best chorus

I don’t really like the descendants movies, they are just ok. But I will say the 2nd one is a lot better than the first. The plot is the same kind of meh but…. The songs are better And the new VKs are so much better ( I love Uma, Gil, and especially Harry😍) Honestly I think I would have liked this movie more if it had more of the pirate VKs. I really couldn’t care less about the original villain kids😒. Love problems, so boring and over done. I don’t care about your piss poor problems Mal!!!😤 I have never wanted the “bad guys” to win so much in my entire life. I just want the pirate kids to knock those Original Villain Kids down a few pegs. They better focus more on the pirate kids in the next movie because I would much rather watch an entire movie about them more than anything else.

Originally posted by adisneylover92things

hi be my friend

i have no broadway fandom friends and im suffering help

Satisfied (AKA Jefferson's Jealous)

[LAFAYETTE]
Alright, alright, that what I’m talking about! Now, everyone, give it up
To the pride of Independence
Thomas Jefferson!

[JEFFERSON]
A toast to the war

[CHORUS]
To the war, to the war

[JEFFERSON]
To our pride!

[CHORUS]
To our pride, to our pride!

[JEFFERSON]
From your best friend

[CHORUS]
Thomas Jefferson, Thomas Jefferson!

[JEFFERSON]
Who is always by your side!

[JEFFERSON]
To our union

[CHORUS]
To the union to the Revolution!

[JEFFERSON]
And the hope that you provide!

[CHORUS]
Provide, you provide!

[JEFFERSON]
May you always,
Be satisfied!

[Rewind 4x]

[JEFFERSON]
I remember that night, I just might
I remember that night, I just might
I remember that night, I remember that

[JEFFERSON]
I remember that night, I just might regret that night for the rest of my days
I remember that humid night, that went over my head to raise my hair
I remember that dreamlike candle light like a dream you can’t quite place,
But Alexander I’ll never forget the first time I saw your face
I have never been the same
Devoted eyes and a hunger pang frame,
And when you kissed me
I forgot my dang name
Set my heart aflame, every part aflame, this not a game

[rewind to the first time Alexander and Thomas met]

[ALEXANDER]
You strike me, as a man who has never been satisfied

[JEFFERSON]
I’m sure I don’t know what you mean, you forget yourself

[ALEXANDER]
Funny, you’re like me…I’m never satisfied

[JEFFERSON]
Is that right?

[ALEXANDER]
I’ve never been satisfied

[JEFFERSON]
My name is Thomas Jefferson

[ALEXANDER]
Alexander Hamilton,

[JEFFERSON]
Where’d you come from?

[ALEXANDER]
Unimportant, there’s a million things I haven’t done, but just you wait
Just you wait,

[JEFFERSON]
So, so, so-
So this what it feels like to match wits With someone at your level,
What the hell is the catch?
It’s the feeling of freedom, of seeing the light,
It’s Ben Franklin with a key and kite!
You saw that, right?

The conversation lasted two minutes, maybe three minutes
Everything we say in total disagreement
But it’s a dream and it’s a bit of a dance,
A bit of a posture, it’s a bit of a stance
He’s a bit of flirt, but I’m ‘a give it a chance.
I asked about his family, did you see his answer?
His hands started fidgeting, he looked askance
*whispers* he’s penniless, he’s flying by the seat of his pants!

Handsome, and boy does he know it
Peach fuzz and he can’t even grow it!

I wanna take him far away from this place,
Then I pull my hair out of my face
And he is

[ALEXANDER]
Helpless…

[JEFFERSON]
And I know he is…

[ALEXANDER]
Helpless…

[JEFFERSON]
And his eyes are just,

[ALEXANDER]
Helpless…

[JEFFERSON]
And I realize,
Three fundamental truths at the exact same time!

[ALEXANDER]
Where are you taking me?

[JEFFERSON as LAF]
I’m about to make your night worthwhile,

[ALEXANDER]
Then by all means, lead the way

[CHORUS]
Number one!

