long Journey Lyrics as written by Rosa Watson Doc Watson

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Robert Plant - Your Long Journey Lyrics

Artist: Robert Plant

Album: Raising Sand

Genre: Rock

God's given us years of happiness here Now we must part And as the angels come and call for you The pains of grief tug at my heart Oh my darling My darling My heart breaks as you take your long journey Oh the days will be empty The nights so long without you my love And when god calls for you I'm left alone But we will meet in heaven above Oh my darling My darling My heart breaks as you take your long journey Fond memories I'll keep of happy ways That on earth we trod And when I come we will walk hand in hand As one in heaven in the family of god Oh my darling My darling My heart breaks as you take your long journey

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Your Long Journey Chords

Robert plant and alison krauss.

Capo 2nd fret

Standard (EADGBE)

D God's given us years of A happiness D here

Now G we G/D must G part

And as the angels A come and D call for you

The A pains of D grief G tug G/D at my D heart

Oh my A darling

My D Darling

My heart A breaks as you D take your G long G/D jour D ney

D Oh the days will be empty

The A nights so D long without G you G/D my D love

And when God calls for A you I'm D left along

But A we will D meet in G he G/D aven D above

D Fond memeories I'll keep of A happy D ways

That on G earth G/D we D trod

And when I come we A walk D hand in hand

And A one in D heaven in the G fam G/D ily of D God

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Your Long Journey

Robert plant , alison krauss.

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Alison Krauss

Alison Maria Krauss (born July 23, 1971) is an American bluegrass-country singer, songwriter and musician. She entered the music industry at an early age, winning local contests by the age of ten and recording for the first time at fourteen. She signed with Rounder Records in 1985 and released her first solo album in 1987. She was invited to join the band with which she still performs, Alison Krauss and Union Station (AKUS), and later released her first album with them as a group in 1989. more »

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Written by: DOC WATSON, ROSA WATSON

Lyrics © Downtown Music Publishing

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Who Are the Favorites to Win Eurovision?

Some of the buzziest acts taking part in Saturday’s final hail from Croatia, Israel and Ukraine.

By Alex Marshall

Reporting from Malmo, Sweden

Follow live updates on the 2024 Eurovision Song Contest final.

On Saturday, acts representing 25 countries will compete at the Eurovision Song Contest, the high-camp competition that is also world’s most watched cultural event. The winner is chosen by a combination of votes from music industry juries in participating countries and viewers watching at home. Sometimes, they reflect the strength of individual performances; other times, politics comes into play.

Who is most likely to triumph at this year’s event in Malmo, Sweden?

It won’t be Joost Klein, a madcap musician representing the Netherlands. On Saturday morning, Swedish police said in a statement that they were investigating a man “suspected of unlawful threats” toward a Eurovision employee, and that officers had passed on a file to prosecutors. A few hours later, Eurovision organizers said in a statement that it was Klein under investigation, and that “it would not be appropriate” for him to compete while a legal process was underway.

Here are the five acts who may have the best chance at winning, based on European bookmakers’ odds and online chatter.

Baby Lasagna

The bookmakers’ favorite is Baby Lasagna, representing Croatia, with “Rim Tim Tagi Dim” — a madcap three-minute mixture of heavy metal and dance music.

The song begins with Baby Lasagna — real name Marko Purisic — singing to his mother that he’s a “big boy now” and wants to leave his family’s village for the city. “I’m going away and I sold my cow,” he sings, before calling for the villagers to join him one last time in a local folk dance.

In a recent interview, Purisic said that although the song may seem a little ridiculous, it was also a serious attempt to draw attention to Croatia’s ongoing problem with youth emigration.

Purisic said that winning the song contest wasn’t his aim. After a long career as a rock songwriter for hire, he said, last year he considered changing tack, and applied for a stable job in Croatia’s tourism industry. But with the success of “Rim Tim Tagi Dim” — which has had millions of views on YouTube — he now hoped to build a career as Baby Lasagna, he said. “If I do that,” he added, “then I win.”

By Saturday morning in Malmo, Israel’s representative, Eden Golan, had risen in European bookmakers’ rankings to be second mostly likely to win, according to Oddschecker , a betting aggregator.

This comes after months of campaigning from pro-Palestinian groups and some Eurovision fans to get the contest’s organizers, the European Broadcasting Union, to ban Golan from taking part because of Israel’s war in Gaza.

These tensions were clear at Golan’s semifinal performance on Thursday, when some audience members booed, while others tried to drown them out with cheers.

