And with chorus lines of splashy heels, it's a dreamscape for aspiring young drag queens.
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In time he ran the best chorus lines in the swishest nightclubs; he was Shanghai's own Flo Ziegfeld.
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In Harlem, she joined the chorus lines at the West End Theater and the Apollo, doing six shows a day.
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Lying insensible in the hospital, Hwang imagines a big, brash, classic American-style musical, replete with high-kicking chorus lines and bright harmonies.
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It's got the biggest nightclubs, the longest chorus lines and you can do sexy dances that wouldn't be allowed in Paris, New York, or London.
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There were major stars, multiple costume changes, chorus lines tap dancing their hearts out and a giant groundhog — and that was all just during the opening number of the 71st Annual Tony Awards.
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Enormous cherry still lifes and loony faces, macabre chorus lines of legs, hapless-looking Ku Klux Klan figures: These paintings deliver a sardonic commentary on art, art-making, politics and life that never goes out of style.
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At the same time, the classic big-canvas American musicals "Oklahoma!" and "Carmen Jones" were reincarnated Off Broadway in deceptively modest interpretations that did away with orchestras and chorus lines to zoom in on the conflicted human hearts within.
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Before the song ends, Beyoncé repeats the chorus lines four times as additional vocals of hers are played in the background.
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The two contestants who advanced through battle each other in a game called the "Chorus Showdown". This follows a similar format to the first round, but instead of singing a line, the contestant is required to sing the entire chorus without making a mistake. If both contestants sing their chorus lines correctly, the round is repeated. If both contestants sing their chorus lines incorrectly, a tie- breaker is played.
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The song "Blood Religion", with lyrics about vampires, became a trademark song of Gamma Ray, with fans in concert chanting some of the main chorus lines during the song similar to how fans recited the main chorus to "Future World", a Helloween song.
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Washington Square West, commercially called Midtown Village. It is mainly referred as "The Gayborhood” by the locals." Since the 1920s this area was a mecca for fashion and entertainment. During the 1960s a transition from high-end stage performances and chorus lines into cheap adult entertainment took place.
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The budget for the "Smart Affairs" shows ran as high as US$35,000 per week. The shows were on a par with Broadway productions. Smart Affairs productions grossed between $400,000 and $500,000 annually by the early 1960s. Steele also founded the Sepia Revue and Beige Beauties chorus lines at the club.
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The song was often played live during the 1977–81 period. Taylor sang it from the drums while Mercury played piano and provided backing vocals. During the News of the World Tour, Mercury would often sing the chorus lines with Taylor. The song was used in a 2004 advertisement for Jaguar.
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Inglis, p. 55. The composition ends with multiple vocal parts, staggering the chorus lines. Leng compares "Sunshine Life for Me" with "The Pirate Song", a sea shanty written by Harrison and comedian Eric Idle in 1975, in which Harrison sings of wanting to be a pirate rather than a celebrity.Leng, p. 189.
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The Moulin Rouge, Folies-Bergere and Casino de Paris continue to present spectacular musical reviews, though their clientele now is mainly tourists. The Olympia Music Hall has been transformed into a concert hall, presenting well-known singers and bands. A few new music halls have appeared, including the Crazy Horse Saloon, which feature music and chorus lines of dancers.
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In the early 1950s, Browne left Chicago to pursue chorus line dancing in New York City. As many nightclubs only hired white dancers, it was difficult for Browne to find consistent work. However, she did perform in the chorus lines at Club Savannah in Greenwich Village. Her tap choreography also earned her a place in various variety shows and nightclubs.
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Kona, Hawaii Pilot whale pods off southern California have been observed in three different groups: traveling/hunting groups, feeding groups and loafing groups. In traveling/hunting groups, individuals position themselves in chorus lines stretching two miles long, with only a few whales underneath.Leatherwood, S., Lingle, G. E., Evans, W. E., (1973) "The Pacific pilot whale, Globicephala spp". Naval Undersea Center Technical Note 933.
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The song begins with a group of children singing the chorus, "All I wanna say is that they don't really care about us". In between the chorus lines, one child chants, "Don't worry what people say, we know the truth", after which another child says, "Enough is enough of this garbage!""Jackson explains remarks denounced as antisemitism". (June 16, 1995).
