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Skip navigation! Story from Entertainment. What does a bookstore clerk keep on shuffle? The answer may surprise you, as the songs on the You season 1 soundtrack include a lot of indie rock, a few techno songs, and a haunting score that makes you feel like someone is watching. Think songs that make you want to dance, and also songs that make you want to draw your curtains closed and keep them that way.
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Played back to back, Carole King 's chart entries would run about five straight hours. And those are just her hits — not to mention album tracks, B sides, and the odd flop. King's career as a songwriter is so expansive that it dwarfs even the monster sales figures of her classic solo juggernaut, Tapestry , which currently tops 25 million and counting. King was a musical prodigy, selling melodies to New York City publishing companies while she was still in high school.
In college she met Gerry Goffin, destined to be her lover and lyricist for the next decade. King's hits helped make her the most successful female songwriter — and certainly among the most influential songwriters, period — of the 20th century. In honor of King's 75th birthday, we look beyond her immortal smashes like "You've Got a Friend" and " You Make Me Feel Like a Natural Woman" to spotlight 10 tracks you may not have known she had a hand in creating.
When Goffin and King's rhapsodic "Will You Love Me Tomorrow" elevated the Shirelles to Number One in late — making them the first all-female group to summit the charts — the songwriting newlyweds became a hot commodity practically overnight. But success didn't equal glamor, and the pair toiled away in a small room deep inside New York City's famed Aldon Music song factory at Broadway. King later described the miniscule office as a "little cubbyhole with just enough room for a piano, a bench, and maybe a chair if you were lucky.
You'd sit there and write and you could hear someone in the next cubbyhole composing some song exactly like yours. One bouncy melody stayed in their heads, but Goffin struggled to find suitable lyrics. Flummoxed, King showed the incomplete song to her cubbyhole neighbor Cynthia Weil, whose songwriting partnership with future husband Barry Mann would rival Goffin and King's for Sixties pop gold. Goffin's competitive streak took over when he learned of the meeting, and the key line finally came to him: A demo of the song, sung by King herself, found its way to producer Snuff Garrett, who was looking for material to suit Bobby Vee — a singer who had risen to prominence after filling in for Buddy Holly on tour after Holly's death.
Garrett liked the song, but insisted that it needed a slow introductory verse. King was summoned to compose one instantaneously. I wanted to get a hit quick, right now, boom! He got his hit quick. The Cookies were actually two distinct groups that shared a name and a single member, Dorothy Jones. Together they played local gigs around their native Brooklyn, ultimately winning the prestigious Amateur Night at Harlem's Apollo Theater.
The irregular foot-stomping, hand-clapping rhythm of "Chains" made the song a midtempo dance-floor filler, sending it high up on the U. It became a favorite of the Beatles, who briefly incorporated it into their early club-date set lists with George Harrison on the lead vocal. When the band hunkered down at EMI Studios to record the bulk of their debut album on February 11th, , "Chains" was one of six cover songs to make the cut. Goffin and King gave the Cookies a hit song, but the Cookies gave them a babysitter — and in the early Sixties that was probably just as valuable to the overworked couple with two baby girls.
Sing something! Make note to self. By , the pop charts had become inundated with an increasingly absurd list of dance-craze songs. Chief among them all was Chubby Checker's monster hit "The Twist," which trounced the copycat tunes it spawned to make an unprecedented repeat trip to the top of the charts that January. The achievement, unequaled to this day, sent denizens of the Brill Building rushing to their pianos to hammer out the latest dance record.
Goffin and King were no exception. While it remains unclear whether the song ever actually made its way to Sharp, Dimension Records founder and music publishing titan Don Kirshner liked Boyd's version enough to release it as a single under the name Little Eva. The composers spruced up the demo with some instrumental embroidery, including a striking sax riff overheard at Bobby Darin's Copacabana Club set. Instead, they left it for the newly rechristened singer to improvise.
The song became Goffin and King's third Number One. In light of her later reputation as a beacon of female empowerment, it's jarring to realize that King had a hand in creating this notorious paean to abuse, which makes "Chains" scan like a feminist anthem by comparison. Even more troubling is that the song has its roots in reality. Eva Boyd arrived at Goffin and King's home one night covered in bruises after a visit with her boyfriend. The concerned couple questioned her, but, as King remembered in her memoir, "she sort of smiled before she went to her room, and she said, 'He really loves me.
Disturbed and dumbfounded by Boyd's response, Goffin attempted to write lyrics that gave voice to a problem that didn't yet have a name. Maybe he had a little irony going in his mind because he was really intelligent. Whatever irony might have been intended was lost in the song's chilling arrangement. The women had a hard time summoning the emotion. I'm a teenager at the time. And I was trying to figure out the song and why Phil would record something like this.