Golan’s song was initially called “October Rain,” an apparent reference to last year’s Hamas attacks in southern Israel. The European Broadcasting Union, which runs Eurovision, objected that the title and some of the song’s lyrics were overly political, and asked Israel to change them. Golan tweaked the song, which is now called “ Hurricane .”

Representing Israel on the world stage “has such huge significance and meaning, because of what we’re going through,” Golan said in a recent interview. “I won’t let anything break me, or move me off track.”

Read The Times’s profile of Golan .

Bambie Thug

In recent weeks, the dark spectacle of Bambie Thug’s track “Doomsday Blue” has won the Irish entrant fans on social media — as has the singer’s outspoken pro-Palestinian stance and criticism of Israel’s involvement in Eurovision.

Eurovision organizers ban artists from making political comments on its stages, saying the competition is meant to unite, not divide. But the Irish entry — real name Bambie Ray Robinson — has tested those rules. At a Tuesday news conference, Bambie Thug, who is nonbinary and uses they/them pronouns, said that Eurovision had demanded they remove pro-Palestinian slogans from their outfit. On Thursday, Bambie Thug wrote on Instagram that “my heart and prayers are with the people of Palestine.”

At one point during Bambie Thug’s semifinal performance on Tuesday, the singer stood in the middle of a pentagram, encircled by burning candles. Then they danced seductively with a man dressed like a demon. As the track ended, the phrase “Crown the Witch” appeared on huge screens at the back of the stage.

Switzerland

Switzerland’s entrant, Nemo, has an absurdly catchy track called “The Code,” in which they sing rap and sing operatically about their journey to realizing they were nonbinary.

“I went to hell and back / To get myself on track,” Nemo sings in the chorus: “Now, I found paradise / I broke the code.”

Throughout its 68 year history, Eurovision has often featured L.G.B.T.Q. performers, with past winners including Dana International, a transgender woman, and Conchita Wurst, a drag act . Yet this year is the first time Eurovision has prominently featured nonbinary acts like Nemo and Bambie Thug.

In a recent video interview, Nemo, 24, said they were “amazed” that Eurovision fans were connecting with their “deeply personal” track. “I think the message behind the song is quite universal,” Nemo said: “We all know that feeling of wanting to break free from something — everyone has a code to break.”

Alyona Alyona and Jerry Heil

In 2022, months after Russia’s invasion, Ukraine won Eurovision with Kalush Orchestra’s track “Stefania.” This year, Alyona Alyona and Jerry Heil, a rapper and singer representing the country, are among the favorites to win.

They are competing with “ Teresa and Maria ,” an emotional song referencing Mother Teresa and the Virgin Mary.

In a recent interview, Heil — real name Yana Oleksandrivna Shemaieva — said that Eurovision was a vital opportunity to focus attention on the country’s plight. “We need to show the world that we still need their help,” she said.

As much as the pair want to win Saturday’s final, Heil said it would be a bigger victory if Eurovision fans would start listening to Ukrainian pop year-round. “That is the only way we can be visible every day,” Heil said, rather than “from Eurovision to Eurovision.”

An earlier version of a picture caption with this article reversed the identifications of two of the acts competing in Eurovision. Alyona Alyona and Jerry Heil, of Ukraine, are bottom right, and Bambie Thug, of Ireland, is bottom left.

How we handle corrections

Alex Marshall is a Times reporter covering European culture. He is based in London. More about Alex Marshall

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Bowen Yang’s Dangerously Authentic Journey: “I’ve Had to Learn It the Hard Way”

By David Canfield

Bowen Yang as a straight guy. The concept for one of Saturday Night Live ’s strongest pretaped sketches this season couldn’t sound sillier or lighter. Yet for its star, it marked a subtle breakthrough. Here was a versatile performer who’d imbued the series with a crucially modern queer aesthetic—as, still, one of the few openly gay cast members in its history—sending up the persona he’d smartly honed over five seasons. The sketch succeeded by playing into audiences’ assumptions of “what Bowen is going to do on my television,” as Yang puts it on this week’s Little Gold Men (listen or read below). And it reflected a broader mantra that the Emmy nominee brought with him this season: Try anything and everything.

From Yang’s stellar work opposite hosts including Ryan Gosling and Kristen Wiig to his definitive spoof of ex-congressman George Santos, the mantra has served the comedian well. He’s steadily emerged as an anchor of SNL ’s current ensemble and continues to stretch himself, keeping viewers on their toes. Plus, the creative breakthroughs have arrived at a major inflection point for Yang. He’s starring in big-ticket Hollywood productions like the upcoming Wicked movies. He’s getting schooled by SNL legend Tina Fey on the rules of being, well, famous. And he’s navigating the intersecting, maddening mazes of mental health, career opportunity, and personal fulfillment. There’s no better time to catch up with Yang about it all.

