Sda Special Songs

[Emmaline]

Overallthese hits have been added to mix CDs, belted out at weddings and quoted in movies as some of the most romantic gestures of our time. From Whitney Houston to Adele, here are the 85 greatest love songs to dedicate to your special someone.

While we adore Lady Gaga and Tony Bennett's rendition (or even Ella Fitzgerald and Louis Armstrong's), we can't stop playing the original hit. The '30s jazz number was specifically written for Astaire's movie Top Hat, so it's no surprise it was a musical favorite for the times.

This song will definitely get stuck in your head, from the chorus alone. The Beach Boys may be known for their catchy, surf-inspired songs but this love tune is a great addition to any romantic occasion.

You don't have to remember the '70s sitcom The Partridge Family when this song comes on, especially with iconic lyrics like, "I think I love you so what am I so afraid of..." You'll be belting out the tune to your partner as soon as the chorus hits.

That's why this end-credits song sounds like we're being played out of a twisted episode of "Sesame Street." It's a cheerful song on the surface, but darker at its core ("It'll stop any day now, any day now!").

A perfect interlude track, "Don't Wanna Know" smartly asks the audience at home if they're really watching this special or not ("Am I on in the background? Are you on your phone?") right at the point that some people might be checking out.

At just about 30 seconds long, this is one of the shortest songs Burnham sings in "Inside," and yet it's one of the catchiest tunes in the bunch. I particularly love Burnham's oddly pleasant-yet-screeching scatting that cuts off abruptly at the end.

The lyrics recap the banality many people were all-too-familiar with after living through the COVID-19 pandemic, while the melody and composition create a head-bobbing earworm that's impossible to ignore.

The interludes that go from "ay, ay, ay" into "AT&T." The exquisite description of how a phone flash makes his dick "look frightened." The Ariana Grande-esque "yuhs" that punctuate the end of the song. What a jam.

Burnham seems to be poking fun at the vapid, rapid-response apologies celebrities will give to the world, maintaining the impression that they're fine being held accountable for problematic actions of their past.

The fur suit and swirling projection graphics help make this reprisal of the "Bezos" anthem something special. The manic way Burnham sings "You did it!" and "Congratulations!" in mock-celebration of Bezos being the richest person in the world lands perfectly.

This song is just a single verse, prompted by Burnham admitting to the audience that his current mental health is rapidly approaching an "ATL" ("All Time Low"). With four short lines, Burnham encapsulates pretty much exactly what having a panic attack feels like with an uncanny catchiness:

I'm not sure I'll be able to see the name "Jeff Bezos" in headlines again without hearing the anguished scream Burnham lets out at the end of this song. This synth-heavy tune makes a mockery of billionaire fanboys in glorious fashion. The lyrics build until Burnham is chanting: "Zuckerberg and Gates and Buffet, amateurs can f------ suck it. F--- their wives, drink their blood. Come on, Jeff, get 'em!"

The premise of this song comes from one of Burnham's favorite comedians, Hans Teeuwen. While Teeuwen's sock-puppet stand-up routine is all about an absurd, codependent relationship between puppet and master, Burnham's puts a new spin on the idea.

In "How the World Works," Burnham sets his character up as a stand-in for ignorant white idealists, while his puppet Socko takes on the role of non-white Americans. This is best displayed in the bit where Socko tells Burnham to go read a book if he wants to learn more about how "the simple narrative taught in every history class is demonstrably false and pedagogically classist."

When Burnham's character laments that he was just "trying to be a better person," Socko exasperatedly says: "Why do you rich f------ white people insist on seeing every socio-political conflict through the myopic lens of your own self-actualization?"

This prompts Burnham to pull-rank on Socko, brow-beating him back into submission before he rips the puppet off his hand anyways, showing us once again "how the world works" between the ruling classes and the oppressed.

This song is very solid musically, but the accompanying visuals are what make it really soar. Highlights include the bridge where the commentary on a "girlboss" aesthetic of women's Instagram photos opens up to imagine someone's post dedicated to her dead mother.

But then Burnham really lays it on us, gloriously lighting up a disco ball with a light strapped to his head as he belts out, "But look I made you some content! Daddy made you your favorite, open wide."

