'Til I Die, Background and composition
Explaining how Wilson came up with the chords, Don Was recalled, "he told me that he was sitting at a piano, creating geometric patterns with his fingers, trying not to move the fingers on the outside of the patterns, but limiting changes to internal movements. When he landed on a shape that both looked cool and sounded good, he wrote it down. So, essentially he created this masterpiece by contorting his fingers into really groovy shapes." However, Was said, "I've absolutely no idea whether this story has any basis in truth or whether he was just making it up on the spot to entertain me."


'Til I Die, Background and composition
Asked how he came up with the song in a 2007 interview, Wilson answered, "Well, I put a b note in g major 7th chord and it was a 3rd in the chord, and the note in the key of g resonates pretty well. Lyrically, I tried to put nature in there. Earth, water, rocks and leaves." He stated that the line "I'm a cork on the ocean" was the first thing lyrically that came to him.


'Til I Die, Background and composition
In the lyrics, Wilson compares himself to a cork on the ocean, a rock in a landslide, and a leaf on a windy day—seeing himself as a small, helpless object, being moved inconceivable distances by forces beyond his comprehension. "How deep is the ocean? How long will the wind blow?" The hopeless conclusion is given in the song's title.


'Til I Die, Recording
Wilson recorded a solo piano demo of the song on November 4, 1969. According to some sources, when he presented the song to the band, one member initially voiced criticisms. Bruce Johnston remembered Brian "playing it for the band and one member of the band didn't understand it and put it down, and Brian just decided not to show it to us for a few months. He just put it away. I mean, he was absolutely crushed. This other person just didn't like it." Various sources state that Mike Love had called the song a "downer".


'Til I Die, Recording
Engineer Stephen Desper wrote that "the guys often thought the original lyrics to ['Til I Die] were drug derived." At one stage, to address the criticism, Wilson changed the lyrics from "It kills my soul" to "It holds me up" or "It fills my soul" and "I lost my way" to "I found my way". Ultimately, the rest of the group insisted that the original lyrics be kept as the new lyrics contradicted the lyrics in the verses. A recording of the song with these alternate lyrics still exists, and was released on the 2021 compilation Feel Flows.


'Til I Die, Recording
The first dated session for the song was at Beach Boys Studio on August 15, 1970. Brian recorded five takes of the song although the song would be left only partially completed. Dennis Wilson was not present during this session due to filming dates for Two-Lane Blacktop, which resulted in a Maestro Rhythm King drum machine being used on the basic track. On August 26, the partially completed track was mixed although very little work was done on the recording until later the following year. The last dated session occurred on July 30, 1971. In Desper's recollection, Wilson played Hammond B3 organ while touring musician Daryl Dragon played vibraphone.


'Til I Die, Recording
"Til I Die" was more or less an achievement in sound. ... After it was done I took a certain part of where I was singing and I made a mono tape loop and put my voice on the tape loop. I sent the loop into an echo chamber. I went into the echo chamber and listened to my voice in a circle and walked out of there in another world.


'Til I Die, Recording
Al Jardine said of the song, "it's really a good vocal sound, I think Desper deserves all the credit on that one, I mean we just had the best microphones, the best microphone technique and engineering on that particular piece and that particular time." Johnston expressed similar feelings towards the song as he states that "the track is very simple...and the great, great vocal arrangement that he wrote. Really, a great piece of work."


'Til I Die, Recording
An extended mix of the original recording, created by Desper, was included on the 1998 Endless Harmony Soundtrack. It is notable for having each instrumental layer come in after the other as an introduction and features more prominent vibraphone and organ throughout. The mix was reportedly done only for the engineer's self-interest. As Desper explains, the band "went out for lunch or something like that and since the song was already mounted and a mix up, I put together what I thought was a structure that better showcased the harmonic beauty of Brian's writing. Somewhere thereafter I did play the track for Carl, but only in the interest of disclosure, not to sway him to change the structure that Brian intended."


'Til I Die, Release
The song was first released on the band's album Surf's Up on August 30, 1971. On October 11, 1971, the song was released in the United States as the flip-side of the "Long Promised Road" single, which had also been released earlier that year in May with a different B-side. The single entered the Billboard charts on October 30 in the No. 93 position. It peaked three weeks later at No. 89 on the Billboard charts, where it remained for one more week until the single dropped off the charts altogether. It was the first single by the group in 19 months to chart. However, at the time it was the lowest charting single in the group's history and it remained so for a further eighteen years.


'Til I Die, Legacy and recognition
Bruce Johnston praised it as the last great Brian Wilson song as well as describing it as Wilson's "heaviest song." Johnston has also stated that "the words absolutely fit his mindset". Wilson also felt this was the case when he stated that "the song summed up everything I had to say at the time." In 2015, Love named the lyrics of "'Til I Die" his favorite of any written solely by Wilson, although he admitted, "I don't like the line 'it kills my soul' but I understand what he's saying."


'Til I Die, Legacy and recognition
Biographer Jon Stebbins wrote: "''Til I Die' proves that Brian could not only write beautiful music, but that he had the ability to communicate honestly and artfully with his lyrics as well. The track is decorated with a haunting vibraphone and organ bed, which frames the strong harmony vocal arrangement perfectly."


'Til I Die, Legacy and recognition
As a solo artist, a remake of the song was recorded – along with an accompanying video – by Brian Wilson for inclusion in the 1995 documentary I Just Wasn't Made for These Times and it would later appear on the film's soundtrack. This version, produced by Brian and Don Was, is much more sparse than the original. Brian's re-recording of the song was released as the second track on a relatively rare UK single in 1995. However, the single failed to make any impact on the charts. In 2000, over a period of two days on April 7 and 8, Brian and his band recorded a live version of the song—based on Desper's extended mix—for inclusion on Brian's 2000 live album Live at the Roxy Theatre.


'Til I Die, Legacy and recognition
A sample of the song appears as part of the soundtrack to the 2014 film Love & Mercy on the track "The Bed Montage", composed by Atticus Ross.


'Til I Gain Control Again
"'Till I Gain Control Again" is a country song written by Rodney Crowell and originally recorded by Emmylou Harris in 1975. The song was included on her 1975 studio album Elite Hotel. The song is most known by the No. 1 single version recorded by Crystal Gayle on her 1982 album, True Love.


'Til I Gain Control Again
Waylon Jennings covered this song on his 1977 album, Ol' Waylon. Willie Nelson covered it on his 1978 live album Willie and Family Live. Jerry Jeff Walker also covered the song in 1978 on his Contrary to Ordinary album. Bobby Bare covered the song in 1979. Crowell recorded his own version of the song as well in 1981 on his self-titled album. The gothic band This Mortal Coil covered it on their 1991 album Blood. Blue Rodeo covered the song in 1993. Van Morrison covered it on his 2006 Pay the Devil album. Alison Krauss recorded it in 2016 as part of a tribute album to Harris titled: The Life & Songs of Emmylou Harris.


'Til I Gain Control Again, Composition
Rodney Crowell wrote the song while working for Jerry Reed's publishing company. At the time, he was hanging out with noted songwriters Townes Van Zandt, Guy Clark, and Steve Runkle, and wanted to show his own songwriting skill.


'Til I Gain Control Again, Composition
In retrospect, Crowell expresses regret at rhyming "been" with "can" in the lyric "What you’ve seen is what I’ve been/There is nothing I could hide from you/You see me better than I can." Had he written the song later in his career, Crowell says he would have spent time to find a hard rhyme. Crowell marvels when people tell him this song is their favorite of his.


'Til I Gain Control Again, Composition
Crowell wrote the song back-to-back with "Song for the Life" (recorded on his debut album Ain't Living Long Like This) in the 1970s and says both are a "projection into the future that I later lived through . . . and it was exactly like I predicted."


'Til I Gain Control Again, Crystal Gayle version
In 1982, the song would be recorded by Crystal Gayle and her recording was her tenth number one on the country chart. Her recording would go to number one for one week and spend a total of twelve weeks on the chart. A music video was filmed for the song.


'Til I Gain Control Again, Blue Rodeo version
In 1993, the song was covered by Canadian country rock band Blue Rodeo for their album Five Days in July. Released as a single in 1994, the song peaked at number 24 on the RPM Country Tracks chart.


'Til I Get It Right
"'Til I Get it Right" is a song recorded by American country music artist Tammy Wynette. It was released in December 1972 as the second single from the album My Man. The song was Wynette's twelfth number one, spending one week at number one and a total of twelve on the U.S. country singles chart. The song was written by Red Lane and Larry Henley.