Vanity Fair: I last spoke to you when you were in your second season on SNL. How would you chart the evolution for you from then to now, or season five?

Bowen Yang: I was thinking about this today. Maybe it sounds so press-friendly to say that everything’s changed and nothing’s changed at all, but I really feel that way. Nothing fundamentally has changed about the job since that time, and yet I feel a sort of healthy comfort. It’s tough to feel too much comfort. It’s potentially sort of—not dangerous. Or maybe it’s a red flag to feel comfort at SNL, right? Maybe that means it’s your time to go. But I feel like there’s a comfort setting in for me that makes it so that the day-to-day is not quite as tumultuous or perturbing as it once was.

I would be really rattled back in the day, early on, when on a Friday morning they’d be like, “Oh, maybe we’re going to order up a Weekend Update piece from you.” Always a huge gift and a great privilege, but that would really stress me out in an earlier time. Now it’s like, Okay, this is part of my charge as a cast member here. This is part of the work.

In the past few years, you’ve experienced a bit of a change in profile too. How have you balanced other commitments with the show?

This is when Lorne Michaels comes in. Whatever you think about the situation, however you think it’s unique to you, however you think you might be the exception to the rule, Lorne is here to be like, “Actually, it might not be so good on the body for you to fly back and forth between New York and London to go shoot a movie.”

By Chris Murphy

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Wicked, for example.

I’ll say Wicked, for example. [ Laughs ] Which was an incredible experience and I wouldn’t trade it for anything, but I really thought I could hack it. I was like, Okay, I’ve got my nootropic gels that I’m going to suck on the airplane, and I’m going to take my little CBD potions that are going to help me fall asleep and get over the jet lag. I had all these things in the armory, and then none of it really could beat back that tide. It really did get to me just on a somatic level—I was just like, Wow, my body is refusing to lift an arm, or whatever. It really got to that point that was a little mentally fraying. It was a tough summer, just between the strikes and the constant bouncing back and forth.

Last time we spoke, you said you went into SNL thinking you were going to try to do everything. Then you learned what your wheelhouse was and thought it was okay to zero in on that. I’m wondering how you’ve broken that rule, because it feels like this season you’ve broken some new ground for yourself.

I’m so glad you say that, David. In a way, that was not intentional. The reason why the wheelhouse was broken and rearranged and reconfigured and the blueprints are all drawn up again is because I did not go into the season with any intention. I went into this being like, I’m just going to do whatever, and it kind of afforded me some latitude. That’s the whole point of the show: It’s a variety show. Let me try to figure out how to work in a pretape setting that I haven’t done before. Let me do a backstage piece where I’m playing a version of myself that is so ridiculous and heightened and I’m actually straight. It was nice to have a little finger bowl in each of these areas: the cold open, the pretape, and Update, obviously, which is a really nice place to return to.

Was there anything this season that felt like jumping off a cliff?

Yeah. It was jumping off a cliff in that I didn’t know what I was doing until minutes before, which was the George Santos cold open . The expulsion. I didn’t get the lyrics until minutes before, both for dress and air, because there were changes between both performances. I didn’t see a script until minutes before I walked out. That was kind of thrilling, also completely destabilizing for me because I was like, This isn’t how I work. Not in a histrionic way, but just like a, Oh no, this is not the process. It was just going to be me at a piano—fake-playing, but still, the image of someone at a piano was so specific in SNL vocabulary. And I was like, Okay, I understand that it’s a subversion of that, and so self-indulgent for the character of George Santos to be doing this and playing himself off, but it was pretty scary. It was something that Lorne sat me down for, which he never usually does…. He called me into his office, sat me down, and was like, “You’re doing Santos. You’re singing ‘Candle in the Wind.’ How do you feel?” I’m like, “I guess I can do it.”

It’s a great show of faith, right?

Yeah. Of, “Good luck,” like, “Don’t fuck it up.” [ Laughs ] That is the peak experience at the show: just fly, and if you crash, great. If you soar, even better.

Let’s talk about “Bowen’s Straight,” which you alluded to. You’ve described it as “a harrowing journey to conception.” The sketch took literal years, right?

I believed in it so much because—by my own doing, or by the way that an audience is able to digest me in a very quick way—there’s this, “I have my preconceived notions of what Bowen is going to do on my television.”

It’s going to be gay.