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Manson has said that "Mobscene" was "pulled from the weirdest parts of my imagination." Prior to writing the song, Manson had seen several Busby Berkeley films with all-female chorus lines. He then met with his band and told them that he wanted to create a song that evoked Berkeley's films, the writings of Oscar Wilde, and an elephant stampede.
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In 1872 it was held in a pasture on Main Street, and until 1917 it was held at various locations in the community. It moved to its current location in 1918. By 1927 the fair became a "free fair" with no admission charged. In the 1930s the fair introduced auto racing and grandstand stage shows with chorus lines, as addition to its traditional attractions.
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If the weather is fine, the outdoor area is used; otherwise, everyone moves to the indoor area. Tall palm trees growing among the tables lend the proper tropical atmosphere and blend well with the ultra-modernistic architecture. Shows include 50-dancer chorus lines which often branch out into the trees. Rhythms and costumes are colorfully native (voodoo is a frequent theme.) Top names often star.
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Charell revolutionized the German musical theatre by developing the idea of 'staged nudity' further than had been standard until then. He discovered modern female chorus lines in New York and was the first to bring them to Berlin, where they fuelled his stunning success. When the other theatre managers tried to copy Charell and also hired female chorus groups, they presented them as nude as possible.
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Retrieved August 14, 2008. Marvin Hamlisch, who wrote A Chorus Lines score, recalled how during the first previews, audiences seemed put off by something in the story. This problem was solved when actress Marsha Mason told Bennett that Cassie (Donna McKechnie in the original production) should win the part in the end because she did everything right. Bennett changed it so that Cassie would always win the part.
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"See You Again" described as the most commercial song besides "Euphoria", the track opens with some guitar chords being strummed and critics compared the song's chorus to Rihanna's song "Where Have You Been". The final track, "Heal" has a sombre electronica feel to it and described as a heartfelt finale where Loreen cries out the chorus lines like a diva whilst the keyboards sound slightly warped and discordant.
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Nightfall brings music, song and dance, and merrymaking in anticipation of the water festival. In neighbourhoods pavilions with festive names and constructed from bamboo, wood and beautifully decorated papier mache, are assembled overnight. Local girls rehearse for weeks and even years, in the run-up to the great event in song and dance in chorus lines. Each band of girls are uniformly dressed in colourful tops and skirts and wear garlands of flowers and tinsel.
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But baby, that was a long time ago." As the song progresses, she also wonders: "What about my body, body?/You don’t want my body, body." According to Sal Cinquemani of Slant Magazine, the female protagonist "literally packs up her pussy" and leaves the man who no longer seems interested in her, shown in the chorus lines: "Let's go, little kitty kat / I think it's time to go / He don't want you anymore.
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He described his music as "pretentious and derivative," and stated at the time that he was "still trying to figure out who he was." He continued to live with his manager Salley in Los Angeles. Soon after, Red1 of the Rascalz, whom k-os befriended at the 1995 Explosion Tour, invited him to move to Vancouver, British Columbia. There he contributed a verse and chorus lines to the Rascalz' Global Warning album, released in 1999.
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Thompson has said that he acquired his vocal style as a teenager, when a Thai neighbor asked him to sing "Oh! Darling" by The Beatles (from their album Abbey Road) and to "Scream it like you hate that bitch!"Frank, Ganz, 2005. p. 6 Thompson's powerful screams were a signature of Pixies albums, along with the band's typical song structure of quietly paced verses followed by thundering chorus lines and repetitive guitar staccato.
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Furthermore, he revolutionized Burmese stagecraft by incorporating a raised stage for dramatic performances, which had been previously confined to marionette theater, which uses a raised platform (hence the name amyint thabin or ). He modernized the classical dance drama form, zat pwe (), by adding variety acts, chorus lines, introducing admission. He was also the first male lead to have intimate onstage interactions with the lead actress, which has since become a norm in couple dances.