Barbara was so turned off because she was singing the lyrics and can't feel anything. So in the studio Phil was telling her, 'Don't be so relaxed on it. Few bought it, and many radio stations refused to play it after fielding angry calls from listeners. Spector, rarely one to back down, ultimately withdrew the single. Half a century later, King has an uneasy relationship with the title. I kind of wish I hadn't written any part of that song, but Gerry wrote that lyric. And that's certainly true for the woman in that song.
And you know, that's all wrong. So, again, that's one song I kind of wish I hadn't had any part of writing. Questionable, even? But "Go Away Little Girl" became the first song to reach Number One twice by two different artists to date only nine songs have accomplished the feat , so clearly it does something right.
A grown man crooning "Go Away Little Girl," might have raised some eyebrows — one New York Times columnist believed the titular girl was underage and denounced the song as "sick" — but Kirshner's instincts were right on the money and the tune was a winner. Ultimately, the lyrical content was probably better suited to Donny Osmond, the year-old frontboy of the Osmonds. His solo version of "Go Away Little Girl" brought bubblegum sweetness to a generation of actual little girls who sent it to the top of the charts a second time.
Few songs in the Goffin-King canon match the sweeping cinematic grandeur of this ode to the most scenic of urban hideaways, perched atop a high-rise. The breezy Latin rhythm recalls the Drifters' earlier hit, "Save the Last Dance for Me," but Rudy Lewis' vocals soar even higher as he climbs the elegant melody to his secluded sanctuary. Appropriately enough, the song was born among the rat-race noise of a crowded city street. How about 'Up on the Roof'?
It was imaginary — maybe something that I copped out of West Side Story. A peaceful moment above the fray would have seemed like heaven to King — a young woman with two children and a demanding full-time job in a hit factory. The sophisticated arrangement was overseen in the studio by King herself, who was barely 20 years old at the time.
She wasn't no hard woman — a girl, at her age. But she played the piano and it was amazing the songs she gave us. The song remained a favorite of Gerry Goffin, who later ranked it among the best he ever wrote. King clearly felt similarly, including it as the closing track on her debut solo album, 's Writer. James Taylor, who played guitar on King's version, recorded his own Top 40 cover in This instantly hummable piece of mid-Sixties ear candy was originally written as a solo vehicle for Cookies vocalist Earl-Jean "Jeanie" McCrea in — a surprising display of teamwork considering that Jeanie was pregnant with Goffin's child at the time.
The affair had begun in earnest when the year-old lyricist accompanied the Cookies on tour to oversee live production duties. And a guy may go on the road, producing, while his wife is home. You get what I mean? It's normal, everybody does it — it's no big deal. At a time when mixed-race couples were still taboo, and even illegal in some parts of the country, Goffin relished his role as a social boundary breaker. He flaunted the illicit relationship and claimed paternity of the child immediately, making McCrea's own marriage uncomfortable.
By many accounts, King was painfully aware of the situation and devastated by Goffin's brazen infidelity. Given the circumstances, it's unsurprising that King's melody for "I'm Into Something Good" is a comparatively unfussy variation on a standard bar-blues progression. One can't help but wonder if she was secretly pleased that the song failed to set the charts on fire: It peaked at Number The tune had a second life later that year when British producer and pop impresario Mickie Most heard King's demo and licensed the song as a debut for the group Herman's Hermits, fronted by a year-old JFK ringer and former soap-opera actor named Peter Noone.
The song went to Number One in their native U. The Beatles and their electrified British Invasion brethren heralded the beginning of the end for tunesmiths like Goffin and King, as more bands tried their hand at composing their own songs. Not so the Animals, whose breakout hit, 's "House of the Rising Sun," was an inventive reimagining of an old mining song popularized on the Greenwich Village folk scene by the highly influential Dave Van Ronk — and the exponentially more influential Bob Dylan.
After their self-penned follow-up, "I'm Crying," and a cover of Nina Simone's recent "Don't Let Me Be Misunderstood" failed to duplicate their previous success, their then-producer Mickie Most tapped the same New York songwriting pros who had been so helpful with Herman's Hermits. In a single phone call he snagged three future classics: Dave Rowberry's throbbing organ, Chas Chandler's ominous bass and Hilton Valentine's fuzzed-out guitar transform the song into something far removed from the majority of King's work.