'Til I Hear You Sing
"'Til I Hear You Sing" is a song from the musical Love Never Dies, the 2010 sequel to the 1986 musical The Phantom of the Opera. It was originally performed by Ramin Karimloo as the Phantom during the London run and was recorded with him for the original London cast album.


'Til I Hear You Sing, Synopsis
The Phantom sings about how he has done next to nothing in the ten years since the events of the first musical took place. He now feels like he cannot be productive in any way until he hears Christine sing again. The Telegraph explains "the tortured hero longs to be reunited with his muse, Christine, with whom, the show reveals, he once shared a night of passion." He will never be happy until he hears Christine sing again.


'Til I Hear You Sing, Synopsis
As a result of some structural changes Andrew Lloyd Webber made to the show due to mixed reviews, it "comes at the very start of the show".


'Til I Hear You Sing, Critical reception
StageWhispers described it as a "vocally demanding opening prologue". AllMusic described this song, along with the title song, as "crafty/schmaltzy ballads". Gramophone wrote "Karimloo’s Phantom seethes magnificently in his opening ballad ‘Til I Hear You Sing". The BBC deemed it "the musical’s most memorable song", and described Karimloo's performance as "full-blooded". Ckickey described it as " a genuinely stirring show-stopper", "prodigious", "pulsating", and a "great song". The Telegraph named it "one of the show’s finest songs". The Stage deemed the number, along with Love Never Dies, as "stand outs".


'Til I Hear You Sing, Critical reception
Reviewing the Australian version of the musical, The Herald Sun wrote the Phantom's "opening rendition of 'Til I Hear You Sing is thrilling and no song that follows meets this level." London Theatreland wrote "I did not leave the theatre humming "Till I Hear You Sing". But will people be humming "Till I Hear You Sing" in months, years to come? Of course, they will." Gramaphone says the Phantom "seethes magnificently in his opening ballad ".


'Til I Hear You Sing, Critical reception
Entertainment Weekly said "Instead of Music of the Night, we get a piercing succession of key changes through Til I Hear You Sing as [Erik] longs for Christine to be restored as his muse", concluding "his musical mastery has...largely deserted him". News.com deemed it "the show's strongest number...which remains the standout performance of the night until...the title song."


'Til It Kills
Til It Kills is the second studio album by California punk rock band, Tilt. It was released in April 1995 on Fat Wreck Chords.


'Til Love Comes Again
"'Til Love Comes Again" is a song recorded by American country music artist Reba McEntire. It was released in September 1989 as the second single from the album Sweet Sixteen. The song reached #4 on the Billboard Hot Country Singles & Tracks chart. The song was written by Ed Hill and Bob Regan.


'Til Madness Do Us Part
'Til Madness Do Us Part (simplified Chinese: 疯爱; traditional Chinese: 瘋愛) is a 2013 Chinese documentary film directed by Wang Bing. It observes the daily activity on one floor of a Chinese mental institution in Yunnan, Southwest of China. It premiered at the 70th Venice International Film Festival.


'Til Madness Do Us Part
The floor of the Chinese mental institution houses 50 male patients who are there for killing someone, committing a crime against a public official, or have a developmental disability. It is not clearly stated why the men are in the mental institution, adding to the observational approach of the documentary. The documentary film uses handheld camerawork and digital video to capture the relationship between society and individuals. Towards the end of the film, one of the patients is allowed to return to his home village. It creates a contrast to the isolation and atmosphere of the mental institution.


'Til My Tears Roll Away
'Til My Tears Roll Away is the fourth studio album by Australian blues/roots band, The Audreys. The album was produced by Shane O'Mara who had produced the previous three albums by the band. ' Til My Tears Roll Away was released in March 2014 and peaked at number 32 on the ARIA Charts. The album was preceded by the lead single "My Darlin' Girl" in January 2014.


'Til My Tears Roll Away
Greg Moskovitch from Music Feeds said "The new album is a grittier record than the pair's previous releases, with the bulk of the material recorded over a few days at Adelaide's Mixmasters studio using aged equipment."


'Til My Tears Roll Away
At the ARIA Music Awards of 2014, the album was nominated for ARIA Award for Best Blues and Roots Album; the fourth time the group has been nominated in this category, however lost to John Butler Trio for Flesh & Blood.


'Til My Tears Roll Away, Reception
Ali Birnie from Beat Magazine said "Featuring sweet blues folk tones that The Audreys are best known for, 'Til My Tears Roll Away also showcases a new-found rock edge to their sound."


'Til My Tears Roll Away, Reception
Greg Elliott from In Daily said "The Audreys' much-anticipated fourth album won't disappoint their fans" saying "The vocals, while melodic and beautiful, have a haunting, mournful edge which reflects the fact that the songs are often about unsuccessful love. The choruses are catchy and you soon find yourself singing along."


'Til My Tears Roll Away, Reception
In conclusion Elliot said "'Til My Tears Roll Away is quite an achievement, from the opening song, the tone of the album has a sense of loss and of love not running smoothly, but the essential underlying philosophy is 'that's how it goes' and, despite The Audreys' country-rock roots, there is less of an attitude of 'you done me wrong' and more of 'pick yourself up, carry on and keep strong'".


'Til Nothing Comes Between Us
"'Til Nothing Comes Between Us" is a song written by Kerry Harvick, Tony Marty and Rebecca Marshall, and recorded by American country music artist John Michael Montgomery. It was released in July 2002 as the first single from the album Pictures. The song reached #19 on the Billboard Hot Country Singles & Tracks chart.


'Til Shiloh
’Til Shiloh is the fourth album by Jamaican dancehall artist Buju Banton, released in 1995 by Loose Cannon Records, a short-lived subsidiary of Island Records. In 2019 the album was certified gold by the Recording Industry Association of America (RIAA).


'Til Shiloh
The album marked a significant change in Banton's artistrty, going to a direction closer to roots reggae. ’ Til Shiloh was widely acclaimed by critics, and is considered to be a classic album for reggae music.


'Til Shiloh, Music and lyrics
’Til Shiloh was described as an introspective record. Its themes mainly explore Buju's then newfound faith in the Rastafari movement, with songs such as "Til I'm Laid to Rest", and "Untold Stories". This could be seen as a transition from the rude-bwoy style, made of glorifications of gun violence, to a more roots-oriented fashion. Jo-Ann Greene of AllMusic said that the album "consolidated his move into social awareness and adopted a more mature, reflective tone that signaled Banton's arrival as an artist able to make major creative statements".


'Til Shiloh, Music and lyrics
The title track, which opened the album, was based on an introduction Banton had used in live shows. According to producer Donovan Germain, "'Til Shiloh mean forever."


'Til Shiloh, Critical reception
Angus Taylor of BBC Music commented that " this is a very listenable landmark, which reminds us that while lyrical topics may differ, musically, reggae is one". AllMusic's reviewer Jo-Ann Greene said that "this is a gentler album than its predecessor, although still very much in a dancehall style. Another masterpiece". Robert Christgau stated that the record is "The most fully accomplished reggae album since the prime of Black Uhuru", praising "how he perfectly articulates empathy, vulnerability, and concern".


'Til Shiloh, Critical reception
The album was listed in the 1999 book The Rough Guide: Reggae: 100 Essential CDs.


'Til Shiloh, Reissues
In 2002 the album an expanded and remastered edition was released on Island/IDJMG/Universal Records, featuring the tracks "Sensemilia Persecution" and "Rampage."


'Til Shiloh, Reissues
In 2020, the album was reissued on its 25th Anniversary on December 18, including remixes of "Not An Easy Road", "Wanna Be Loved" and a unreleased track called "Come Inna The Dance" as bonus tracks.


'Til Shiloh, Commercial performance
On the issue dated August 5, 1995, Til Shiloh debuted at number 148 on the US Billboard 200 chart. The album also debuted at number 27 on the US Top R&B/Hip-Hop Albums chart. The album was eventually certified gold by the Recording Industry Association of America (RIAA) for sales of over 500,000 copies in the United States.


'Til Summer Comes Around
"'Til Summer Comes Around" is a song co-written and recorded by Australian country music singer Keith Urban. It was released in November 2009 as the fourth single from his 2009 album Defying Gravity. The song peaked at number 3 on the US Billboard Hot Country Songs chart. Urban wrote this song with Monty Powell.