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The chorus lines were written by Soto and sung by Soto, Bumblefoot and Portnoy, who compares it to Kansas. The lyrics see Soto "taking a closer look at the world". The song's riff was given the working title "Korntera" by Bumblefoot due to it sounding like a mixture of Korn and Pantera; while Sherinian saw it as a modern-day Kansas song. "Labyrinth" is Portnoy's personal favorite on the album and features unusual time signatures and orchestrations.
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Their plots were simple, and they included elaborate displays of contemporary fashion and settings, and lighthearted parody of modern social convention and topical issues.Traubner, Richard. Operetta: A Theatrical History, pp. 198–219, Routledge, 2003 He replaced the bawdy women of burlesque with his "respectable" corps of dancing, singing Gaiety Girls who wore the latest fashions, and also showed off their bodies in chorus lines and bathing attire, as well as singing, to complete the musical and visual fun.
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The next day the clubs were open for business as usual. In 1947, showman Larry Steele introduced an all-black revue called Smart Affairs to Club Harlem. The elaborate show, featuring 40 to 50 acts including comedians, singers, showgirls, chorus lines, and dance numbers, was headquartered at the club through 1970, and also toured throughout the United States and abroad between the 1940s and 1960s, including venues in San Juan, Puerto Rico, Adelaide, Australia, and Toronto, Canada.
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Leighla Frances Whipper was born September 22, 1913 in Athens, Georgia. Her father, Leigh Whipper, was a stage and Hollywood screen actor, who hailed from a prominent literary and social activist family. Leighla's paternal grandmother, Frances Anne Rollin, wrote the first diary of a Southern Black woman published as well as the first full-length biography authored by an African American. Her mother, Virginia Eva Wheeler, was a stage dancer who performed in chorus lines during the Harlem Renaissance.
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The pool length itself is wide. The largest water jets of the fountain were able to shoot water up to a height of . The fountain could also produce more than 19 different water formations (16 originally), including the famous form of a Phoenix flanked by waltzing chorus-lines. Other patterns of the main fountain included at least six rotating basket-weave fountains, three-tiered water formations at the sides of the main pool, and eight pairs of swaying fountain jets.
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In the song, Lee "decries human guidance" with the chorus lines, "All our lives / We've been waiting / For someone to call our leader / All your lies / I'm not believing / Heaven shine a light down on me". "Your Star" was motivated by Lee's loneliness during the band's tour in support of Fallen. She was inspired to write the chorus in Lisbon when she looked at the night sky and could see no stars. Other inspiration came from the works of Pantera.
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When the success of the family's shows waned, they returned to Cape Town, where, in 1909, youngest sibling Terry was born. Following World War One, in which Kyrle fought, the family travelled to Johannesburg. Here, Elsa performed in chorus lines, and later appeared in such plays as The Thirteenth Chair, A Royal Divorce, and Sign of the Cross. Elsa was cast in the play The Silent Witness, which gave her a great deal of recognition in Johannesburg, therefore creating greater acting opportunities.
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The daughter of general practitioner Dr. William Arthur Bryant, Bryant moved to London with her parents on completing her education. There, she became interested in theatre, and appeared in the chorus lines of various productions before moving on to musical comedies. She also appeared in a number of films, such as The Cure for Love (1949) and Beat Girl with Oliver Reed in 1960. She also appeared in a West End role, as Lucy in Gay's the Word at the Saville Theatre.
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An unprecedented box office and critical hit, the musical received twelve Tony Award nominations and won nine, in addition to the 1976 Pulitzer Prize for Drama. The original Broadway production ran for 6,137 performances, becoming the longest-running production in Broadway history until surpassed by Cats in 1997, and the longest-running Broadway musical originally produced in the US, until surpassed in 2011 by the revival of Chicago. It remains the seventh longest-running Broadway show ever. A Chorus Lines success has spawned many successful productions worldwide.
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Although the song was labeled as a "conga" on the original 78 rpm single by RCA Victor, it is in fact an afro-son, i.e. a son montuno combined with African motifs.Liner notes of Buena Vista Social Club Presents: Ibrahim Ferrer (World Circuit WCD055, 1999), p. 6. The song, notable for its complex harmonies, is divided into two parts; the first part is slow and includes three verses, whereas the second part is faster, with repeated chorus lines such as "Yényere bruca maniguá" and "Chéchere bruca maniguá, ae".
