Word: choruses
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...that lead to their own extinction in your consciousness. Or perhaps it’s the sense of menace, magnified by Valle’s low whisper, that curls you into the song’s harmonic arms while the brontosaurus beat stomps forward. The tracks rotate upon revolving choruses and repeating lines (e.g. “There’s no harm / There’s no harm / There’s no harm done”) but the circles shift sufficiently to make the songs interesting. Slow harmonic builds like...
...song starts with the tale of a small-town girl and then, suddenly, a city boy. Journey never mentions them again. This is followed by a rocking guitar solo, and then a new setting: a smoky room. What is going on? Whatever it is, it is fucking awesome. The chorus is equally frenetic: “Streetlights...people...whooaooooaaahhh.” WTF is lead singer Steve Perry talking about?!? Perhaps our generation, with our short attention spans, is too focused on the shallowest sections of this song. Perhaps what we should be listening for is the ultimate message...
...song, like many other Young Jeezy tracks, touts the street lifestyle—it’s for those who “trap all day” and “play all night.” The hook? R. Kelly’s mellifluous voice on the chorus, not to mention the video’s blatant disregard of color. The video opens with Jeezy leaving what appears to be a run of the mill, middle-class household, only to get into what is clearly not a run of the mill Lamborghini. Jeezy dons gigantic sunglasses that serve...
...observe the facial expressions of the singers to understand the lyrics, but in numbers where three or four people sang, the screen was useful. While the production was enjoyable overall, the final scene of “Figaro,” in which the actors stood in a chorus line, did not fit quite well with da Ponte and Mozart’s already saccharine ending. It could be argued that the move emphasizes the ridiculous events that unfolded during the day, but because the final number, “Let Us All Forget and Forgive,” ties...
...have always had a sort of soft spot for DHO because one of the first productions I did at Harvard was DHO’s “Cosi Fan Tutte.” I was only in the chorus, but I had a wonderful time. My junior year, I had a more substantial role in DHO’s “Dialogues of the Carmelites.” So I guess I never really left...