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...excellent example of the beauty of slower, exacting, and quieter tap-dancing. Driscoll, Kurdyla, and Wruble performed tight tap rhythms that counterbalanced the choreography’s whimsical use of gestures such as yawning, stretching, and falling asleep. The three dancers precisely and calmly complemented the mellow song with their footwork, infusing the piece with effervescence without being overbearing...

Author: By Sophie O. Duvernoy, CONTRIBUTING WRITER | Title: iDance Jazzes Up HDC | 11/16/2009 | See Source »

...what’s best about this number is the struggle Kurt brings to it. “I’m through accepting limits ‘cause someone says they’re so,” go the empowering lyrics, but his performance turns the song into a tragedy about accepting limits, and he’s near tears from the first note to the final, self-sabotaged moment...

Author: By Luis Urbina, CRIMSON STAFF WRITER | Title: Recap: “Wheels” | 11/14/2009 | See Source »

Despite only making a few appearances, the titular sorcerer is perhaps the operetta’s most memorable role, and Koven certainly delivers, blazing through the patter song “My Name is John Wellington Wells” and eliciting gasps of delight from the many children in the audience during his other numbers. As Koven seems to understand, the character’s distinctive combination of weird and respectable qualities exemplifies Gilbert and Sullivan’s preoccupation with juxtaposing the ironic and absurd...

Author: By Julian B. Gewirtz | Title: Cast of ‘Sorcerer’ Spellbinding | 11/13/2009 | See Source »

...first song, “Cowboy Casanova,” despite its title, is a distinct break from Underwood’s earlier work. It affects a Lambert-lite stomp and swagger, but Underwood is no rockstar. She sings in perfect pitch, but there is no feeling; in a market where the pop audience demands sincerity, or at least heart, Underwood can provide neither. Worst of all, the song lacks recognizable hooks or an engaging melody. It’s all bluster, no substance...

Author: By Keshava D. Guha, CRIMSON STAFF WRITER | Title: Carrie Underwood | 11/13/2009 | See Source »

...murderer’s row of pop songwriters: Max Martin, Savan Kotecha, Chantal Kreviazuk and—now it all begins to fall into place—”American Idol” judge Kara DioGuardi. DioGuardi is partially responsible for “Mama’s Song,” a toe-curling piece of moralizing that, along with “Change” and “Temporary Home” (about homelessness), constitutes the album’s musically and emotionally hollow core...

Author: By Keshava D. Guha, CRIMSON STAFF WRITER | Title: Carrie Underwood | 11/13/2009 | See Source »

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