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The Hávamál demo is allegedly clean folk music, but since then the sound has become more raw and influenced by black metal influence and matured into an epic metal sound. Most of Falkenbach lyrics are in English. They also write lyrics in Old Norse, Latin, and Old German. Most, if not all of the lyrics in Old Norse are actually taken from heathen literature: for example, the chorus lines in the song "Donar's Oak" are actually verses four and five of Grímnismál, a poem of the Elder Edda.
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While singing the first and second verses, she pulls out the power in her lower register. Each time, her voice slowly builds until the commanding chorus is reached, where towards the end, she sings, "la la la", in a muted saxophone line. Her voice expresses anger as she sings the chorus lines. In the second verse, Beyoncé continues the "wild-eyed pleas", as stated by Guerra and sings the lines, "Even since you knew your power / you made me cry / And now every time our love goes sour / you won't sympathize".
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Dixie Roberts was a vaudeville tap and specialty dancer, who also danced in chorus lines and performed musical comedy. A featured dancer in the Ziegfeld Follies, she was often billed as the dancer who "taps with a Southern accent", although she was born in Elmhurst, New York. She explained her moniker, saying that she was conceived in her mother's hometown of Atlanta. Roberts grew up on Long Island and also in upstate New York, where she learned to dance and became an accomplished athlete before her years of touring the U.S. as an entertainer.
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The song describes the feelings of lost love, and compares them to being lost in a metaphorical sea of intensely sad emotion (to an, at least in the chorus and in the overall impression, surprisingly cheery tune). It contains three verses with a chorus at the beginning and ending, and in between verses. The chorus lines are:- :Sea of heartbreak, lost love an' loneliness; :Memories of your caress, so divine :I wish you were mine again, my dear. :I am on this sea of tears: :Sea of heartbreak.
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It > leaves room for failure but hopes for success. The opening lines of "XO" are echo-laden and in contrast to other songs on Beyoncé, the ballad contains several hooks. Beyoncé starts the song by asking a loved one to kiss her. Some of the ascending chorus lines are call and response; Beyoncé is backed by a sing-along crowd as she sings about how her "darkest nights" are enlightened by the lover's face: "In the darkest night hour / I search through the crowd / Your face is all that I see / I give you everything".
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Lopez is then standing with a microphone stand in a white room on podiums with three male back-up dancers in suits lined behind her. When the chorus lines kick in, the lights above and below the soundstage flash and when Lopez is singing, she occasionally picks up the mic stand to sing into it and waves it above her head. There are also scenes of her singing in the spotlight into a mic hanging down and of Lopez sitting on a white chair facing away from camera.
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Holiday has extensive Broadway musical comedy background, beginning with dancing in the chorus lines in Top Banana and Guys and Dolls. As Hope Zee, she also was understudy to Rose Marie in Top Banana, but when the star had to be gone for a week, Zee was laid off, and Audrey Meadows was hired to take over the part. In 1949, she played Fifi and was a member of the singing ensemble of Gentlemen Prefer Blondes. In the 1956 Broadway production of Li'l Abner,, Holiday was understudy for Mammy Yokum in addition to being a featured dancer.
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At a dinner with frequent collaborator Rick Wake after her performance at the VH1 Divas Live show in New York City in April 1998, Wake convinced Dion to sing her ideas of a verse and a chorus on his home answering machine. While Dion's lines inspired the song and its whole approach, Wake consulted Peter Zizzo to polish Dion's track. Based on her lyrics, the songwriter came up with the chorus lines "Don't save It all for Christmas Day". Lyrically, the ballad is about sharing good-will and love throughout the year, not just during the holiday season.
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35, 38–39 The Edge provides backing vocals in the second verse, the first three chorus lines, and the bridge lyric "Time won't leave me as I am / Time won't take the boy out of this man". There is no chorus after the third verse; instead, the track enters into a coda where, after restating the introductory piano theme, the guitar, bass, and drum parts come to a finish. The song concludes on a final reprise of the piano notes. The radio edit, with a run-time of 4:11, is 1:36 shorter than the album version.
