Other neighbors, though wary of being identified, were more wistful.
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The letter's tone is more wistful than hostile, reading almost like a breakup note.
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But Eilish's sound is darker, weirder, and more bass-heavy, while Rogers' music is airier and more wistful.
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Over the last 15 years or so, Mr. Nauman's work has gotten quieter, more wistful, in many respects.
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Ask adults, however, if their childhood dreams ever came to fruition and you're likely to get a more wistful response.
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While all this seems to have pushed Travis toward a reactionary stance, trolling the liberal establishment, Leibovich's response is more wistful.
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In private conversations, she occasionally muses about an opening, according to some who have spoken with her, sounding more wistful than realistic.
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No one said that this would be Strait's last No. 1 single, but his music had been growing more wistful over the years.
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The news is more wistful than significant for a couple reasons: Wade is 2.73 years old and his True Shooting percentage was lower than Andre Roberson's last season.
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But his most revealing remark was less aggressive and more wistful: "America's in the middle of a real political storm, a real tsunami, and we should have seen this coming," he said. Sen.
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Then this week she dropped "Los Ageless," a cheeky counterpoint to the more wistful "New York" that thumps with insistent bass and a chorus that hasn't left my head since I first heard it.
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In an interview with Bloomberg published in September, he sounded more wistful than irritated: "For most of the existence of the company, this idea of connecting the world has not been a controversial thing," he said.
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The trailer has a much more wistful tone than the first few teasers, which consisted of an animated spork freaking out and new characters voiced by comedy duo Key and Peele making Buzz Lightyear "your mom" jokes.
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But the mishmash of awkward physical humor, like sex in a compact Toyota, stoner silliness, and a heaving gasp of glorious douchebaggery from Keanu Reeves, with moments of sharp emotional insight, becomes a vehicle to get somewhere a little more wistful.
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But when Josh finally confronts her about being a total jerk to her parents — who, again, are paying off her student loans and welcoming her new boyfriend with open arms — the episode takes a smart turn into a more wistful genre.
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"I look forward to an America which will not be afraid of grace and beauty": John F. Kennedy's words, carved in the white marble cliffs of the Kennedy Center for the Performing Arts, in Washington, D.C., have always seemed more wistful than hopeful.
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Mr. Maroulis has a lovely way with the show's more wistful numbers and a nice chemistry with Kacie Sheik as Vera Martin, a seemingly composite character who is Moses's loyal assistant and longtime lover, though we are led for a whole scene to believe that she is his wife.
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Although there is an argument to be made about the seriousness of intent behind these gestures — especially in light of his lesser known, more wistful series of inflated balloons, Fiato d'artista (Artist's breath, 1960) — it is wise to treat them as a distraction in order to open viewers' minds to the dynamic range of Manzoni's thought and prodigious output.
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When I asked Singer what kind of fisherman McPhee is, he started describing the sight of his friend on the river — "He gets out there in a little canoe and sets up below a rapids, he's got the fly rod in his left hand, he'll paddle to sort of maneuver around" — and the description got more and more wistful until, finally, it turned into a pure declaration of love.
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Reception for the song was mostly positive. Jan DeKnock of the Chicago Tribune said that the song was "hypnotic". Geoff Orens of AllMusic said that the song was an AMG Track Pick, and that the "pulsating 'Take Me Home' utilizes the drama of 'In the Air Tonight' on a more wistful track". David Fricke of Rolling Stone said that the song had "engaging, circular rhythm and languid melodic texture".
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What it is though is occasionally pleasing, horribly derivative and way too self-indulgent." Robson went on to state that "Welcome to the Fishbowl is anything but first-rate. More albums like this though, and Chesney himself just might become a caricature of himself." Grady Smith at Entertainment Weekly graded the album to be a B– effort, and added that "Chesney's albums have always been considerably more wistful than his radio persona, but Welcome to the Fishbowl's tunes, while well wrought, can be downright dour.
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Hiroyuki Okiura, the character designer and key animation supervisor, designed Motoko to be more mature and serious than Masamune Shirow's original portrayal of the character in the manga. Okiura chose to depict a physically mature person to match Motoko's mental age, instead of her youthful twenty-something appearance in the manga. Motoko's demeanor lacks the comedic facial expressions and rebellious nature depicted in the manga, instead taking on a more wistful and contemplative personality. Oshii based the setting for Ghost in the Shell on Hong Kong.
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Pretty Girl Special Edition, also known as Honey, is a repackage of South Korean girl group Kara's second EP Pretty Girl (2008). It was released digitally on February 12, 2009, with a physical release on February 18, 2009. In contrast to Pretty Girl's cute and lively concept, the title track "Honey" is more wistful and features the members of Kara as soft, feminine women. The song was remixed from the original version, and also underwent a slight name change from "" (Ha-ni) to "Honey".
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The romances, scored for violin and piano, are written in three movements: #Andante molto #Allegretto #Leidenschaftlich schnell The first romance begins with hints of gypsy pathos, before a brief central theme with energetic arpeggios ensues. This is followed by a final section similar to the first, in which Clara Schumann charmingly refers to the main theme from her husband Robert Schumann's first violin sonata. The second romance is more wistful, with many embellishments. It is sometimes considered as representative of all three, beginning with a plaintive appetizer to its energetic, extroverted leaps and arpeggios, followed by a more developed section with the first theme present.
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Owen Gleiberman (from Entertainment Weekly) described the film as "a competent and solidly unsurprising urban-underworld thriller" and is "okay entertainment," but went on to say that the plot would have worked better "as a lean and mean Miami Vice episode." The film has an approval rating of 81% on Rotten Tomatoes based on 47 reviews, with a weighted average of 7.01/10. The site's consensus states: "Carlito's Way reunites De Palma and Pacino for a more wistful take on the crime epic, delivering a stylish thriller with a beating heart beneath its pyrotechnic performances and set pieces." Bregman was surprised about some of the negative reviews, but stated that some of the same reviewers have since "retracted" their views upon further discussions of the film.
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S. No. 36, 1966), and the 1967 hits "Love Eyes" (U.S. No. 15) and "Lightning’s Girl" (U.S. No. 24). She rounded out 1967 with the raunchy but low-charting "Tony Rome" (U.S. No. 83)—the title track from the detective film Tony Rome starring her father—while her first solo single in 1968 was the more wistful "100 Years" (U.S. No. 69). In 1968, she recorded the Kenny Young song "The Highway Song" with Mickie Most producing for the U.K. and European markets. The song reached top 20 in the U.K. and other European countries. Nancy Sinatra in 1967 Sinatra enjoyed a parallel recording career cutting duets with the husky- voiced, country-and-western-inspired Hazlewood, starting with "Summer Wine" (originally the B-side of "Sugar Town").
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" Their gig four days later in Melbourne was praised by the Herald Sun, which said: "From opener 'Dressed for Success', they had one of the most rapturous reactions the Rod Laver Arena has seen in years." The West Australian praised the entire band, writing that they "owned" Challenge Stadium during their two concerts at the Perth venue at the end of February. Fredriksson's performance at the Manchester Arena on 4 July was singled out for praise from The Guardians Dave Simpson, who said that "the poignancy she invests into their more wistful lyrics suggests [that performance is] part of her recovery." In a review of their 31 August show at the Bell Centre, the Montreal Gazette praised Gessle's songwriting, saying: "There's much to be said for the way [he] has been able to take the eternal beauty of the I-IV-V chord progression (think "Wild Thing" or "Twist and Shout") – one of rock's most basic and perfect statements – and use it as a foundation for his own evergreens, which still sound pretty fresh.
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