"Is There Somewhere Else?" describes a reunion with a former lover, perhaps the same person from the song. The poem explores the comfort of an ex's familiarity, contrasted with the space that grows in between two people over time.
This may reference Halsey's ex-boyfriend, Zach Merritt. He's the boy who "lives behind bricks" described in Halsey's song "Hurricane," and he built an actual fountain named "hopeless fountain kingdom" off of the L train's Halsey street stop in Brooklyn.
In November 2018, the Cultural Committee of Chile's lower house voted in favour of renaming Santiago's main airport after Neruda. The decision sparked protests from feminist groups, who highlighted a passage in Neruda's memoirs describing the rape of a young house maid in 1929 while stationed in Ceylon (Sri Lanka). Several feminist groups, bolstered by a growing #MeToo and anti-femicide movement stated that Neruda should not be honoured by his country, describing the passage as evidence of rape. Neruda remains a controversial figure for Chileans, and especially for Chilean feminists.
The Self-Glorification Hymn from Dead Sea Scrolls asserts, from the first-person narrative, a messianic human who has been exalted into heaven with a status above the angels. This figure rhetorically asks "Who bears all griefs as I do? And who suffers evil like me? Who has been despised on my account?" to imply that he has been despised unlike anyone before, modelling himself on the suffering servant from Isaiah's servant songs.
The modern Jewish interpretation of Isaiah 52:13 through Isaiah 53:12 describes the servant of the LORD as the Nation of Israel itself: "My servant..." (Isaiah 53:11), "... a man of pains and accustomed to illness ... " (Isaiah 53:3). "The theme of Isaiah is jubilation, a song of celebration at the imminent end of the Babylonian Captivity".
Christians traditionally see the servant as Jesus Christ. The songs are quoted to and applied to Jesus multiple times in the New Testament, as described in following sections. Another Christian interpretation combines aspects of the traditional Christian and the Jewish interpretation. This position sees the servant as an example of 'corporate personality', where an individual can represent a group, and vice versa. Thus, in this case, the servant corresponds to Israel, yet at the same time corresponds to an individual (that is, the Messiah) who represents Israel.
The second poem, written from the servant's point of view, is an account of his prenatal calling by God to lead both Israel and the nations. The servant is now portrayed as the prophet of the Lord equipped and called to restore the nation to God. Yet, anticipating the fourth song, he is without success. Taken with the picture of the servant in the first song, his success will come not by political or military action, but by becoming a light to the gentiles. Ultimately his victory is in God's hands. Isaiah 49:1-6. Isaiah 49:6 is quoted by Simeon in Luke 2:32 concerning the infant Jesus Christ during the time of His mother Mary's purification.
There is no clear identification for the servant within this song, but if the reader pays close attention to the author's word choice, one can deduce that the song could refer to either an individual or a group. According to theologian Michael Coogan, those who argue the servant to be an individual have "proposed many candidates from Israel's past". The song declares that the "servant" intercedes for others, bearing their punishments and afflictions. In the end, he/they are rewarded.
In the other gardens And all up in the vale,From the autumn bonfires See the smoke trail!Pleasant summer over, And all the summer flowers,The red fire blazes, The grey smoke towers.Sing a song of seasons! Something bright in all!Flowers in the summer, Fires in the fall!
This week is the first that Saudi women will be able to drive, and to mark the occasion Berklee performers created an Arabic cover of the Beatles' song "Drive My Car." In fact, popular music has long had a role in promoting positive cultural change. The following 12 tracks have transcended entertainment to question, provoke, and inspire society on issues ranging from civil rights and the human cost of war to political unrest and gender equality.
Penned during the peak of the women's liberation movement in America, in the early 1970s, Helen Reddy was moved to write "I Am Woman" when she couldn't find any other song that spoke in an empowered way about what it meant to be a woman. The song caught the culture's attention in a powerful way, topping the charts and asserting itself as an anthem of what it means to believe in yourself.
Originally written as a poem by Abel Meeropol to protest racism and the atrocity of the lynching of African Americans, Billie Holiday began performing "Strange Fruit" as her set closer, to allow the song's sobering gravitas to really sink in. While it's been famously covered by the likes of Nina Simone and Jeff Buckley, Holiday's affective and haunting rendition remains the definitive version.
Inspired by Jimi Hendrix and Deep Purple, a heavy-rock movement came to prominence in Rhodesia (now Zimbabwe) with the band Wells Fargo leading the scene. Originally titled "Have Gun, Will Travel," the song spoke against an oppressive government and was so effective in rallying the counterculture that the band had to change the lyrics in order to be allowed to keep performing it. Its mark had been made, however, and crowds continued to gather under its banner.
Chronicling the atrocities of violence against unarmed civilian protesters in Northern Ireland, U2's most overtly political track is carried by a skittering march-like beat and aggressive guitar. Despite its sonic anger, the song does not advocate revenge, and with the repeated pre-chorus line "How long must we sing this song?" is ultimately a call to lay down weapons and think about the human cost of war.
With its verses full of earnest questions, only to have the mystical refrain echo back "the answer is blowin' in the wind," this Dylan song was just general enough that many causes picked up its pro-freedom mantle. From anti-war protests to the civil rights movement, Hollywood films to textbooks, "Blowin' in the Wind" skyrocketed the young troubadour to a timeless voice.
Having an approach similar to Dylan's "Blowin' in the Wind," "What's Going On" is more emotional appeal than it is a list of demands or cry of protest. Haunted by the war, relational strife, and racial prejudice around him, Gaye wrote the song in seclusion, ultimately transforming him from a Motown hitmaker to one of the most powerful voices of his generation.
"Respect" was originally written by Redding from a man's perspective, but Franklin's rerecording made it her own and added the now iconic hook, "R-E-S-P-E-C-T / Find out what it means to me." Her version topped the charts and transformed the song into a fierce, confident declaration of a woman's equal right to respect.
Having already penned the anthem of acceptance, "All You Need Is Love," while still a member of the Beatles, Lennon took a more expansive view for "Imagine." A humanistic call for peace, the song answers the question of how to change the world for the better by turning the focus onto the listener and ending with an invitation: "I hope someday you'll join us / And the world will be as one."
Popular Colonial music can be heard in Boomer's apartment on Caprica in the episode "Downloaded" and in Joe's bar in "Taking a Break From All Your Worries". Another song is playing as Lee Adama enters the bar on Prometheus (Black Market) .
In addition, a popular sing-a-long song is "99 Bottles of Ambrosia", which Marcia Case throws out there as a recommendation after Kara Thrace comments on the humdrum of their up-until-then-uneventful search and rescue mission for a missing Raptor (TRS: Razor).
Masterpiece Generator refers to a set of text generator tools created by Aardgo. The tools are designed to be cool and entertain, but also help aspiring writers create a range of different media, including plots, lyrics for songs, poems, letters and names. Some generated content parodies existing styles and artists, whilst others are based on original structures.
This song was recorded on the album 'Robert and Clara Schumann: Rückert Lieder' on Stone Records (in collaboration with BBC Music Magazine). Featuring every piano-accompanied setting of the poet Friedrich Rückert by both Robert and Clara Schumann, including duets and ensembles, it was recorded in preparation for Oxford Lieder's The Schumann Project in 2016.
Clara Schumann (1819-96) née Wieck is one of the most significant women in musical history. Apart from being a tremendously successful pianist and pedagogue, she wrote numerous songs alongside other works in various genres. She also transformed the reputation of her initially unsuccessful husband Robert Schumann through her determined championing. 2b1af7f3a8