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This man is supposedly Pete Wentz, and he had a close up in the original video but was edited out. Once all of the survivors are on the boat, and getting closer to shore, Patrick sets free his Seagull friend and watches him fly off with his family into the coast. At the end of the song it also depicts some of their greatest hits. In the background they sing chorus lines from their songs "Headfirst Slide Into Cooperstown On a Bad Bet", "Grand Theft Autumn/Where Is Your Boy", "Sugar We're Goin Down", "Dance, Dance", "This Ain't a Scene, It's an Arms Race", "Thnks fr th Mmrs", and "Growing Up".
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Skelton with John Garfield at the 1944 FDR Birthday Ball Skelton and Edna worked for a year in Camden, New Jersey, and were able to get an engagement at Montreal's Lido Club in 1934 through a friend who managed the chorus lines at New York's Roxy Theatre. Despite an initial rocky start, the act was a success, and brought them more theater dates throughout Canada. Skelton's performances in Canada led to new opportunities and the inspiration for a new, innovative routine that brought him recognition in the years to come. While performing in Montreal, the Skeltons met Harry Anger, a vaudeville producer for New York City's Loew's State Theatre.
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62-63 Errol G. Hill, James V. Hatch, A History of African American Theatre, Cambridge University Press, 2003, p.208 Between 1916 and 1923, he wrote, staged and starred in a succession of shows at the theater, often changing shows every week. He was responsible for introducing girls clowning at the end of chorus lines, an innovation later developed by Josephine Baker, and his shows sometimes included satire on race issues, with Lester Walton likening one of his shows to an NAACP protest meeting. Some of his shows went on tour to Harlem and other established vaudeville circuit stops, and he employed a large group of performers who included his protégé Gertrude Saunders, and Billy Higgins.
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Eagels began her acting career in Kansas City, appearing in a variety of small venues at a very young age. She left Kansas City around the age of 15 and toured the Midwestern U.S. with the Dubinsky Brothers' traveling theater show. Initially, she was a dancer, and in time, she went on to play the leading lady in several comedies and dramas put on by the Dubinskys. As a teenager, she married Morris Dubinsky, who frequently played villain roles. Jeanne Eagels photographed by Adolph de Meyer in 1921 wearing a dress and cape by Paris couturier, Louise Chéruit Around 1911, she moved to New York City, working in chorus lines and eventually becoming a Ziegfeld Girl.
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Not everyone in the gay community considered the revolt a positive development. To many older homosexuals and many members of the Mattachine Society who had worked throughout the 1960s to promote homosexuals as no different from heterosexuals, the display of violence and effeminate behavior was embarrassing. Randy Wicker, who had marched in the first gay picket lines before the White House in 1965, said the "screaming queens forming chorus lines and kicking went against everything that I wanted people to think about homosexuals... that we were a bunch of drag queens in the Village acting disorderly and tacky and cheap." Others found the closing of the Stonewall Inn, termed a "sleaze joint", as advantageous to the Village.
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" According to James Poletti of Yahoo! Music, the female protagonist in the song sings about her "potential to turn on the filth." Lyrically, the song is a celebration of sexual lust and conquest, culminating in a desire for a one-night stand. This "lustful sexual confidence" is further demonstrated in the lyrics of the first verse: "I'm feeling sexy / Wa[nt to] hear you say my name, boy/ If you can reach me, you can feel my burning flame / Feeling kind of N A S T Y / I might just take you home with me" and the chorus lines: " Tonight I'll be your naughty girl / I'm callin' all my girls / We're gonna turn this party out / I know you want my body.
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A Stornoway Gazette writer called it a "tough-love" song which finds the protagonist "hoping that [her lover will] crash and burn and finally learn a lesson". In the song, Lee accuses her lover numerous times, as illustrated in the chorus lines "Don't cry to me/ If you loved me/ You would be here with me" and the bridge lines "You never call me when you're sober/ You only want it cause it's over". The lines "make up your mind" repeated during the song's chorus are replaced with "I've made up your mind" at the end, indicating that the protagonist has moved on, eventually realizing her worth. The song closes off with Lee giggling, which was described as "the proverbial last laugh".