Burdon claimed that for years he had no idea who was responsible for writing "Don't Bring Me Down," which cracked the Top 20 in the spring of King came in and sat next to me," Burdon told Songfacts in While the duo wrote nearly a dozen songs for revolutionary TV-music-performance project The Monkees — notably the single "Pleasant Valley Sunday" — Goffin generally regarded these products as inferior "throwaways. Non-sequitur and nonsensical, the film was a bid for serious countercultural acceptance from the exceptionally stoned minds of Rafelson and a young Jack Nicholson, who wrote the script by spit-balling into a tape recorder during a drug-fueled weekend spent with the band in Ojai, California.
While the plot may have been an almost secondary concern, hit tunes were still a necessity and Rafelson commissioned Goffin and King to write the film's theme song. By this point the musical team's marriage had imploded and they were residing separately in Los Angeles. Over gently undulating chords, King composed a meandering melody drawn equally from Eastern modes and Tin Pan Alley.
The demo kicks off with her recitation of the Latin Mass of the Dead, a nod to the film's opening scene in which Dolenz leaps off the massive Gerald Desmond Bridge to his presumed demise. From there, she sings Goffin's words, an enigmatic psychedelic hodgepodge. Goffin produced the song himself over six sessions in early , calling upon 20 musicians — including a porpoise recorded especially for the occasion.
I think the pop song is Latin song"whenever wherever " for the girl be selected,or like the above said is the Korean song "Gee"likewise. I don't know if you can. Right after the intro went off a song played the lyrics more how come ships by colour of london can't be found ANYWHERE on any platform!!! more.
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A film crew visited my home and recorded an episode for the dating show at Jiangsu Satellite Television in Nanjing. But almost no one but me knows about this bizarre episode, because when it came time for my segment to air, my portion was cut out, censored, or as we say in China, "harmonized. If You Are the One premiered in January and has since become a national phenomenon.
I Was Almost a Chinese Dating-Show Star
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10 Songs You Didn’t Know Carole King Wrote
Lo y uno largo de muchos vuelos para despedirse. Published 11 March It is not only used to refer to your children though, people use it referring to their homies, thier lady or their man. It surrounds her, it Los Angeles's full name is: We're sorry about the inconvenience. Derives from the spanish language and often used as slang. Fuego en la Sangre. Trini Jungle Juice takes you on an exclusive joyride around the World of Carnivals. The wiki format allows anyone to create or edit any article, so we can all work together to create a comprehensive database for fans of Inazuma Eleven. Bring your worship lyrics, sermon notes and announcement slides to the next level today.
The Peanuts theme song Linus and Lucy has a pretty simple origin.
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But considering how active a participant that music has been in the story unfolding onscreen, perhaps he should be listed among the actors instead. It served as a culmination for the distinctive themes of countless characters, from Arya Stark to the Night King. Its unexpectedly upbeat ending marked a major key first for the show. The last note — her last note — ends on a pure major chord. But I felt after this long episode and this long arc, her last note has to end in major. For the final stretch of the episode, the ambient sound is muted and a piano melody kicks in. That was percent intentional. By using it again, we wanted to have the reverse effect. We always treated the music as another character in the show. I can see that. It has a really drastic impact. When did you realize that Game of Thrones would allow you to write work with that kind of payoff and complexity?
I Was Almost a Chinese Dating-Show Star
Fei Cheng Wu Rao simplified Chinese: Jiangsu Television and taped in Nanjing. It was first broadcast on January 15, , and originally aired twice a week on Saturdays and Sundays until December From January to March , it aired on Saturday nights at 9: Starting from January , it air on Saturday nights at 8:
Played back to back, Carole King 's chart entries would run about five straight hours. And those are just her hits — not to mention album tracks, B sides, and the odd flop. King's career as a songwriter is so expansive that it dwarfs even the monster sales figures of her classic solo juggernaut, Tapestry , which currently tops 25 million and counting. King was a musical prodigy, selling melodies to New York City publishing companies while she was still in high school. In college she met Gerry Goffin, destined to be her lover and lyricist for the next decade. King's hits helped make her the most successful female songwriter — and certainly among the most influential songwriters, period — of the 20th century.
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In this business, there are two subjects that will boost your page views like nothing else: Game of Thrones and Taylor Swift. One of them is a massive, multi-million-dollar enterprise filled with violence and betrayal, and the other airs on HBO. Somehow, this one year-old woman from Wyomissing, Pennsylvania, keeps finding herself at the center of our national conversations about race, gender, celebrity, victimhood, even the economics of the tech industry. And, outside the legions of fans who eat up everything she puts out, no take on her ever stays solid for long.
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