It's a grin brimming with joy, and a smile that, today, makes his death feel all the more sorrowful.
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Watchmen showrunner Damon Lindelof and episode co-writer Cord Jefferson's decision to make Will Hooded Justice makes for a more sorrowful story.
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The song is more sorrowful this time around, with a slow, yet stirring string section leading into a piano-heavy rendition of theme.
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It opens with a jolt, then becomes calmer and more sorrowful, while an offstage piano plays a Leopold Godowsky transcription of an Isaac Albéniz tango, a favorite of Mr. Shkolnik's.
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It makes perfect sense — parting with a crisp $20 bill is a little more sorrowful than a mindless swipe of a card, even if you tacked on a few more items to raise your total to $25.
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While earlier albums were full of bright hooks and punchy dancefloor anthems, this one occupies a completely different color pallette: it's darker, more sorrowful and introspective, even it's most joyful moments offset with having navigated through trauma to reach them.
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In Dinnerstein's version of Bouts's picture, he exaggerates the tears on the Virgin's cheeks and paints the whites of her eyes a bright, bloodshot red, making Renée's attribute even more sorrowful than the original, while Simon's is as stoic as can be.
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Roth began his career in rebellion against the conformity of the 1950s and ended it in defense of the security of the 1940s; he was never warmer than when writing about his childhood, or more sorrowful, and enraged, than when narrating the shock of innocence lost.
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The women are working on embroidery. Kabanicha criticizes Káťa for not appearing more sorrowful at Tichon's absence. After Kabanicha leaves, Varvara shows Káťa the key to the far part of the garden. Varvara intends to meet Vána, her lover, there.
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In 1988, the property was adapted for a musical. Sue was portrayed by Sally Ann Triplett in both the London and the Broadway productions. As in other adaptations, she is dating Tommy and does not attend the prom. Sue is shown as being much more sorrowful for Carrie than in the other versions.
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Michaelian has also published numerous drawings. Most are portraits of imaginary people with exaggerated emphasis placed on the eyes, which draw attention and help convey a range of emotion. A progressional study of the drawings on Michaelian's website reveals that his subjects have taken on a more sorrowful or troubled aspect over time. This is especially evident in the pencil drawings that accompany his Songs and Letters, a mostly autobiographical collection of poetry and prose he began in 2005.
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While retaining the noise and chaos of previous recordings, the band took a more sorrowful and melodic approach, working in ballads based on Germanic and Norse folklore, shanty-like melodies and folk music elements such as bourdon sounds, Jew's harps, and fifes. Bathory added natural found sounds, such as ocean waves, thunder, and wild animal noises, in a style similar to that of musique concrète. Instruments were sometimes used to create onomatopoeic effects such as drum sounds imitating thunder or a sledgehammer. The songs typically featured multi-sectional formal structures, following a pattern of three instrumental sections – introduction, bridge, and finale – and two vocal sections – stanza and refrain.
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The band released "Vrijeme Je Da Se Krene", their fourth and most commercially successful studio album, on Jabukaton records in 1996. Originally intended to be an EP, this album displayed a softer blues rock sound compared to their old, more aggressive garage rock style. The album had a much more sorrowful feel to it as the band was going through difficult times while recording the album, with Bare dealing with his wife's death, depression and addiction, as well as Kilmister's father dying in the middle of recording. The band utilized session musicians Davor Rodik and Gojko Tomljanović to play pedal steel guitar and keyboards, respectively.
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"The Weaver's Answer" is one of Family's more straightforward songs; it's about an old man asking for the "weaver of life" to show him "the patterns of my life gone by upon your tapestry". As the song gets underway, the old man recounts his childhood, his first love, and the day he took a wife; he wonders aloud how it looks on the fabric from the weaver's loom. He goes on to ruminate about his sons and how they grew into adulthood to take wives of their own. After an instrumental break (see below), the old man grows more sorrowful, remembering the day his wife died and being unable to see his grandchildren after age has robbed him of his sight.
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