[JEFFERSON]
I’m a man in a world, in which my only job is to sustain rich,
My father had one son, so I’m the one who keeps the social climb for one
I’m the eldest and the wittiest, and the gossip in New York City is insidious
And Alexander is penniless,

Ha, that doesn’t mean I want him any less

[ALEXANDER]
I’ve missed you so much Lafayette

[JEFFERSON]
I missed you as well, my love

[CHORUS]
Number two!

[JEFFERSON]
He’s after me, cuz I only look like Laf
That man was his other half, I’ll
Help him be naïve to set that aside,
Maybe that is why,
I spoke to French to hide
Behind this imposter side,
Nice going Thomas
He was right, you will never be satisfied

[ALEXANDER]
I should thank you for all your service,

[JEFFERSON]
If it takes fighting a war to see you again, it would have been worth it

[ALEXANDER]
Then let’s get to it

[CHORUS]
Number three!

[JEFFERSON]
I know my best friend, like I know my own mind!
You will never find anyone as trusting or as kind!
If I tell him that I love him, he’d be silently resigned,
Alex would be mine,
Laf would say, “I’m fine.”

[JEFFERSON and CHORUS]
He’d be lying!

[JEFFERSON]
But when I fantasize at night
It’s Alexander’s eyes
As I romanticize what might have been if I hadn’t sized
Him up so quickly
At least my dear Lafayette is by his side

At least I keep his eyes in my life…

[JEFFERSON]
To the war!

[CHORUS]
To the war, to the war, to the war!

[JEFFERSON]
To our pride!

[CHORUS]
To our pride, to our pride!

[JEFFERSON]
From your best friend,

[CHORUS]
Thomas Jefferson! Thomas Jefferson!

[JEFFERSON]
Who is always by your side!

[CHORUS]
By you side!

[JEFFERSON]
To the union!

[CHORUS]
To the union, to the Revolution!

[JEFFERSON]
And the hope that you provide!

[CHORUS]
You provide, you provide!

[JEFFERSON]
May you always,

[CHORUS]
Always-

[JEFFERSON]
Be satisfied…

[CHORUS]
Be satisfied, be satisfied, be satisfied

[JEFFERSON]
And I know,
He’ll be happy by Laf’s side
And I know,

[CHORUS]
Be satisfied, be satisfied, be satisfied

[JEFFERSON]
I am never satisfied,
I will never be satisfied…

Billboard Names ‘Mr. Brightside’ Third Best Chorus of 21st Century

Billboard has named The Killers’ ‘Mr. Brightside’ as having the third best chorus of the 21st century.  Billboard has compiled a list of the 100 best choruses of the 21st century.

There are countless rock songs released this century that never quite reach the top of the mountain – that is, they gain momentum in the verse, keep climbing in the pre-chorus, but stumble back down upon reaching the hook. “Mr. Brightside” is not one of these songs. In fact, the first song that The Killers ever recorded heads upward throughout its first minute, teases a massive chorus to come, then ascends into the clouds with a word (“jeaaaa-lou-syyyy”) we never knew could be so much fun to sing. The chorus of “Mr. Brightside” is paranoid, overly dramatic and unapologetically self-aggrandizing, but it’s also sweeping, stylish and relatable to anyone who’s construed a minor betrayal as a major personal blow. The Killers often start their live sets with this song, and when they do, it always feels like a reminder: Oh, yeah, a perfect, world-conquering rock chorus WAS released after the ‘90s ended and everyone declared the classic rock era over.

To view the full list, see this story on Billboard.

Taken from a Killers community. 

Koro (The Chorus)

Bu filmin bende çok ayrı bir yeri vardır. Fransız bir öğretmenin hayatından bir parçayı anlatan film gerçeklerle o kadar iç içe gidiyor ki insanın tüyleri diken diken oluyor. Ayrıca tumblr'da en az bir kere gifini görmüş olduğumuz bir sahne içeriyor.