'Til Summer Comes Around, Content
The narrator compares a quiet boardwalk in the wintertime to something being "as empty as [his] broken heart," remembering the times that he and his lover had at the carnival rides there while the boardwalk was open in the summertime. As the song progresses, it is revealed that he has remained in the town for several years, waiting for her to return, as promised, in the summer. It is accompanied mostly by electric guitar and organ.


'Til Summer Comes Around, Music video
Directed by Noble Jones, the music video was released on January 12, 2010. It won the Male Video of the Year Award at the 2010 CMT Music Awards. It debuted on CMT's Top Twenty Countdown at number 12 on the week of January 22, 2010, and has since reached number 3. It was filmed in Santa Monica, CA.


'Til Summer Comes Around, Critical reception
Thom Jurek of Allmusic referred to the song as "haunting, nocturnal, and dreamily textured" in his review of the album. Bobby Peacock of Roughstock said that it was "more substantial" than the album's other three singles and "a standout even among [Urban’s] many great ballads." Chris Neal of Country Weekly gave it four-and-a-half stars out of five, saying that "[t]he words paint a vivid picture of a setting that perfectly mirrors the narrator's emotional state" and calling it "one of [Urban’s] best [singles] to date."


'Til Summer Comes Around, Chart performance
"'Til Summer Comes Around" debuted at number 41 on the Billboard Hot Country Songs charts dated November 28, 2009. Before the song's release, a Keith Urban fan blog called Urban Country Blog had started a petition to release the song as a single. It also debuted at number 92 on the Billboard Hot 100 and has peaked at number 58. It reached a peak of number three on the Hot Country Songs charts in 2010.


'Til Summer Comes Around, Awards
The song won the 2011 Grammy Award for Best Male Country Vocal Performance on February 13, 2011.


'Til There Was You
'Til There Was You is a 1997 American romantic comedy film directed by Scott Winant and starring Jeanne Tripplehorn, Dylan McDermott, and Sarah Jessica Parker. The screenplay, written by Winnie Holzman, traces thirty-odd years in the parallel lives of two people whose intertwined paths finally converge when their mutual interest in a community project brings them together.


'Til There Was You, Plot
Gwen Moss (Jeanne Tripplehorn) has spent the better part of her life waiting for the man of her dreams, unaware she briefly bumped into him at school as children and has had several close encounters ever since. She aspires to have a life like her longtime friend Debbie (Jennifer Aniston), a successful doctor with a beautiful home but a marriage that may not be as perfect as it seems on the surface.


'Til There Was You, Plot
Gwen is hired to ghostwrite the autobiography of former child star Francesca Lanfield (Sarah Jessica Parker), whose career virtually ended following her stint on a long-running Partridge Family-Brady Bunch hybrid sitcom. Francesca owns La Fortuna, a picturesque vintage apartment complex (filmed at the historic El Cabrillo). Architect Nick Dawkan's (Dylan McDermott) boss Timo wants to buy and demolish the complex so his firm can construct a modern condominium development in its place. Francesca agrees to the sale as long as Nick is placed in charge of the project, and the two embark on a somewhat tempestuous relationship.


'Til There Was You, Plot
Both are damaged emotionally; Francesca has overcome an addiction to drugs but still craves the spotlight, while Nick is dealing with the memory of a father who failed as a songwriter and became a hopeless alcoholic. Meanwhile, Gwen is shocked to discover her father Saul never loved her mother Beebee and is devastated when the two decide to divorce. Her parents' story of how they met from her childhood turns out to be false: Saul got stood up by his date that night and Beebee thought that he was interested in her. They only married to "avoid an argument", as Saul puts it.


'Til There Was You, Plot
Gwen moves into La Fortuna and finds herself surrounded by an assortment of odd but lovable neighbors who have created a family of their own. When the tenants are presented with eviction notices, they decide to fight back. Having discovered the property was designed by Sophia Monroe, one of the first female architects of note (and coincidentally Nick's mentor during the early stages of his career), and served as home to silent film star Louise Brooks, Gwen hopes she can have it declared an historical landmark with the assistance of Jon Haas, the city councilman she is dating. Nick is prepared to fight for his firm until he sees La Fortuna and learns its history and decides it might be worth preserving after all. Though ultimately unsuccessful in preserving La Fortuna, they finally meet at the Nicotine Anonymous meeting, are then happily married, and have a daughter together.


'Til There Was You, Box office
The film opened at number 10 at the North American box office making $1.3 million USD in its opening weekend.


'Til There Was You, Production
In January 1996, Terence Blanchard and Miles Goodman were hired to compose the music for the film. Director Scott Winant approved the duo, thinking the comical mastery of Goodman and the jazzy romance of Blanchard would make the perfect combination. Blanchard was even excited about collaborating with Goodman that he rearranged his summer tour of The Heart Speaks around Goodman's ever-busy scoring schedule. ' Til There Was You would be the final film scored by Goodman; he died a year before the film's release, aged 47. The film is dedicated to his memory.


'Til There Was You, Critical reception
The film garnered mostly negative reviews from critics during its release. It currently holds a 5% approval rating on Rotten Tomatoes based on 39 reviews.


'Til There Was You, Critical reception
Roger Ebert of the Chicago Sun-Times rated the film 11⁄2 stars and called it "the most tiresome and affected movie in many a moon, a 114-minute demonstration of the Idiot Plot, in which everything could be solved with a few well-chosen words that are never spoken . . . and at the end of it all, we have the frustration of knowing that 114 minutes of our lives have been wasted, never to be returned . . . All comes together at the end. Landmarks are saved, hearts are mended, long-deferred love is realized, coincidences are explained, the past is healed, the future is assured, the movie is over. I liked the last part the best."


'Til There Was You, Critical reception
Ruthe Stein of the San Francisco Chronicle observed, "Filmmakers should be careful about using snippets from old movies. In Til There Was You, there's a tender scene from Brief Encounter that says more about fate and the serendipity of falling in love in two minutes than this new movie does in two hours . . . ' Til There Was You hammers away at the idea that people don't find love until they're ready for it. The notion is convenient as a way of keeping Gwen and Nick apart, but it's not true. People are always meeting at inconvenient times.


'Til There Was You, Critical reception
That's what Brief Encounter is about. First-time screenwriter Winnie Holzman may have been aware of the lameness of her central premise because she has loaded the movie with a dizzying number of subplots . . . Directing his first film after many years as a television producer, Scott Winant seems at a loss to know how to integrate these disparate elements. They come across like episodes of Seinfeld or Friends . . . Tripplehorn and McDermott don't look as if they belong together and aren't strong enough actors to overcome their physical incompatibility.


'Til There Was You, Critical reception
So there's no sense of urgency about them getting together, as there was with Meg Ryan and Tom Hanks in Sleepless in Seattle. Tripplehorn in particular makes an unlikely romantic lead; she's dull at the times she should sparkle. By contrast, Sarah Jessica Parker is the life of the movie. As Francesca . . . she appears to be doing a Madonna impersonation, grabbing the screen and holding it with the force of her personality, not to mention her cleavage."


'Til There Was You, Critical reception
Barbara Shulgasser of the San Francisco Examiner noted "what makes the intermittently charming, intelligent and funny 'Til There Was You so intermittently dull, loose and meandering is that the filmmakers thought they could pack the contents of more TV episodes into one movie than any movie should be required to hold. The tangled 114 minutes feel like years."


'Til There Was You, Critical reception
Leonard Klady of Variety stated, "A tired piece of romantic cornball fare that harks back to a bygone era, the film is a badly conceived, poorly executed fairy tale guaranteed to make audiences squirm in their seats . . . Winnie Holzman's script is one of those filigree fantasies in need of an experienced, stylish filmmaker. Tyro feature director Scott Winant simply doesn't fit the bill, going for the obvious and banal . . . But ultimately, 'Til There Was You doesn't work because its leads lack charm, and the viewer remains indifferent as to whether they get together at the close."


'Til There Was You, Home media release
Paramount Home Video released 'Til There Was You on videotape and Region 1 DVD on December 11, 2001. The film is in the anamorphic widescreen format with an audio track and subtitles in English. There are no bonus features. The film has never been released in high definition.


'Til Tomorrow
"'Til Tomorrow" is a 1982 R&B/soul quiet storm-styled song recorded by American singer Marvin Gaye. The song was the second song to be promoted off Midnight Love but wasn't released as a physical single, but more of a promotional song as Gaye prepped for a U.S. tour in the year of its release. The single was released on February 8, 1983.


