And so, yes. When I hear about the decline of the American church, I think about Sunday afternoons. I think about love songs. I think about boys getting nothing to face a hard world with. No understanding of what it is to surrender yourself to whatever you love enough to name a God.
There is no greater love than that which is shared between two people immersed in a common struggle. And this is how the drug dealing anthem comes home to roost. How it takes on a different body entirely when a singer bows in appreciation for the hands that do the hard work, the partnership that flourishes, in spite of those who wish ill upon it.
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Over the years and our continuous fights about my increasing Americanness, food has become the only safe subject between my parents and me. It is also the only language through which they can tell me that they love me. While my white friends receive care packages of cookies and candles from home, my parents offer to overnight me live lobsters that they bulk-order.
Even though I thought that the relationship between Natalie and William was one of the most adorable opposites-attract love stories with all the rom-com feels, I came out of the story wanting more between these two characters. Normally, I am all about insta-love stories. Still, I felt that the relationship that developed between Natalie and William was a bit rushed, and this is probably due to the book being a relatively short read. Other than that, there were plenty of swoon-worthy parts in this book, and there were many times I caught myself smiling from ear to ear, loving the dynamic between a world-famous, glamorous pop singer and an indie actor with quirky socks.
"Love Song" is the debut single by American singer-songwriter Sara Bareilles, released in June 2007 via Epic Records from her major-label debut album, Little Voice (2007). It was nominated for 2009 Grammy Awards in the categories Song of the Year and Best Female Pop Vocal Performance.
Speaking of the song's origin in an interview with MTV, Bareilles said of her label, "They had encouraged me to keep writing, and I just wasn't having any luck. [...] I went to a rehearsal space one day. I sat down and wrote something for me. And 'Love Song' basically wrote itself. It's totally honest, and I'm very lucky the label liked it as well."[2]
Featured initially as the free iTunes song of the week on June 16, 2007, the song was a sleeper hit, debuting a few months later at number 100 on the US Billboard Hot 100. After her appearance in a Rhapsody TV commercial, in which she performs "Love Song", it rocketed from number 72 to number 16 on the Hot 100 and from number 32 to number five on the Hot Digital Songs chart.[5] In the first week of 2008, the song cracked the top 10 on the Hot 100, jumping to number nine, where it stayed for four non-consecutive weeks before reaching a peak of number four. In spite of not reaching the top three, "Love Song" managed to spend 19 weeks in the top 10, in contrast with other songs that reached higher peak but did not maintain such longevity. The single was certified quadruple platinum by the RIAA for over four million in sales.[6]
As of April 2014, the single had sold 3,717,000 digital copies in the United States.[7] The song was listed at number seven on the Billboard Hot 100 year-end chart of 2008. It also topped both the Billboard Hot Adult Contemporary Tracks and Hot Adult Top 40 Tracks charts in 2008.
The song debuted on the UK Singles Chart at number 30 and later peaked at number four. The song debuted at number 100 on the Canadian Hot 100 the week of January 31, 2008, and reached number one on the chart the week of March 29, 2008. In Australia, "Love Song" peaked at number four during its ninth week on the country's chart. In New Zealand, it reached number seven on the RIANZ Singles Chart.
Directed by Josh Forbes, the music video features a miniature Bareilles playing the piano inside a coin-operated jukebox that plays love songs. A steady stream of men and women enter the booth and insert coins to observe her through a pinhole as she plays the same song day after day. The lyrics express her growing frustration as she declares that she is "not gonna write you a love song today," whereupon Bareilles grabs the next coin that rolls inside, and uses it to jam the gears. The next morning, the owner of the booth (who was seen at the beginning of the video) enters; he notices that the jukebox has gone dark, and appears amazed when he discovers Bareilles inside the jukebox. He retrieves the jammed coin from the gears and hands it to Bareilles.
What I wanted to do here was to talk a bit about the Love Song, to speak about my own personal approach to this genre of songwriting which I believe has been at the very heart of my particular artistic quest. I want to look at some other works, that, for whatever reason, I think are sublime achievements in this most noble of artistic pursuits: the creation of the great Love Song.