Mucizeleri olmadık şeylerde değilde hayatın içinde aramalıyız. Her insanın karşısına gerek öğrencilik hayatında gerekse normal hayatında bir sivri kafa çıkar umarım ;) Ayrıca benim sıradan bir kağıttan uçağın ne kadar harika bir şey olduğunu görmemi sağladığı için ne kadar mutlu olsam az.

Tür: Dram, Müzikal

Süre: 97 dk.

Oyuncu: Hepsi bir birinden iyi işlenmiş karakterlerin ama unutulmaz olan tabi ki sivri kafa “Gérard Jugnot”

Yapım: 2004 - Fransa/Almanya/İsviçre

Diğer ismi: Les Choristes

Kimse vazgeçilmez değildir -Koro”

Film izledikten sonra çok hoşunuza gidecek bir fotoğraf. :D

imaginary parties lyrics

[Intro]
Go to imaginary parties
In our make believe Ferrari
Baby let’s get fresh, I know we know how

[Verse 1]
Come a little closer baby
We can pretend like I’m the new kid in town
Take me for a ride around if that’s what you like
But if you’re driving I’m down
We can make a movie, baby
I can be Gable and you can be West
Call me Tarantino
Because you and me know that it’s what I do best

[Pre-Chorus]
I, oh, I
Oh, I want to make it better than it’s ever been before
And I, oh, I
Oh, I gotta keep, gotta keep you coming back

[Chorus]
If it’s all we ever wanted
Than baby play along
(Cause it makes me feel alive)
Go to imaginary parties
In our make believe Ferrari
Baby let’s get fresh, it’s like we just met
If you wanna catch fire
We’ll get a little hotter
(Wanna keep you satisfied)
Just you and me together in out imitation leathers
Baby let’s get fresh I know we know how

[Verse 2]
Tell me about your fantasy cause I can do anything
And don’t ya hold back
I can call the shots and you can call me what you want
Oh baby how about that
I can be a doctor if you show me what hurts
And I can make it alright
We can have a slumber party
You show me yours, and I’ll be showing you mine

[Pre-Chorus]
I, oh, I
Oh I want to make it better than it’s ever been before
And I, oh, I
Oh, I gotta keep, gotta keep you coming back

[Chorus]
If it’s all we ever wanted
Than baby play along
(Cause it makes me feel alive)
Go to imaginary parties
In our make believe Ferrari
Baby let’s get fresh, it’s like we just met
If you wanna catch fire
We’ll get a little hotter
(Wanna keep you satisfied)
Just you and me together in out imitation leathers
Baby let’s get fresh I know we know how

[Breakdown]

[Chorus]
If it’s all we ever wanted
Than baby play along
(Cause it makes me feel alive)
Go to imaginary parties
In our make believe Ferrari
Baby let’s get fresh, it’s like we just met
If you wanna catch fire
We’ll get a little hotter
(Wanna keep you satisfied)
Just you and me together in out imitation leathers
Baby let’s get fresh I know we know how


LINK & SOURCE: https://genius.com/Superfruit-imaginary-parties-lyrics

‘You Don’t Get Many Songs Like That’: Liz Rose on Co-Writing Taylor Swift’s 'You Belong With Me’ Chorus

One of Taylor Swift’s secret weapons in her early hit-making days was Nashville songwriting veteran Liz Rose, who co-wrote a number of Swift’s best and biggest early hits, including “Teardrops on My Guitar,” “White Horse” and “You Belong With Me.” The latter went all the way to No. 2 on the Billboard Hot 100, and established the country star as a major pop player.

“It’s really fun to start a song, and you can just hand it to the room, and they all start singing it,” Rose tells Billboard of the enduring smash, whose explosive shout-along refrain we just named the 20th-best chorus of the entire 21st century. “You don’t get many songs like that.”

