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The Godfather of Soul invented funk with this record. This great title is actually two sentences spliced together, the first in the imperative mood, the second indicative of a lover’s support. "You’ve Lost That Lovin’ Feelin’" -- The Righteous Brothers. "(I Can’t Get No) Satisfaction" -- The Rolling Stones.
But in the early 1960s, a black man from the South demanding respect carried powerful meaning. Although Pat Boone bleached all the sex and soul out of this tune, Little Richard chose a title that reflected the raving lunacy of The Other -- a gay black man who wore makeup when he played and who always sounded like he was screaming in church. Louie is the name of the bartender who hears the singer’s lament about his lost love. Like the word "secret," the word "mystery" always teases the audience into wanting more. Unlike the hyper-sexualized lyrics of some hip hop songs, early rock and roll conveyed sexual power through the rhythm and feel of the music, but also through veiled language such as shake, rattle, roll, rock, jazz, juke, all of which were euphemisms for sex. I love all the O’s in the this title, a vowel patter that makes you want to shake your assonance. "(Sittin’ On) The Dock of the Bay" -- Otis Redding. That even within the limit of eight words, the writer can use the tools of grammar, syntax, slang, punctuation, diction and narrative to open a door to tone, voice and meaning.
—you might say that Steven Blier, NYFOS’s artistic director, and Michael Barrett, associate artistic director, have a knack for the art of programming.
A select group of Juilliard singers will be the beneficiaries of their expertise when NYFOS teams up with the School’s Department of Vocal Arts for its third annual collaboration in a program titled “A Modern Person’s Guide to Hooking Up and Breaking Up.” For this year’s program, which will feature undergraduate and graduate singers, as well artists from the Juilliard Opera Center, Blier and Barrett decided to choose a theme that their cast of singers knows firsthand: dating in all of its guises.
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Songs have been written about every topic imaginable, but the best ones -- from swooning '50s ballads to contemporary club bangers -- have been penned about the ups and downs of being in love.
Hopefully you will all have fun meeting singles and try out this online dating thing... He has served the Institute as its first full-time faculty member, dean, vice-president, and senior scholar.He contributes regularly to on topics such as writing, reporting, editing, coaching writers, reading, language and politics, American culture, ethics, and the standards and practices of journalism. His most recent include Writing Tools, The Glamour of Grammar, Help!Marsh, who became Bruce Springsteen’s agent, lists in order of his preference the 1,001 greatest songs of the rock era. This title is a sentence, but the key is the pronoun “it” which generates a narrative mystery: What did he hear? Imagine Julie Andrews trying to sing it: “I Cannot Get Any….” 7. Similes work in poetry, in ballad lyrics, even in song titles, a simile that lent its name to an English rock group and to a well-known rock and roll magazine. It shows that a word can work at multiple levels for different audiences.It occurred to me that, in general, great songs have great titles, so I decided to take the first 15 on the list and deconstruct them for language and meaning. The narrative meaning derives from a domestic scene, a musician coming home from the road looking for respect from his woman. I love the way this title attaches the infinitive “to run” to the adverb “nowhere.” The American Heritage Dictionary recognizes a noun form of nowhere as well, a state of nonexistence as in “the road to nowhere.” But parts of speech cross-dress all the time, which is how the Beatles could turn the word into an adjective: “He’s a real Nowhere Man living in a Nowhere land, making all his Nowhere plans for Nobody.”) 11. The production values in this version of an older island song were so poor that no one could make out the lyrics, leading to urban legends that they were filthy. Who says you can’t end a sentence with a preposition? The rules were made to be broken, piano stools were made to be kicked over and pianos to be lit on fire.
Arctic Monkeys- I bet that you look good on the dancefloor...