'Til Tomorrow, Background
Released on his Midnight Love album, it was the sole ballad in the album, which focused mainly on funk rhythms and dance material. Gaye was the sole lyricist of the song. When asked how the lyrics of the song seemed more primitive than Gaye's previous ballads, the singer said he had run out of ideas on lyrics. The song is described as a bare-bones song with "heavenly scat riffs". Gaye provides accentuated doo-wop harmonies in the background while delivering both a jazzy-inspired baritone and a gospel-inflected tenor with falsetto stuck in the middle of it.


'Til Tomorrow, Background
The original demo of the song (titled "Baby, Baby, Baby") showcased the frustration Gaye was going through during the recording of Midnight Love. The spoken intro by Gaye was later modified by the singer while mention of the word "shit" was also taken off of the final track as was extra lyrics added during the saxophone solo provided by Bobby Stern. The song was later covered by Chico DeBarge.


'Til Tomorrow, Chart performance
The song was issued as a promotional single mainly on R&B radio while Gaye was prepping for his upcoming "Sexual Healing" tour, which took place in April 1983. Due to strong initial airplay, the song peaked at number thirty-one on the R&B singles chart.


'Til Tomorrow, Credits
This 1980s rock song–related article is a stub. You can help Wikipedia by .


'Til Tuesday
'Til Tuesday (often stylized as ’til tuesday) was an American new wave band formed in Boston, Massachusetts, United States. The band, consisting of Aimee Mann (lead vocals, bass), Robert Holmes (guitar), Joey Pesce (keyboards), and Michael Hausman (drums), was active from 1982 to 1989. They are best known for their 1985 hit single "Voices Carry".


'Til Tuesday, History
'Til Tuesday first gained fame six months after its formation when it won Boston's WBCN Rock & Roll Rumble in 1983. Their original composition "Love in a Vacuum" (credited to all members of the group) received a fair amount of airplay on the station, and the group was eventually signed to Epic Records.


'Til Tuesday, History
"Love in a Vacuum" was re-recorded for the Epic debut album, 1985's Voices Carry; however, the breakthrough song turned out to be the title track. The "Voices Carry" single peaked at number eight on the U.S. Billboard Hot 100, and is said to have been inspired by an argument between Mann and Hausman, who had broken off a relationship before the album's release. According to producer Mike Thorne on his Stereo Society web site, "The title track was originally written and sung by Aimee as if to a woman.... The record company was predictably unhappy with such lyrics." Rolling Stone magazine would later report that Epic Records labelmate Cyndi Lauper was interested in recording "Voices Carry" with the original lyric, but only if the band did not put it on their own release.


'Til Tuesday, History
The band became an early MTV staple with the "Voices Carry" video, which depicts an oppressive boyfriend trying to convert Mann to his upper-class lifestyle; she finally lashes out at him during a concert at Carnegie Hall, though filmed at the Strand Theatre in Dorchester, Massachusetts, standing up from her seat in the audience and belting the lyrics, "He said, shut up! He said, shut up! Oh God, can't you keep it down...?" as she removes her cap to reveal her signature spiky, rat-tailed hair. As a result, the group won that year's MTV Video Music Award for Best New Artist.


'Til Tuesday, History
By the 1986 follow-up Welcome Home, Mann was beginning to write more of the songs herself and the band was moving away from the slick new wave sound of their debut. But while critical reaction was generally strong, the #26 placing for the lead single, "What About Love", was a commercial disappointment, especially after the top-ten success of "Voices Carry". Even more problematic, the album just barely sneaked into the U.S. top 50, also a letdown after the #19 placing for their debut.


'Til Tuesday, History
After the album's release Pesce left the band and was replaced by Michael Montes. At about the same time, Mann's two-year relationship with singer-songwriter Jules Shear, whom she had been dating since the release of the Voices Carry album, came to an end. This breakup somewhat informed the band's final album, 1988's Everything's Different Now, particularly in the song "J for Jules", though Mann insisted that not every song on the LP was about the relationship. Shear collaborated with Matthew Sweet on the album's title track; it also featured "The Other End (Of the Telescope)", a collaboration between Mann and Elvis Costello on which Costello provides a guest vocal.


'Til Tuesday, History
While critical praise continued to flow, Everything's Different Now was not a commercial success. The album peaked at No. 124 in the U.S., while the lead single "(Believed You Were) Lucky" (co-written with Shear) reached number 95.


'Til Tuesday, History
'Til Tuesday essentially broke up after the release of Everything's Different Now. However, for a short time Mann continued to tour under the 'Til Tuesday name with various session players (including guitarists Jon Brion and Clayton Scoble) while legal problems with the band's label Epic prevented her from beginning work on a solo record for several years. (Mann's solo career officially began in 1992). Hausman, meanwhile, became Mann's manager, a position he holds to this day.


'Til We Meet Again
'Til We Meet Again is a 1940 romance film directed by Edmund Goulding and Anatole Litvak and starring Merle Oberon and George Brent as two doomed, star-crossed lovers. It is a remake of the 1932 film One Way Passage and itself was remade into the 1954 Mexican 3-D film El valor de vivir.


'Til We Meet Again, Plot
Total strangers Dan Hardesty and Joan Ames meet by chance in a crowded bar in Hong Kong when she admires the "Paradise cocktail" that Dan has just concocted. He asks for another glass and pours half of his drink into it. After they drink, he breaks off the bowl of his glass and places the stem on the bar; she follows suit, and he helps her to place the stem of her glass across his. Dan leaves the bar and is promptly handcuffed by Lieutenant Steve Burke of the San Francisco police. Burke has spent a year chasing Dan, a convicted murderer who jumped off a train on his way to San Quentin to be hanged.


'Til We Meet Again, Plot
He takes Dan to an ocean liner for the journey to San Francisco. As they are boarding, Dan jumps into the water (with Steve still handcuffed to him). He takes the key to the handcuffs from Steve's pocket and frees himself. He starts to swim away, but turns back to rescue non-swimmer Steve before making his getaway. Dan is recaptured and put aboard the ship.


'Til We Meet Again, Plot
"Rocky" Rockingham T. Rockingham (Frank McHugh, reprising his role in One Way Passage) scrambles aboard at the last minute. Joan is also a passenger. When she collapses, the ship's doctor learns of her fatal heart condition, but she plans to keep going "around the little world."


'Til We Meet Again, Plot
Once they are underway, Steve allows Dan the freedom of the ship. In the bar, Dan encounters Rocky, an old friend, and asks for his help. Joan enters the bar, shares another Paradise with Dan, and their courtship begins.


'Til We Meet Again, Plot
Also aboard is another of Dan's old friends, the "Comtesse de Bresac". The Comtesse is actually Liz, a con artist trained by Dan when she was young. She is still a little in love with him. When she learns of Dan's predicament, she keeps a smitten Steve occupied and secretly empties his gun of bullets. A romance develops between the mismatched pair.


'Til We Meet Again, Plot
As they near Honolulu, Steve overhears Joan and Dan plan to spend the next day ashore. He takes Dan to the brig. Dan picks up a bottle to knock him out, but Steve shoots it (he had checked his gun and reloaded it). Liz slips Steve some sleeping pills and frees Dan. When he is spotted by Joan, he postpones his "business" to go on their outing. Later, on the way back, Dan stops the rented car before they reach the pier. However, when Joan collapses, Dan carries her back aboard. The ship's doctor tells Dan about Joan's prognosis. Liz tells a stunned Dan that he still has time to get away. From the doorway, Steve says, "No, he doesn't."


'Til We Meet Again, Plot
On the last night, everyone on shipboard is partying. Liz asks Burke why he has been avoiding her since Honolulu. He reveals that he got a cable about her. She tries to bribe him, to no avail. However, he is still attracted to her, saying there is less room between a cop and a countess than a cop and a con. In the bar, Dan and Joan bid each other goodbye, sharing one last Paradise cocktail and promising to meet in Mexico City at the Palace Bar on New Year's Eve.


'Til We Meet Again, Plot
The next morning in San Francisco, the assistant purser tips a newspaper reporter that Dan spent a lot of time with Joan. The reporter tricks his way into Joan's stateroom and reveals Dan's fate to her. Frantic, she rushes out and finds Dan on deck. They bid each other goodbye, each concealing what they know about the other.


'Til We Meet Again, Plot
In the Palace Bar in Mexico City, the crowd is celebrating New Year's. Two bartenders hear the sound of glass breaking and turn to find a pair of glasses with the stems crossed on the bar.


