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[Ronnie Isackson]

When you're listening to a Seventeen song, what is that one part you wait for, something that elevates the whole song for you? What is your favourite segment of a specific song? A few highlights from my very long list include:

Dino's bridge in Boom Boom. I love the way his rap and the beat gradually escalate in intensity, and finally crescendo to Seungkwan's line in the chorus and DK's ad-libs! Definitely my favorite part of the song.

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In Home, Hoshi's "tell me naui neo" in the second verse. DK does this beautiful harmony with him, and the line sounds so much more special. Listen to live performances of the song to catch it more clearly!

Woozi's soft, ethereal bridges in Aju Nice, Healing and Second Life. They serve to slow down the upbeat pace of the songs before jumping back to the chorus, and feel very reflective and sentimental. I love a good Woozi bridge, his voice is simply perfect for those!

Honestly, the whole of Thanks is a highlight for me; we had centre Minghao in the second chorus, where he controlled the choreography so gorgeously. Coups' line in the bridge always makes me so emo. Seungkwan's last line in the song, followed by the glorious fanchant, and Woozi and Wonwoo's final "thanks" in different octaves - chef's kiss.

So, the onclick function sends the current song to the audio source, updates the image of the song, but i want to highlight the current song that is being played, i want to be able to add probably a dynamic className that works on the songs that is being played on the playlist, in short it is just to differentiate the current played song from the one that is not being played.

"Above Every Name" is my newest worship song. The chorus first came to me on the morning of December 14th. Then, the majority of the song was written while Meg, Claire, and I were visiting Meg's family in Canada over Christmas. I was inspired to write this song by meditating on Philippians 2. Our pastor at First Baptist Church Farmersville, Bart Barber, challenged me several months ago to write some new hymns based on the book of Philippians. He is currently preaching through Philippians at our church and will also participate in the 2017 Southern Baptist Convention Pastor's Conference, during which twelve different pastors will preach through the entire book.

The lyrics of "Above Every Name" have two main features. First, while they are written ABOUT Christ, they are sung TO Christ. In other words, the song is Christology sung TO Christ. A friend told me this was "intimate and profound." I hope so! Second, the lyrics tell the story of Christ's humiliation and exaltation.

The lyrics are written ABOUT Christ, and are meant to teach. Classic Hymnody often teaches deep truths. We believers have often learned our theology through the hymns we sing. I didn't want this song to be shallow; I wanted it to have that same teaching power. So what Christology does this song teach?

This song is also sung TO Christ. If the strength of hymnody is its teaching power, then its weakness is lack of first person language which connects the worshiper vertically to God. Now, there are a great many hymns written in the first person that encourage vertical worship. However, the imbalance of too many impersonal hymns is part of what has caused so many contemporary praise and worship songs today to be written in the first person. This is all an issue of balance. We need songs that contain deep doctrine about God and are vertically addressed to God. We need songs that teach us and songs that allow us to tell God how much we adore Him. I attempted to do both of these things in one song.

Fun fact: My girls were a big help to me in writing this song. Claire sat on my lap and critiqued the song while I was working on it at the Yamaha piano in Nana and Papa's living room in Pugwash. Meg was the first person to listen to the song in its entirety, and she helped refine the lyrics at the end of Pre-Chorus 1. We changed them from "the enmity barring salvation from us" to "the enmity that kept salvation from us."

A ceremony and highlight video are included in Lehua wedding packages and above, and you can add it to any package. You'll have two videos: (1) a video copy of the ceremony beginning to end and (2) a highlight video including clips from the ceremony and clips from the photo shoot.

Because of copyright restrictions, the song needs to come from www.fyrfly.com, a website with over a million free songs to choose from and a selection of premium songs. (Note: Songs are added and removed from fryfly.com on a regular basis. We have no control over the songs that are available.)

Check out our FYRFLY PLAYLIST to see our favorite and most popular choices. (Note: Premium songs are an additional $55 and have a pink box with a "P" next to them. On mobile, try horizontal viewing to see the box.)

If you absolutely must have a specific song that is not available to license, you can request that we edit to the song and deliver the video without music. You are able to add the song legally yourself since it's not for commercial use.