After Swift wrote third album Speak Now entirely on her own, she and Rose only collaborated once more – on 2012’s Red highlight “All Too Well” – but the latter has remained an in-demand country and pop songwriter, even winning a Grammy in 2016 for her work on Little Big Town’s surprise crossover hit “Girl Crush.” Rose spoke to Billboard about her memories of co-penning (and later performing) one of Swift’s early signature hits.

Was the chorus the first part of the song that came together?

We always started at the beginning. It just flowed out, honestly. She’s so fast. And Taylor kind of knew – she came in with [sings] “You’re on the phone with your girlfriend…” And it just kind of flowed into that chorus.

Are there individual strengths that you and Taylor have as co-songwriters, where you put your emphasis on one part and she does another?

We were always back-and-forth. She comes in with the story and the melody – I truly believe that she heard the production in that song while we wrote it. And that song always amazes me, because when I do writers’ night and I try to play it, I always make the audience sing it – or I make girls get up to sing it.

And that chorus – it’s impossible to sing! I don’t know how she did it. Well, I mean, she’s young and she has a great voice. But the high-reaching [parts of the chorus]… usually I just stop and let the audience sing it. I’m like, “Y’all take this, I can’t do it!”

Was there a part of the chorus that once it came together, you guys knew you were good to go?

Oh, man, just the way it flowed so fast. And I loved the way that it was [only] half of the chorus the first time – have you noticed that? I just think that was so cool, the way we did that.

It does seem like something you guys did a number of times together – where the chorus does shift as the song goes on, and by the third chorus, there’s a key word or phrase that gets turned on its head a little. What do you think the power of doing that is?

It makes you want to stay until the end of the song. And I think that it makes a song more personal. It does it in [Fearless single] “White Horse,” and it does it in “You Belong With Me.” It just makes the listener feel like the writer and the artist care about the song – that they’re like, “Okay, you’ve heard it, but wait a minute – ‘cause I want you know that this really affected me, I’m gonna dig the knife in just a little bit deeper.” We were never through writing a song until we were through writing a song. Until the last line.

I noticed listening to the song recently that it almost sounds like a ‘90s rock song, the way the verses explode into the chorus. Was that something you guys were intentionally going for, or just how it came together?

I think it was there when we were writing it. We wrote it, like, the day before she cut it. And she, I believe, wanted to make sure she’d written everything she could write for the record before she finished cutting it. So I think she came in wanting to write an up-tempo [number], and came in with that story, wanting to write this really fun, fast, driving song. And you can hear it in the guitar, in the work tape.

Do you think this is the best chorus you and Taylor ever did together?

Absolutely. When I go out and do it – when I don’t even have to sing it [Laughs] – it’s pretty awesome! There’s a lot of joy in it. It’s really fun to do live, it’s really fun to watch young girls to 50-year-old women get up and sing it.

Do you have a favorite chorus of the 21st century, or a song that comes to mind when think of a great 21st-century chorus?

Oh, gosh. Well “Girl Crush,” of course. [Laughs.] But that I didn’t write? Taylor’s song “We Are Never Ever Getting Back Together.” I mean, that song is amazing. And [Florida Georgia Line’s] “Cruise.” Think about what “Cruise” did, with FGL. Just that it makes you want to sing it, whether you’re a fan of theirs or not, it doesn’t matter. That song, it had a big impact on country music. And “Mama’s Broken Heart,” Miranda [Lambert], that Kacey [Musgraves] wrote. There’s some great ones.

How Ochako Learned to Stop Worrying and Try Kicking His Butt (IzuOcha one-shot)

“You know, you really have to watch how hard you push yourself.”

Ochako furrowed her eyebrows, her muscles still aching as she vomited out onto the grass, her stomach churned in agitation. She recovered after a couple of heaving breaths, swallowing the swell of sickness as she wiped the remaining bile off her mouth with her sleeve. Despite the awkwardness of the unflattering retching, she managed to form a sunny smirk as she heaved herself back upright and shifted her gaze from the ground.