'Til We Meet Again, Production
The film was based on the story by Robert Lord that was the basis for One Way Passage. Lord won an Academy Award in 1933 in the category Best Writing, Original Story for the earlier film.


'Til We Meet Again, Production
The same basic musical theme is used in both films. Leo F. Forbstein, Music Director on this film, was Vitaphone Orchestra Conductor for One Way Passage. Ray Heindorf did the orchestral arrangements.


'Til We Meet Again, Reception
Variety staff praised the film, observing that although it was a remake, it "still has plenty of sock left” and that the two leads did “an excellent job. Oberon's sincere and eye-filling performance equals that of her predecessor in the role, while Brent comes within at least a shade of Powell's superb portrayal."


'Til We Meet Again, Reception
The New York Times critic Benjamin Crisler disagreed, writing, "It may be that quite a number of people, touched by the synthetic tragedy of it, will mistake ''Til We Meet Again' for art, but the fact remains that it is just a very sad remake of 'One Way Passage'".


'Til We See the Shore
'Til We See the Shore is the debut studio album by Christian alternative rock band Seabird. The album was released on June 24, 2008 and contains material from their first two EPs, Spread Your Broken Wings and Try and Let Me Go On. The album also spawned the band's first single, "Rescue".


'Til We See the Shore, Track listing
All tracks are written by Aaron Morgan, except where noted.


'Til You Cry
"'Til You Cry" is a song written by Steve Bogard and Rick Giles, and recorded by American country music artist Eddy Raven. It was released in December 1988 as the third single from his compilation album The Best of Eddy Raven. The song reached #4 on the Billboard Hot Country Singles & Tracks chart.


'Til You Do Me Right
"'Til You Do Me Right" is a song by After 7. The song is the opening track on the group's third studio album, Reflections, and was issued as the album's first single. It was their final hit on the US Billboard Hot 100, peaking at number 31 in 1995, and it also reached the top 20 in Australia and New Zealand; in the former nation, the song is certified Gold.


'Til Your River Runs Dry
'Til Your River Runs Dry is a 2013 album by Eric Burdon. It is his "first high-profile record in eons and his first album of largely original material since 2004", states Stephen Thomas Erlewine in his Allmusic review.


'Til Your River Runs Dry
The album peaked number 168 on the Billboard 200, #15 on the Billboard Tastemakers and #57 on the German album chart.


'Til a Tear Becomes a Rose
"'Til a Tear Becomes a Rose" is a song originally recorded by American country music artist Leon Everette. It was released in 1985 from his album Where's the Fire. His version of the song peaked at number 44 on Hot Country Songs.


'Til a Tear Becomes a Rose
The song was later covered by Keith Whitley as a duet with then-wife Lorrie Morgan. Posthumously released in July 1990, it was the only single from his Greatest Hits compilation album. This version peaked at number 13 on the country singles charts and won the Vocal Event of the Year at the Country Music Association awards.


'Til a Tear Becomes a Rose
Another version was released in 1990 by Jann Browne on her album Tell Me Why.


'Til a Tear Becomes a Rose
John Prine and Fiona Whelan Prine also covered the song for the 1999 album In Spite of Ourselves.


'Til a Tear Becomes a Rose
In 2015, a version of the song was released by singer Kevin Moon and Bluegrass artist Rhonda Vincent for Moon's Throwback CD.


'Til a Woman Comes Along
"'Til a Woman Comes Along" is the debut single of American country music singer Chris Janson. Janson co-wrote the song with Cole Deggs and Philip Eugene O'Donnell.


'Til a Woman Comes Along, Critical reception
Matt Bjorke of Roughstock gave the song a positive review, saying that "The story here is real and authentic and Chris Janson’s vocal (a deep baritone with some grit) adds the right amount of swagger to the tune. The instrumental solos are strong and Chris Janson’s harmonica solo is a highlight as well."


'Til a Woman Comes Along, Music video
The music video was directed by Chris Hicky and premiered in May 2010.


'Til a Woman Comes Along, Chart performance
The song debuted at No. 56 on the Billboard Hot Country Songs charts dated for the week ending May 1, 2010.


'Til the Band Comes In
'Til the Band Comes In is the sixth studio album by the American solo artist Scott Walker. It was released in December 1970 but failed to chart. Three singles were released from the album. The title track backed with "Jean the Machine" was released in the Netherlands. "Jean the Machine" and "Thanks For Chicago Mr. James" were each released in Japan. No singles were released in the UK. The release is a loose concept album about the inhabitants of a tenement.


'Til the Band Comes In
Walker wrote the songs for the album quickly while on a working holiday in Greece in September 1970. The album was recorded late that same year between September and November 1970 with Walker's usual Philips studio team consisting of producer Johnny Franz, engineer Peter J. Olliff and Angela Morley and Peter Knight directing the musical arrangements. Receiving negative reviews the album was first released as an LP in December 1970. The album was removed and was not available for over twenty-five years.


'Til the Band Comes In
The album was later reassessed much more favourably and was eventually reissued in the UK on CD by BGO Records in August 1996, with new liner notes. This new edition fell out of print before a second CD re-issue followed in 2008 by the US label Water Records. The album was re-issued again on 3 June 2013 as part of a 5-CD set entitled Scott - The Collection 1967-1970.


'Til the Band Comes In
The original liner notes were by Walker's then-manager Ady Semel with cover photography by Michael Joseph.


'Til the Band Comes In, Recording and music
After the critical and commercial failure of Walker's previous album, Walker made several compromises with his manager and record company in an effort to restore his career momentum. The most apparent commercial decision was the singer's return to his stage name having chosen to be credited under his birth name, Scott Engel for the first time on his previous album Scott 4.


'Til the Band Comes In, Recording and music
The album was split between the opening ten original compositions and five interpretations of middle-of-the-road standards and pop songs. Walker also took the unusual step of sharing his writing credits with his new manager Ady Semel. Walker summarised the collaboration with Semel: "He acts as my censor, vetting all my lyrics and striking out the words likely to harm old ladies". Walker also brought in Esther Ofarim, another singer managed by Semel, as a guest vocalist on "Long About Now".


'Til the Band Comes In, Recording and music
The album marked the last time Walker would release any original material until The Walker Brothers' album Nite Flights in 1978.


'Til the Band Comes In, Reception
At the time of release 'Til the Band Comes In received negative reviews by the majority of critics. Critical reception of the album has warmed considerably since Walker was critically reappraised in the decades following The Walker Brothers' 1978 album Nite Flights. The album is now classed as a worthy if somewhat compromised follow up to Walker's first four studio albums (not counting Walker's TV companion album; Scott: Scott Walker Sings Songs from his TV Series). Scott Plagenhoef writing for Pitchfork Media in 2008, describes Scott Walker's originals "[as] a step down from those on his previous two albums" but "worthwhile nonetheless".


'Til the Band Comes In, Reception
Dave Thompson writing retrospectively for Allmusic was less charitable, calling "Thanks for Chicago Mr. James" and "Joe," "[the] album's sole concessions to such matters as reputation", and "while Walker's first four albums remain essential listening, and the TV LP at least has its moments, Til the Band Comes In is best left waiting at the stage door. Some "lost classics" were lost with good reason."


'Til the Band Comes In, Reception
Britpop band Pulp implied that the second side of the album was significantly weaker than the first in the lyrics of their 2001 single "Bad Cover Version". Walker produced the song and its parent album We Love Life, although Pulp vocalist Jarvis Cocker states the song was written long before Walker became involved in the project. Cocker also said that he was nervous about singing the line in front of Walker, although states when it came to it Walker either did not notice or did not care.


'Til the Band Comes In, Track listing
All tracks are written by A. Semel/S. Walker, except where noted.


'Til the End of Forever
'Til the End of Forever is an album by Michael Bolton, released in 2005. The live cuts on this album were recorded during a DVD taping over two nights of concerts (August 24 and 25, 2004) at the Casino Rama, outside Toronto, Canada. The recording has been shown on the HDNet show "HDNet Concerts". A DVD of the concerts was released for sale in Europe in late 2005 and was released for sale in the U.S. in March, 2006, and was titled "The Best of Michael Bolton Live."


'Til the End of Forever
The track "Courage In Your Eyes" was written by Bolton as a tribute to Coretta Scott King, and he performed the song in her honor at her funeral. "Til the End of Forever" was the single off the album, and was written by Bolton in honor of his love for his three daughters. "Said I Loved You ... But I Lied" is a reggae-styled remake of Bolton's 1993 hit of the same name.