The Love Song is a sad song, it is the sound of sorrow itself. We all experience within us what the Portuguese call Saudade, which translates as an inexplicable sense of longing, an unnamed and enigmatic yearning of the soul. And it is this feeling that lives in the realms of imagination and inspiration and is the breeding ground for the sad song, for the Love Song is the light of God, deep down, blasting through our wounds.
The Song of Solomon is an extraordinary Love Song but it was the remarkable series of love song/poems known as the Psalms that truly held me. I found the Psalms, which deal directly with the relationship between man and God, teeming with all the clamorous desperation, longing, exultation, erotic violence and brutality that I could hope for. The Psalms are soaked in saudade, drenched in duende and bathed in bloody minded violence. In many ways these songs became the blueprint for many of my more sadistic love songs. Psalm 137, a particular favourite of mine which was turned into a chart hit by the fab little band Boney M is a perfect example of all I have been talking about.
By the rivers of Babylon, there we sat down / Yea, we wept when we remembered Zion / We hanged our harps upon the willows in the midst thereof / For there they that carried us away captive required of us a song / And they that wasted us required of us mirth saying / Sing us one of the songs of Zion / How shall we sing the Lord's song in a strange land? / If I forget thee, O Jerusalem / Let my right hand forget her cunning / If I do not remember thee, let my tongue cleave to the roof ofmy mouth / If I prefer not Jerusalem above my chief joy / Remember, O lord, the children of Edom in the day of Jerusalem / Who said Rase it, rase it, even to the foundation thereof / O daughter of Babylon, who art to be destroyed / Happy shall he be, that rewardeth thee as thou hast served us / Happy shall he be, that taketh and dasheth thy little ones against the stones.
Pretty words, innocent words, unaware that any day the bottom would drop out of the whole thing. Love Songs that attach themselves to actual experiences, that are a poeticising of real events have a peculiar beauty unto themselves. They stay alive in the same way that memories do and being alive, they grow up and undergo changes and develop. A Love Song such as Far From Me has found a personality beyond the one that I originally gave it. With the power to influence my own feelings around the actual event itself. This is an extraordinary thing and one of the truly wondrous benefits of songwriting. The songs that I have written that deal with past relationships have become the relationships themselves. Through these songs I have been able to mythologise the ordinary events of my life, lifting them from the temporal plane and hurling them way into the stars. The relationship described in Far From Me has been and gone but the song itself lives on, keeping a pulse running through my past. Such is the singular beauty of songwriting.
Quincy Jones almost nabbed this slice of loved-up electrofunk for Michael Jackson, but it ended up becoming a signature tune for R&B diva Khan when she sang it with her old band Rufus in 1983. When Frankie Knuckles gave it a piano house remix in 1989, a new generation went crazy for the song: now artists ranging from Mary J. Blige to KT Tunstall have recorded versions, but none of them reach the thrilling heights of Chaka as she hits the final chorus.
Lovesong focussed on an older couple who were struggling to come to terms with an illness. As they entered a crucial week in their lives their house became filled with ever vivid memories of each other.
Love is complicated, scientifically speaking. There's no single, specific "love chemical" that surges through our bodies when we see our beloved, and we can't point to a specific corner of the brain where love resides.
Still, scientists have measured real changes in our bodies when we fall in love: an ebb and flow of signaling molecules. In that early lustful phase, sex hormones like testosterone fuel the libido (in both men and women). The dopamine highs of new attraction have been compared by some scientists to the effects of cocaine use.
The anxiety associated with new romance has been linked to low levels of serotonin in the brain. And some researchers say they see similarities in the way serotonin is regulated in the early phases of love and the way it is modulated in obsessive compulsive disorder.
In Skunk Bear's new video ballad, we explore the symptoms of love and their neurological causes. Why does your heart race when you see your crush? What gives you that feeling of butterflies? And why does love make us act so dumb? This love ballad is our Valentine's gift to you.
Every time the song is purchased, streamed, or shared, the royalties go directly towards the efforts of Friends of the Earth to keep fossil fuels in the ground and lower carbon emissions, and to the work of the U.N. Foundation to inspire international action on climate change. 0852c4b9a8
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