Writing a memorable chorus or a catchy hook is only one part of songwriting. Learning the entire song structure and the parts of a song is something that all skilled songwriters should do. Read more in our songwriting 101 guide and start learning.

The sprawling lineup features too much music and art to cover in this column, so be sure to visit highlight.community. The big news for music fans is the Big Gay New Year show taking place at the waterfront's ECHO Leahy Center for Lake Champlain. (Hmm, maybe Spotify is on to something with our being a gay mecca...) Curated by Morin, the concert features former local darling Caroline Rose, Minneapolis alt-rocker Lutalo, indie-pop act tip/toe, a set by Hammydown and others.

Also on New Year's Eve, expect a Taylor Swift Eras Tour Dance Party going down at Burlington City Hall Auditorium, a performance from Greensboro's Circus Smirkus troupe, the Burlington Electronic Department bringing an army of synths and beats, indie rocker Greg Freeman and punks Greaseface, singer-songwriter Henry Jamison, chamber music with Skylark, bluegrass from the Tenderbellies, art installations everywhere, fireworks freaking out all your pets ... and that's not even scratching the surface. Highlight has a bit of everything this year.

Beginning today, Apple Music subscribers can learn their top songs, artists, albums, genres, and more in a redesigned Replay experience. 2022 was a thrilling year in music, with listeners delving into new sounds, new languages, and new genres more than ever before. Additionally, the 2022 year-end charts show just how influential Apple Music listeners were in making 2022 a year to remember, both individually and as a community.

New in 2022 is a year-end experience complete with expanded listening insights and new functionality, including a completely personalized highlight reel. Users can discover their top songs, top albums, top artists, top genres, and more. Superfans can even discover whether they are in the top 100 listeners of their favorite artist or genre.

Visit replay.music.apple.com and log in with the same Apple ID used for Apple Music. Play highlights or scroll through the page for more detailed insights. A truncated version of the site is available all year or as soon as a user is eligible.1

Hip-Hop continued to lead the Top Songs chart, accounting for 32 of the top 100 songs of the year. Pop followed, with 23 songs on the chart, followed by R&B/Soul, with 11 songs. Latin came in fourth, with eight songs, followed by J-Pop, with six.

Technically the fourth single from 19, "Hometown Glory" is actually the first song Adele wrote. It was originally released as an introductory standalone single in 2007, giving a glimpse into Adele's relatable songwriting.

By this point in Adele's career, it was clear that she could master any song or production you give her. While 21 expanded the number of genres she pulled from, 25 introduced maximalist pop production to embellish her bluesy tone.

What really sets the song apart is the inclusion of voice notes that contain Adele's own musings in the immediate aftermath of her divorce, as well as snippets of conversation between her and Angelo. ("Mummy's been having a lot of big feelings recently," she tells Angelo on the bridge; "I feel a bit frightened that I might feel like this a lot," she admits at the song's close.) It's a stunningly raw look at Adele's personal life unlike anything she had delivered before.

After working with Max Martin and Shellback on two of Red's biggest hits, "We Are Never Ever Getting Back Together" and "I Knew You Were Trouble," Swift recruited them again to bring their expertise and pop flair for her new era. (Martin co-wrote and co-produced seven of the 13 tracks, while Shellback worked on six of those seven; both were involved on two of the three deluxe tracks.) As a songwriter, Swift liked just how much writing with a pop mindset helped push her out of her own comfort zone, something she explored with Martin on Red.

1989 was also the first album Swift worked on with Jack Antonoff, who has since become one of her biggest collaborators. Though he only co-wrote/co-produced three songs ("Out of the Woods," "I Wish You Would" and deluxe track "You Are In Love"), Antonoff's work soon proved majorly successful for Swift and several other pop stars, including Lorde and Lana Del Rey. Antonoff even credits Swift as the "first person who recognized" his talent as a producer.

As Swift was growing up and becoming reflective, her music was mirroring that maturity. This led her to explore themes and moments in her life that would weave their way through the album and become part of a larger story. The secret messages she placed throughout 1989 detail how different songs work together as a larger picture.

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