'Til the End of Forever
The album constitutes Bolton's lowest charting album in the US. Less than 150,000 copies have been sold in the US and about 250,000 copies globally.


'Til the End of Forever, Track listing
Tracks 1–7 are studio recordings, while tracks 8–18 onward were recorded live in concert.


'Til the Medicine Takes
'Til the Medicine Takes is the sixth studio by the Athens, GA-based band Widespread Panic. The album's name refers to a line in the chorus of the fourth track, "Blue Indian". It was released by Capricorn Records on July 27, 1999. It was re-released in 2001 by Zomba Music Group.


'Til the Medicine Takes
The band once again recorded at John Keane's studio in Athens. The guests included the Dirty Dozen Brass Band, the gospel singer Dottie Peoples, and the vocalist Anne Richmond Boston. It was the band's last record as part of the six-album deal with Capricorn.


'Til the Medicine Takes
The album reached a peak position of #68 on the Billboard 200 chart.


'Til the Rivers All Run Dry
"'Til the Rivers All Run Dry" is a song recorded by American country music artist Don Williams, who co-wrote it with Wayland Holyfield. It was released in December 1975 as the first single from the album Harmony. The song was Williams' fourth number one on the country chart. The single stayed at number one for one week and spent a total of twelve weeks on the country charts.


'Til the Rivers All Run Dry
Cover versions include the Pete Townshend / Ronnie Lane version on their "Rough Mix" album and by Carla Olson & Rob Waller on 2013's Have Harmony, Will Travel.


'Till I Collapse
"Till I Collapse" is a song by American rapper Eminem, released from his fourth studio album, The Eminem Show, in 2002. It is the 18th track on the album, and features American rapper Nate Dogg performing the hook. Despite never being released as a single, the song has managed to chart numerous times worldwide and is one of Eminem's most streamed songs on Spotify, with over 1 billion streams, as of 17 February 2021.


'Till I Collapse, Background
Although it has never been released as a single, it has charted on a few occasions when other Eminem albums have been released. In 2012 it was certified double-platinum by the Recording Industry Association of America for digital sales of 2,000,000 copies in the United States. In 2018 it was certified quintuple-platinum by the Recording Industry Association of America for digital sales of 5,000,000 copies in the United States.


'Till I Collapse, In popular culture
When Eminem's single "Shake That" (also featuring Nate Dogg) was released in 2006, several Eminem songs re-charted that same week, including "'Till I Collapse". It charted in the United Kingdom at number 192 on 15 April 2006. In 2008, it appeared in HBO's Oscar de la Hoya – Manny Pacquiao 24/7.


'Till I Collapse, In popular culture
In 2009, it was used in an advert for the then-upcoming game Call of Duty: Modern Warfare 2. It raised digital download sales of the song worldwide considerably, but in Britain the song sold so many copies after the advert aired that it re-charted that week (21 November 2009) at number 73, a new peak. Shane Mosley used this song as an entrance theme with his bout with Floyd Mayweather as did Shane Carwin for his bout against Junior dos Santos. Major League Baseball pitcher Jesse Litsch used the song as his entrance music during the 2011 season.


'Till I Collapse, In popular culture
The song has also been used in the credits of the Season 8 premiere of Entourage. It was also used in September 2011 in the trailer and soundtrack for the film Real Steel, and in trailers and TV spots for the Oliver Stone-directed film Savages. During the 2013–14 NBA season, the song was used during the Brooklyn Nets' team introductions.


'Till I Collapse, Certifications
Sales+streaming figures based on certification alone. Streaming-only figures based on certification alone.


'Till I Get My Way / Girl Is on My Mind
"'Till I Get My Way"/"Girl Is on My Mind" is a double A-side single by American rock band The Black Keys. It features the songs "'Till I Get My Way" and "Girl Is on My Mind" from their third studio album Rubber Factory. It was released on November 22, 2004. "Girl Is on My Mind" was written by the group after the members repeatedly listened to the song "Shot Down" by fellow garage rock band The Sonics.


'Till I Get My Way / Girl Is on My Mind, Cultural references
"Girl Is on My Mind" was used in a Sony Ericsson advertisement, which starred tennis players Ana Ivanovic and Daniela Hantuchová. The commercial helped make the band more well-known. It also featured on the 2006 film Cashback.


'Till I Get My Way / Girl Is on My Mind, Track listing
All songs were written by Dan Auerbach and Patrick Carney.


'Till Ireland a Nation
'Till Ireland a Nation is the sixth studio album by the Irish folk and rebel band the Wolfe Tones. The album features a number of political songs including The Boys of the Old Brigade and Broad Black Brimmer


'Till You're Gone
"'Till You're Gone" is a song written by Walt Aldridge and Tom Brasfield, and recorded by American country music artist Barbara Mandrell. It was released in April 1982 as the first single from the album ... In Black and White. The song was Mandrell's fifth number one on the country chart. The single went to number one for one week and spent a total of 14 weeks on the country top 40 chart.


'Tis
'Tis is a memoir written by Frank McCourt of his time learning how to live in New York City. Published in 1999, it begins where McCourt ended Angela's Ashes, his Pulitzer Prize winning memoir of his impoverished childhood in Ireland and his return to America.


'Tis, Synopsis
The book begins as McCourt lands upriver from New York City, and quickly makes his way to New York City with an Irish-American priest on the ship. Friendless and clueless about American customs, he struggles to integrate himself into American blue-collar society, working at laboring jobs while spending his free time reading books. The New York City public library is a wonder to him, with its welcoming ways. He spends time there and checks out books from the start.


'Tis, Synopsis
He is drafted into the US Army because of the Korean War; he is sent to Europe, and rises to the rank of corporal. During his time in southern Germany, he meets men from all over the U.S. When serving as company clerk, he delivers laundry to U.S. Army facilities at Dachau, a haunting experience, both for a Jewish soldier with him and for Frank, who heard all the news of World War II growing up in Limerick.


'Tis, Synopsis
Soldiers are always looking for women, trading their cigarette and coffee allotments for sex, even with refugees from WWII who are still not settled, which the Army disapproves of. Frank has a troubling encounter with a poor and hungry girl in a refugee camp. The people in the Army teach him a lot about American ways, so different from his upbringing in the lanes of Limerick.


'Tis, Synopsis
While in the Army in Germany, he gets two weeks leave to visit his family in Ireland, seeing his mother and youngest brothers Michael and Alphie in Limerick, and for one day, his father and paternal grandmother in Toome. He has been sending part of his Army wages to his mother, and she has gained a home with all the modern advantages of plumbing, a refrigerator and space for a garden in the Janesboro neighborhood; she does not move out of the slum house shared with her brother, where she was raised, until Frank arrives. His emotions while in Limerick are strongly mixed, between pride in his U.S. Army status, pleasure at the better life of his youngest brother who attends secondary school, and the hard memories of his own life there, the “dark clouds” in his mind.


'Tis, Synopsis
Because he has a girlfriend, Emma, in New York City, he leaves the army at his earliest opportunity, being commended for his exceptional service as a clerk-typist by his superior officers.


'Tis, Synopsis
He returns to New York City, where he breaks up with Emma, preferring to be single in New York, going out drinking with his pals. He attends New York University – despite never having graduated from high school. The G.I. Bill pays for university tuition, but he needs to work to pay for food and lodging. He takes jobs at warehouses at the docks, and then office jobs from a temporary job service, using his typing skills gained in the Army, continuing to meet many friends and interesting characters. He has some friends who are recent immigrants from Ireland as well as many friends born in the U.S. He falls in love with beautiful, middle-class American-born Alberta Small (nicknamed Mike), whom he meets at university.


'Tis, Synopsis
While never forgetting the songs of Ireland, he picks up a taste for American jazz music of the 1950s.


'Tis, Synopsis
His brother Malachy is in New York; he opts to serve in the U.S. Air Force. Malachy and then younger brother Michael send part of their Air Force wages to their mother, so Frank has only himself to support while he finishes his courses at NYU.


'Tis, Synopsis
After graduating from NYU, he teaches English and social studies at McKee Vocational and Technical High School on Staten Island. He continues to drink with fellow teachers. After eight years there and some time as a substitute at a few colleges and high schools, he moves on to teaching English and creative writing at the prestigious Stuyvesant High School. At Stuyvesant, he revises his teaching style to end his reliance on textbooks and other teaching resources, to become an effective teacher of these bright students.