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An ode to oral sex, "Blow" stands in line with the explicit theme of the album about frank female sexuality and eroticism. Lyrically, it refers to cunnilingus through heavy innuendos omitting subtlety; the lines "Can you lick my Skittles, it's the sweetest in the middle/ Pink is the flavor, solve the riddle" are sung "flirtatiously" by Beyoncé. It opens with a breathy atmosphere and Beyoncé singing the lines, "I kiss you and you lick your lips/ You like it wet and so do I/ I know you never waste a drip/ I wonder how it feels sometimes". The chorus lines are "pleaded" by the singer as stated by Fallon: "Keep me coming, keep me going, keep me humming, keep me moaning".
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The Forbidden City was a Chinese nightclub and cabaret in San Francisco, which was in business from 1938 to 1970, and operated on the second floor of 363 Sutter Street,The former space has since been renumbered to 369 Sutter and is now a franchise of Barbizon Modeling and Acting School. between Chinatown and Union Square. The Forbidden City was one of the first nightlife venues to feature Asian American singers, dancers, chorus lines, magicians, strippers, and musicians, and was entirely managed and staffed by Asian Americans. It was popular with military personnel who were transiting through San Francisco during World War II, as well as Hollywood celebrities, and became the most well-known venue in a golden age of Chinatown nightlife.
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After Midnight Oil toured through the Outback in 1986, playing to remote Aboriginal communities and seeing first hand the seriousness of the issues in health and living standards, Peter Garrett, Jim Moginie and Rob Hirst wrote "Beds Are Burning" to criticize how said populations were often forcibly removed from their lands, highlighted by the pre-chorus lines "it belongs to them, let's give it back". Considering such a local affair inspired a worldwide hit, Garrett commented "Who would have thought an Aboriginal land rights song would travel that far?" There are specific references to certain Australian places and politics, such as Kintore Ranges and the town of Yuendumu, vehicles produced by the Holden company, the "It's Time" slogan and the notion of "fair go".
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The use of the term "kill me pills" is inspired by, and also a reference to, Anne Sexton, who, after overdosing on barbiturates and pentobarbital called the drugs "kill me pills." Bassist Kristen Pfaff had a minor input in the lyrical composition contributing the chorus lines "I made my bed, I'll lie in it / I made my bed, I'll die in it" from a song, "Limited Edition," she had written earlier in her career with Janitor Joe. On both Live Through This and the individual single, the song is credited on record as written by Hole as a band, however according to BMI's website, the official authors are Courtney Love and Eric Erlandson. Love's character in the video is almost identical to the character portrayed on the front artwork for Live Through This.
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Her vocals set a hushed and morbid tone on the song as she bring doses of edge and grit, singing: "I wanna leave my footprints on the sands of time / Know there was something that meant something that I left behind / When I leave this world, I'll leave no regrets / I'll leave something to remember, So they won't forget". She further sings throughout the song, "The hearts I have touched will be the proof that I leaved that I made a difference". Watery synths shimmer in the background before Beyoncé adopts an authoritative tone to chant the chorus lines: "I was here / I lived, I loved / I was here / I did, I've done / Everything that I wanted / And it was more than I thought it would be / I will leave my mark so everyone will know / I was here".
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Priya Elan of NME commented that "Party" is the first indication that 4 was influenced by the likes of Teena Marie. Lyrically, "Party" features Beyoncé as the female protagonist "in the mood for some loving" as she references to a get-together for two persons. West rhymes about "swag sauce" and "swagu" in the introductory lines, "You a bad girl, your friends bad too / You got the swag sauce, you're drippin' Swagu", before passing the torch to Beyoncé, who begins to sing the first verse slowly and steadily, "I may be young but I'm ready / To give you all my love / I told my girls you can get it / Don't slow it down, just let it go / So in love / I'll give it all away / Just don't tell nobody tomorrow". In the chorus lines, she harmonizes over the sample from "La Di Da Di", "Cause tonight's the night that I give you everything / Music knocking until the morning light / 'Cause we like to party".