It’s going to be gay. [ Laughs ] This is what we were talking about years ago. This is the wheelhouse: “No problem, I don’t have to feel self-conscious about this; I don’t think it is harmful. I don’t think it’s me painting myself into a corner.” There was that investment over time into that idea that the audience’s predictive capacity with me is going to be spot-on. My enthusiasm around doing that sketch wasn’t about proving anybody wrong, it was just about having this layer of awareness around that idea. What a perfect thing to be like, “Oh, I’m just doing this—it’s my meal ticket.”

The character of Bowen in this context is someone who has maintained this image for so long, and finally the audience gets to see what it’s about. And Sydney Sweeney, who for some reason is really titillated by this, is the audience surrogate and gets sort of pulled into that.

And man, she sells it.

I can’t get over how well she sells it. She’s so good. I told her to her face. I was like, “You know, Sydney, you’re one of those actors who, the first time I saw you do something”—for me, it was Euphoria, and it was seeing Cassie in that first Cassie-centric episode, and I was like, Who is that? She’s one of those actors where you’re like, Oh, something’s going on here. This person is really compelling. And that sustained itself throughout the entire week when she was hosting. I was really captivated by the way she was approaching things and the way she was finding ways into sketches. And we were running this in her dressing room before the read-through on Wednesday, and when she shoots me that glance, like she’s spellbound, we all screamed in her dressing room because it was like, Oh my God, what’s happening? [ Laughs ] So many little things, like her looking at her own hair when I say that I’m into blondes—that was totally her.

Was there another sketch this season that you felt like you really had to fight for, that you felt really proud made it through?

It wasn’t so much of a fight as much as a, “This’ll make sense.” My writing partner at the show, Celeste Yim, and I had this idea for a sketch. We were watching a bunch of TikToks of Troye Sivan doing dances to his song, and we’re like, “There’s something mesmerizing about this, but he seems to know that it’s a little goofy. What’s going on here? What do we do with this?” And then Asha Ward, another writer, was like, “What if he’s just a sleep paralysis demon ?” The challenge from there was, how do we package that idea? There’s already a lot of layers there. How do we communicate to people who Troye Sivan is? How do we tell Lorne who Troye Sivan is? [ Laughs ]

It felt like all these stage gates we had to clear, but then I think we just had to get it right for read-through, and then from read-through, it was basically the version of what we performed on the show. It was pretty successful in that setting. Lorne thought, I don’t know what this is really about, but I trust it. It was mostly just us from Wednesday on to Saturday being like, “Is this going to work? I don’t know if this makes any sense. Do we have electrodes on Sarah [Sherman] ’s head so that when she describes it, he shows up?” All of these logic-staging questions that we had. It was solving this really crazy puzzle. I think we ended up doing it.

In my corner of the internet, it was a much-talked-about sketch, which makes me wonder how much you track how people are responding to things, and whether healthy distance is important. How has that changed for you?

I think healthy distance is incredibly important…. I keep talking about this movie Perfect Blue by Satoshi Kon, and it came out in 1997. This pop star who wants to transition to acting comes across this blog that’s written in her voice as if it was her: “This is what happened on set today.” And she’s like, “I never wrote this, but how does it know?” It reflects back this version of herself that is manufactured by the internet, and she doesn’t understand what her reality is anymore because of this. That is the Twilight Zone / Black Mirror, before Black Mirror, example of what it can do if you really dive into this really distorted ocean of opinions and analysis and digestion and all these things. I’ve had to learn it the hard way: It’s not the right thing.

I am going to ask you now about “authenticity is dangerous and expensive,” which is something Tina Fey told you on your podcast , Las Culturistas. It went viral earlier this year. I would love to know how you heard it, how you’ve processed it, and how you’ve related it to what you were talking about there.

Yeah. I’ve watched that a million times. [ Laughs ] It’s such a Tina Fey piece of writing at the end of the day. She’s a genius. Authenticity is dangerous and expensive. It’s both correct and also so devastating to everyone involved. It’s dangerous and expensive to who? To the person who hopes to be authentic? To the audience that wants authenticity? What is it? I think it works all these different ways, and when I heard it, it was like vehicular manslaughter. I was like, This is crazy. She was directing it literally at me! I think I’m still in the process of processing. We’ve been doing the pod since, and every week there’s been that sort of baseline throughout each episode where it’s like, Okay, but how honest—how honest should we be on there?

Another barrier, or another yardstick of distance for us, is, Okay, maybe people don’t need to mainline our thoughts all the time, and we’re just like anybody else where I don’t want to know what someone else is thinking at all times, on every situation, on every topic. Right now, today, that is my interpretation of “authenticity is dangerous and expensive.” No one should want anyone’s unfiltered thoughts constantly—or even in small doses. We have these filters for a reason, and we can modulate our response to things or our opinions on things for a reason. That applies to everybody.

This interview has been edited and condensed.

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