'Tis, Synopsis
His brothers Malachy and Michael became well known in New York while Frank is teaching at McKee; Malachy has a bar, and a knack for attracting the rich and famous to it with his stories and easy laughter. Michael has similar talents. Frank's students ask him why he is not on television being interviewed, like his entertaining  brothers. When someone at Malachy’s bar asks him when he will join Malachy and Michael in the bar, he says, when my brothers become teachers; showing his sense  of humor to the world, even when the dark clouds are on his mind. He flies to Ireland in the summer to see his mother and his youngest brother.


'Tis, Synopsis
His mother comes to New York for Christmas of 1959, 10 years after Frank arrived, wanting to see her first grandchild, Malachy’s daughter. Her youngest son Alphie is in America for the first time, 19 years old. They both stay in New York, the five of them together in New York, their dream for so long. Frank and Alberta are living together in Brooklyn, and they marry in the summer of 1961.


'Tis, Synopsis
In 1971, Frank and his wife have a daughter, Margaret Ann, called Maggie. Frank names her after his sister who died in infancy, and his two grandmothers, who are described in Angela's Ashes. He takes care of her as an infant, spending as much time as he can with her as she grows up, sharing early mornings with her, as he had shared early mornings with his father. The family lives in a house in Brooklyn, which Frank and Alberta have fixed up in modern style, with  both of them working as teachers.


'Tis, Synopsis
Frank's father comes to New York once, in 1963, promising he is a new man, sober, but he arrives drunk on the ship that brings him. His three-week visit is long enough, and he returns to Northern Ireland. Eventually, Frank's relationship with his wife turns sour. Frank leaves when their daughter is 8 years old, an action he compares to that of his father leaving his family. Frank, however, keeps seeing his daughter as she grows up, and he always has a job.


'Tis, Synopsis
Frank's mother, Angela McCourt, is in increasingly poor health due to emphysema and dies in New York in 1981. For his daughter Maggie, her first experience of death is losing her grandmother. Frank had lost three young siblings, many school friends, and his own grandmother by his daughter’s age.


'Tis, Synopsis
Frank's father, Malachy McCourt, Sr., dies in Northern Ireland in early 1985. Frank goes to Belfast with Alphie to bury their father. In August that year, Frank and his family went to Dublin and Limerick to scatter his mother's ashes. The book ends after Frank and his brothers scatter Angela's ashes over the graves of her family.


'Tis, Book titles
"'Tis" was the final and only word of the last chapter of Angela's Ashes, while 'Tis ends with the spreading of Angela McCourt's ashes in Ireland. Frank McCourt has remarked in several interviews, perhaps jokingly, that he originally intended for each book to have the other's title.


'Tis, Book titles
Frank McCourt followed this book with another memoir, Teacher Man.


'Tis, Content and structure
The title of the book comes from the last sentence of the previous memoir, "Tis",  McCourt's answer to the rhetorical question, ”Isn’t this a great country altogether ?” asked of him following his first night in America.


'Tis, Content and structure
The story is told mainly in chronological order, while adding some incidents from his childhood, as they are the topics of essays for his college classes or stories he tells his students.


'Tis, Critical reception
L.S. Keep of Entertainment Weekly, described the memoir as a good successor of Angela's Ashes, concluding that "this book has the same clairvoyant eye for quirks of class, character, and fate, and also a distinct picaresque quality. It’s a quest for an America of wholesome Hollywood happiness that doesn’t exist, and it’s about the real America — rendered with comic affection — that McCourt discovers along the way. " Similarly, Margo Hammond of the St. Petersburg Times found the memoir a good read, though McCourt was unable to provide a satisfactory narrative arc to the work.


'Tis, Critical reception
Commenting for the public radio station WKMS, Jacque Day called the memoir "an exercise in humanity by a man with a rare gift for a story, and a brogue that sings on." A review of ‘Tis: A Memoir, first published in 1999, in the Tampa Bay Times noted the difference in McCourt’s clear insight into his parents’ choices compared to his understanding of his own motives, said that “McCourt's memoir actually is all the more human for this peculiar lack of reflection from an author that has seemed so uncannily perceptive in so many other areas. It reminds us once again that poverty doesn't necessarily ennoble people. We can only hope that the scars are few for those fortunate enough to survive it as successfully as Frank McCourt.”


'Tis, Critical reception
Terry Golway opens his review with the statement that “You have to be Irish to hate Frank McCourt.” That reflects the candor, brutal candor, of Frank McCourt’s writing on his life in New York city, following his first memoir on his life in Ireland. Golway compares McCourt’s effect on Irish-Americans to that of Philip Roth on Jewish-Americans: “Mr. McCourt is to the Irish of the late 1990’s what Philip Roth was to Jewish Americans in the late 1960’s.”


'Tis, Critical reception
His review in The New York Observer goes on to state that “‘Tis is a remarkable and brutally candid exploration of one man’s life in New York, and Mr. McCourt is as tough on himself as he is on the racists and drunks and lost souls he meets along the way.”


'Tis, Critical reception
The memoir has been criticized for ignoring McCourt's marriage to psychotherapist Cheryl Floyd, which followed his divorce from Alberta.


'Tis Autumn
'Tis Autumn is a 1941 jazz standard written by Henry Nemo. It was first recorded by Nat King Cole.


'Tis Harry I'm Plannin' to Marry
'Tis Harry I'm Plannin' to Marry is a popular song, with music by Sammy Fain and lyrics by Paul Francis Webster.


'Tis Harry I'm Plannin' to Marry
The song was included in the hit musical Calamity Jane (1953). It is featured three times in the film. It is first sung by the character Adelaide Adams, then by Katie Brown (Allyn McLerie) after dressing up as Adelaide, and finally partly sung in the Golden Garter by Katie near the end of the film.


'Tis Money makes a Man: Or, The Good-Fellows Folly
Tis Money makes a Man: Or, The Good-Fellows Folly is an English broadside ballad believed to have been published between 1674 and 1679 by John Wade, and is located in the National Library of Scotland. It is best known for its first lines, "OO what a madness 'tis to borrow or lend, / Or for strong Liquor thy Money to spend" as well as its popular refrain, "Then make much of a Penny as near as you can, / For if that be wanting thou'rt counted no man."


'Tis Money makes a Man: Or, The Good-Fellows Folly, Synopsis
Set often to the tune of "Digby's Farewell," this ballad details the plights of a good-fellow who spends most of his money in an ale-house, and in doing so neglects his wife and children. Historically, we can link him to the Shakespearean character Sir John Falstaff, since both can be described as companions fond of feasting, drinking, and general conviviality. The ballad's central theme is money, and it is used as a vehicle to explore the vices of drinking, commenting on the idea that a man who spends all his hard-earned coin on liquor is no true man at all.


'Tis Money makes a Man: Or, The Good-Fellows Folly, Synopsis
The ballad also explores issues of infidelity, since it is implied later in the ballad that the speaker forsakes the company of his wife for the company of the ale-house hostess. The tone of the ballad is moral and advisory in nature, since the speaker warns the listener about the dangers of alcohol, pleading that the listener heed his advice lest he end up like him.


'Tis Pity She's a Whore
'Tis Pity She's a Whore (original spelling: 'Tis Pitty Shee's a Who[o]re) is a tragedy written by John Ford. It was first performed c.  1626 or between 1629 and 1633, by Queen Henrietta's Men at the Cockpit Theatre. The play was first published in 1633, in a quarto printed by Nicholas Okes for the bookseller Richard Collins. Ford dedicated the play to John Mordaunt, 1st Earl of Peterborough and Baron of Turvey.


'Tis Pity She's a Whore, Synopsis
Giovanni, recently returned to Parma from university in Bologna, has developed an incestuous passion for his sister Annabella and the play opens with his discussing this ethical problem with Friar Bonaventura. Bonaventura tries to convince Giovanni that his desires are evil despite Giovanni's passionate reasoning and eventually persuades him to try to rid himself of his feelings through repentance.


'Tis Pity She's a Whore, Synopsis
Annabella, meanwhile, is being approached by a number of suitors including Bergetto, Grimaldi, and Soranzo. She is not interested in any of them, however. Giovanni finally tells her how he feels (obviously having failed in his attempts to repent) and finally wins her over. Annabella's tutoress Putana (literally, "Whore") encourages the relationship. The siblings consummate their relationship.