Deku stood tall, adorned in costume as she was, his eyes creased in worry as he watched her compose herself. His doting concern was touching, but she quirked an eyebrow at his hypocrisy. Her eyes ran over his body (while definitely not appreciating his physique) to see a mixture of nicks and bruises. The wounds seemed to migrate across his skin through the weeks of hero training.

Keep reading

Spring Awakening Theater Headcanons

These are super quick and lame, I just needed to get them out of my head. There might be a part two?

  • Wendla and Ernst are positively sluts for musical theater. They duet all the classics and cry over sad shows together, and are constantly quoting shows that no one else has seen.
  • Melchior student directs the plays his junior and senior years, and it’s a few of the best plays the school has ever done. He’s never been a fantastic actor, and sometimes he struggles to share his vision with his cast and crew, but everything really comes together during tech week. Plus everyone respects him and his decisions.
  • Georg works as backstage manager and the main set designer. He’s actually ripped from all the physical stuff he does, and everyone finds him really attractive as he’s drilling and cutting lumber while shirtless in the summer months.
  • Moritz dabbled in acting for a while, but was only ever in ensemble. So he decided to learn how to run the sound for the shows, and he’s done it ever since. He only messed up once during Little Shop when instead of playing a doorbell noise, he played one of Audrey II’s laugh tracks and scared the shit out of everyone on stage.
  • Martha runs lights, so she and Moritz spend a lot of time in the booth together. Melchior thinks he knows how to do lighting, but he really has no idea. So Martha gives him her general vision for how everything will flow, and they work together to fine tune everything. During the state musical competition, she won the award for Overall Lighting Design.
  • Anna and Thea hold down the ensemble. Their freshman year they were both obsessed with Smash, where most of the best characters were in chorus, so they honestly don’t mind being in the background. That means Anna takes funny pictures and backstage “all-access” videos and Thea can eat during any down time and spread gossip like a drunk hairdresser.
  • Otto floats between acting and crew. He’d rather die before singing, so he’ll run tech for the musical, but act in the other plays, mainly in ensemble or as the butler with stellar comedic timing. He’s mostly there for the free food and because all his friends are in theater.
  • Hanschen prefers more serious plays, but he’s actually a very comedic actor without even trying. He doesn’t understand why people laugh at what he says. He’s very intense, and is that one person who’ll patrol the backstage area glaring at people who are whispering too loudly for his taste.
  • Ilse isn’t really into theater, so she helps sell tickets on performance nights and sometimes she’ll design the playbill cover. She also brings Wendla flowers every single opening night without fail, and then they go get frozen yogurt.
  • Ernst is a wonderful actor. He looks like he’s twelve, but most of the leading roles fall to him anyway, with Wendla as the leading lady. Their skill is renowned across the state, and they’ve already been spotted by performing arts colleges.
  • During one of their plays, Hanschen and Ernst got to stage a swordfight. As they were showing the choreography to Melchior, Ernst got distracted by the corded muscles in Hanschen’s arms, and Hanschen’s metal fencing rapier caught him across the face; bruising his eye and half of his cheek. Hanschen had never felt so bad in his entire life (even though it wasn’t his fault), and doted over Ernst for the next few weeks, and Ernst definitely milked the attention for all he was worth. Whether it was getting a smoothie from the kitchen or having sex on his couch, Hanschen did everything Ernst asked of him, as long as he sounded hurt and batted his eyelashes.
  • Moritz stays behind and helps Melchi close up the theater and sweep the stage. Sometimes, if they’re still on a rehearsal high, they’ll sit in the back row and talk over the show, or make out for an hour, depending on how tired they are.
  • Georg and Otto make Starbucks runs for those early morning Saturday rehearsals, so they know everyone’s favorite drinks by heart.
  • Ernst always has mocha frappuccino, no whip, and Thea just gets hot chocolate, since she hates coffee. Melchior gets earl gray tea since he’s highly allergic to chocolate (and fun, according to Georg).