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The rapper sounds like a 1975 Mercury Cougar turning over as he growls in his burly purr, as written by Bret McCabe of Baltimore City Paper. In the first verse, Beyoncé sings to the "sexual teasing" lyrics, which are addressed to the men looking at her: "I can be a tease, but I really wanna please you [...] Oohhh you watchin[g] me shake it, Ya can't take it, it’s blazin[g] ...". The chorus lines; "Dip it, pop it, twerk it, stop it, check on me tonight" are sung in a very quick and breathless manner by Beyoncé. Bret McCabe noted that her pace could be compared to that of American singer Donna Summer. Slim Thug appears again after the second verse to perform another different verse rap: "I’m checking on you boo, do what’chu do / And while you dance I’ma glance at this beautiful view / I’m keep my hands in my pants, I need to glue ’em with glue ...".
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Media response to Alas, I Cannot Swim was favourable; aggregating website Metacritic reports a normalised rating of 73% based on 7 critical reviews. The Guardians Caroline Sullivan called the album "unnervingly grown-up" and wrote: "Simplicity is the key: playing acoustic guitar and singing in a gentle verge- of-womanhood voice, she keeps things homespun and rootsy." Kev Kharas of Drowned in Sound noted "Marling's skill at making one word bleed with more meaning than half a dozen or so vainglorious chorus lines", while Allmusic's Stewart Mason commented on the "old-school '70s singer/songwriter vibe" of the album, focusing in particular on her "alluringly husky voice and graceful acoustic guitar". Due to the timing of the album coinciding with Feist's commercially successful third studio album The Reminder, Mason said that "there's every chance that [she] will get lost in the shuffle as the unexpected commercial success [...] leads major labels to unleash hordes of similarly talented female singer/songwriters".
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Souvenir – 1st anniversary performance of The Shop Girl At the Gaiety Theatre, Edwardes hired Ivan Caryll as the resident composer and music director, and created a series of shows featuring fashionable characters and costumes, tuneful music, romantic and topical lyrics and pretty dancing. He embedded these elements in an often tenuous but nonetheless continuous original narrative. Like burlesque, Edwardes' "girl" musicals featured chorus lines and other devices for the display of women's bodies, but within the context of the simple narrative, elaborate displays of contemporary fashion and scenery, and light parody of social convention and topical issues. For the next two decades, the "girl" musicals, with popular songs by Lionel Monckton and lively books by Owen Hall, filled the Gaiety Theatre, including The Shop Girl (1894), The Circus Girl (1896), A Runaway Girl (1898), The Orchid (1903), The Spring Chicken (1905), The Girls of Gottenberg (1907), Our Miss Gibbs (1909), The Sunshine Girl (1912), and After the Girl (1914).
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The song begins with Knowles singing: "I feel weak / We've been here before / 'Cause I feel we keep going back and forth / Maybe it's over, maybe we're through / But I honestly can say I still love you." The introduction is skeletal as it contains only atmospheric synthesizers and insistent drum tapping, which have been further described as "warbly [and] lighthearted". Throughout the song, the swaths of reverb occasionally pierce through the production. In the pre-chorus lines, Knowles sings: "Maybe it's over, maybe we're through, but I honestly can say I still love you / Maybe we reached a mountain peak and there’s no more left to climb / and maybe we lost a magic piece and we're too blind to find" while her vocals are followed by background sounds. The beat steadily grows from the verses to the bridge and, finally, to the chorus, with pounding drums coming into the loop during the refrain as Knowles sings: "Let’s start over / Let's give love their wings / Let’s start over / Stop fighting bout the same old thing".
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Happy to have avoided heartbreak, Beyoncé continues to sing about her ex- lover, who did not recognize the possibility of a happy relationship with Beyoncé until the relationship broke down. Beyoncé no longer desires her lover after discovering his deceit; as shown in the pre-chorus and chorus lines, "When I think of the time that I almost loved you / You showed your ass and I saw the real you / Thank God you blew it, I thank God I dodged a bullet / I’m so over you, so baby good looking out / I wanted you bad / I’m so through with that / Because honestly / You turned out to be the best thing I never had / And will always be the best thing you never had." In the second verse, Beyoncé continues to dismiss her former lover as she sings, "So sad, you're hurt / boo hoo ...", over a tinkling piano riff and bass drums. She then chants the ascendant chorus, which this time features soaring strings and an uplifting aggressive piano accompaniment.
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