"That Funny Feeling" is a song about things that make you feel like you're living in a warped simulation or have totally disassociated from reality, or perhaps have begun to accept that we're at the edge of the collapse of civilization ("Googling 'derealization,' hating what you find").

Burnham takes on the persona of an ego-driven, white male comic with the first parody song in his special, amping up his well-established style of being a self-aware entertainer. He laments being unsure of whether he should be "joking at a time like this," and lands on the solution ("Healing the world with comedy, making a literal difference, metaphorically").

Not only does this song show off how much Burnham's vocal chops have advanced since his first viral parody song he wrote when he was 16 years old, but it also keys into the musical style of the whole special. It establishes the way he'll be veering in and out of different characters, mocking both himself and the role of white entertainers writ large in today's cultural conversation.

Maybe it's because I was also born in 1990, and older folks used to always gawk when I revealed my birth year in the exact way Burnham describes in this song. Or maybe it's just because I also turned 30 in the midst of the COVID-19 pandemic and feel the sands of time creep into my psyche. Either way, I unabashedly love this song.

Another of the shorter songs in the special, "Look Who's Inside Again" manages to be one of the most profound pieces of music Burnham writes. He goes from describing the efforts of creating the very special we're watching ("trying to be funny and stuck in a room") to poignantly summarizing the experience of a teenager who feels trapped ("I was a kid who was stuck in his room").

Luring you down a poisonously designed Internet K-hole, "Welcome to the Internet" plays like Burnham's villain song in the musical theater production that is "Inside." His talent as an actor is on display throughout this whole special, but there's a particularly alluring style he has in this song as he veers from a circus salesman persona to a falsely benevolent tech founder and then straight into a Bond-villain laugh.

"Welcome to the Internet" captures the mania and dissonance and addictive qualities of the internet while explaining to you the malicious ethos underlying today's online culture and the businesses built up around it ("Apathy's a tragedy and boredom is a crime").

The grand finale of his musical spectacular, "Goodbye" brings all the main motifs from earlier songs back into the fold. Burnham layers various characters and observations about the role of comedy, the internet, complete mental spiraling, and the crush of pressure to "reenter" the world.

The song's melody is oddly soothing, and the lyrics are a sly manifestation of the sometimes-inviting nothingness that depression can offer ("It's almost over, it's just begun. Don't overthink this, look in my eye. Don't be scared, don't be shy, come on in, the water's fine.")

New harmonies kick in after this line, adding to the haunting beauty of the song. Listening to "All Eyes on Me" is like having a religious experience with your own mental disorder. Burnham's voice crawls into your skin, speaking to a dark corner of your mind that's been waiting for permission to give up.

Choosing a special song to dedicate to your child is something I would really encourage you to do. It helps them to feel cherished and loved. It increases your bond. This parenting tool gives you another thing that is shared just between the two of you, which increases emotional intimacy. It creates an anchor for your child also even once they are grown and have moved out of your home.

As an added bonus, when you have a special song for your child, you can also use it to make a memorable video montage using photos of your child growing up as a gift for their graduation, wedding day or milestone birthday.

LinkedIn and 3rd parties use essential and non-essential cookies to provide, secure, analyze and improve our Services, and to show you relevant ads (including professional and job ads) on and off LinkedIn. Learn more in our Cookie Policy.

In the USA, February is Black History Month and March is Women's History Month. So, this year, I mashed those two together, which inspired me to learn three hit songs by the great African-American Woman composer: Billie Holiday (1915-1959). Here follow links to recent performances of these songs, along with a few comments for context:

Don't Explain. We all remember Billie Holiday as a great jazz and blues singer, which she certainly was. But she didn't just sing; she also wrote around 15 songs. A handful of those became Jazz Standards that have been recorded by hundreds of artists and are still performed today. For example, "Don't Explain" is a song from 1946, with words by Billie Holiday and music by Arthur Herzog.

God Bless the Child. In her autobiographical book "Lady Sings the Blues" (1956), Billie Holiday explained the origin of her hit song "God Bless the Child." She was very close to her mother, although the two argued a lot, especially over money. After one such argument, Billie stormed out shouting ironically "God bless the child that's got his own money!" And the rest is history. The song that ensued is "God Bless the Child" (1941) with words by Billie Holiday and music by Arthur Herzog.

3a8082e126