'Tis Pity She's a Whore, Synopsis
Hippolita, a past lover of Soranzo, verbally attacks him, furious with him for letting her send her husband Richardetto on a dangerous journey she believed would result in his death so that they could be together, then declining his vows and abandoning her. Soranzo leaves and his servant Vasques promises to help Hippolita get revenge on Soranzo, and the pair agree to marry after they murder him.


'Tis Pity She's a Whore, Synopsis
However, Richardetto is not dead but also in Parma in disguise with his niece Philotis. Richardetto is also desperate for revenge against Soranzo, and convinces Grimaldi that to win Annabella, he should stab Soranzo with a poisoned sword. Unfortunately, Bergetto and Philotis, now betrothed, are planning to marry secretly in the place Richardetto orders Grimaldi to wait. Grimaldi mistakenly stabs and kills Bergetto instead, leaving Philotis, Poggio (Bergetto's servant), and Donado (Bergetto's uncle) distraught.


'Tis Pity She's a Whore, Synopsis
Annabella resigns herself to marrying Soranzo, knowing she has to marry someone other than her brother. She subsequently falls ill and it is revealed that she is pregnant. Friar Bonaventura then persuades her to marry Soranzo before her pregnancy becomes apparent.


'Tis Pity She's a Whore, Synopsis
Meanwhile, Donado and Florio (father of Annabella and Giovanni) go to the cardinal's house, where Grimaldi has been in hiding, to beg for justice. The cardinal refuses due to Grimaldi's high status and instead sends him back to Rome. Florio tells Donado to wait for God to bring them justice.


'Tis Pity She's a Whore, Synopsis
Annabella and Soranzo are married soon after, and their ceremony includes masque dancers, one of whom reveals herself to be Hippolita. She claims to be willing to drink a toast with Soranzo, and the two raise their glasses and drink, on which note she explains that her plan was to poison his wine. Vasques comes forward and reveals that he was always loyal to his master, and in fact he poisoned Hippolita. She dies spouting insults and damning prophecies to the newlyweds. Seeing the effects of anger and revenge, Richardetto abandons his plans and sends Philotis off to a convent to save her soul.


'Tis Pity She's a Whore, Synopsis
When Soranzo discovers Annabella's pregnancy, the two argue until Annabella realises that Soranzo truly did love her and finds herself consumed with guilt. She is confined to her room by her husband, who plots with Vasques to avenge himself against his cheating wife and her unknown lover. On Soranzo's exit, Putana comes onto the stage and Vasques pretends to befriend her to gain the name of Annabella's baby's father. Once Putana reveals that it's Giovanni, Vasques has bandits tie Putana up and put out her eyes as punishment for the terrible acts she has willingly overseen and encouraged.


'Tis Pity She's a Whore, Synopsis
In her room, Annabella writes a letter to her brother in her own blood, warning him that Soranzo knows and will soon seek revenge. The friar delivers the letter, but Giovanni is too arrogant to believe he can be harmed and ignores advice to decline the invitation to Soranzo's birthday feast. The friar subsequently flees Parma to avoid further involvement in Giovanni's downfall.


'Tis Pity She's a Whore, Synopsis
On the day of the feast, Giovanni visits Annabella in her room, and after talking with her, stabs her during a kiss. He then enters the feast, at which all remaining characters are present, wielding a dagger on which his sister's heart is skewered and tells everyone of the incestuous affair. Florio dies immediately from shock. Soranzo attacks Giovanni verbally, but Giovanni stabs and kills him. Vasques intervenes, wounding Giovanni before ordering the bandits to finish the job.


'Tis Pity She's a Whore, Synopsis
Following the massacre, the cardinal orders Putana to be burnt at the stake, Vasques to be banished, and the church to seize all the wealth and property belonging to the dead. Richardetto finally reveals his true identity to Donado and the play ends with the cardinal saying of Annabella "who could not say, 'Tis pity she's a whore?"


'Tis Pity She's a Whore, Reception
The play's open treatment of the subject of incest made it one of the most controversial works in English literature. The play was entirely omitted from an 1831 collection of Ford's plays; its title has often been changed to something euphemistic such as Giovanni and Annabella or 'Tis Pity or The Brother and Sister. Indeed, until well into the twentieth century, critics were usually harsh in their condemnations of the play; the subject matter offended them, as did Ford's failure to condemn his protagonist. Critic Mark Stavig wrote, "Instead of stressing the villainy, Ford portrays Giovanni as a talented, virtuous, and noble man who is overcome by a tumultuous, unavoidable passion that brings about his destruction".


'Tis Pity She's a Whore, Reception
Adolphus William Ward said: 'Tis Pity She's a Whore has been justly recognized as a tragedy of extraordinary power.


'Tis Pity She's a Whore, Reception
However, since the mid-twentieth century, scholars and critics have generally shown more appreciation of the complexities and ambiguities of the work, though the treatment of the main subject still remains "unsettling", in the words of Michael Billington, reviewing the 2014 production for The Guardian, because Ford refuses "to either condone or condemn incest: he simply presents it as an unstoppable force."


'Tis Pity She's a Whore, Influence
Peter Greenaway has said that the play provided him with the main template for his 1989 film The Cook, the Thief, His Wife & Her Lover.


'Tis Pity She's a Whore, Influence
The pilot episode of Midsomer Murders, "The Killings at Badger's Drift" (1997), contains references to the play.


'Tis Pity She's a Whore, Influence
A song with almost the same name, "'Tis a Pity She Was a Whore", is featured on David Bowie's final studio album Blackstar (2016). "Sue (Or in a Season of Crime)", from the same album, loosely recounts the play's events from Annabella's decision to marry Soranzo to Giovanni's reception of her note written in blood.


'Tis Pity She's a Whore, Influence
The play is referenced in Tom Stoppard's 1982 play The Real Thing.


'Tis Pity She's a Whore (film)
'Tis Pity She's a Whore (Italian: Addio fratello crudele, lit. ' Goodbye Cruel Brother') also known as  Peccato che sia una puttana is a 1971 Italian romance-drama film co-written and directed by Giuseppe Patroni Griffi and starring Charlotte Rampling, Oliver Tobias and Fabio Testi. It is based on the tragedy with the same name written by John Ford (1586 – c. 1639). The music was composed by Ennio Morricone.


'Tis Pity She's a Whore (film), Synopsis
In the city of Mantua, during the Italian Renaissance, Giovanni, the son of a propertied man, is sent to study abroad and he never meets his sister, Annabella, who is a couple of years younger than him. After ten years of separation, the now beautiful Annabella is reunited with her brother for the first time, as adolescents. The young siblings are immediately attracted and can not help falling in love with each other. After struggling with their feelings for some time Giovanni and Annabella begin a secret relationship, and she becomes pregnant. Knowing that the world will condemn them, Giovanni leaves his father's villa, and Annabella accepts the marriage proposal of her suitor, the wealthy noble Soranzo. After Soranzo discovers that he has been the object of a deception, he makes plans for a bloody vengeance.


'Tis Pity She's a Whore (film), Release
The film was released in France under the title Dommage qu'elle soit une putain.


'Tis Pity She's a Whore (film), Reception
Italian film critic Marco Giusti writes that Rampling undresses as much as she can, but that it is Fabio Testi's physique that is imposing: Always naked and often framed at the height of his buttocks, it is causing the spectators some embarrassment. Giusti perfectly remembers the sight of Testi's big hairy buttocks on the screen of the cinema Verdi in Genoa. However, Teo Mora "forced" Giusti and Enrico Ghezzi to stage it at the Teatro dell'Archivolto in Genoa. Giusti acted as Soranzo, Testi's character; he has not done any theatre since.


'Tis So Sweet to Trust in Jesus
"'Tis So Sweet to Trust in Jesus" is a Christian hymn with music by William J. Kirkpatrick and lyrics by Louisa M. R. Stead. The lyrics were written in 1882. They appeared in Stead's Songs of Triumph.


'Tis So Sweet to Trust in Jesus
The song is included in many hymnals and has been recorded by many artists.


'Tis So Sweet to Trust in Jesus, Lyrics
’Tis so sweet to trust in Jesus,Just to take Him at His Word;Just to rest upon His promise,Just to know, "Thus says the Lord!" Refrain:Jesus, Jesus, how I trust Him! How I’ve proved Him o’er and o’erJesus, Jesus, precious Jesus! O for grace to trust Him more! O how sweet to trust in Jesus,Just to trust His cleansing blood;Just in simple faith to plunge me’Neath the healing, cleansing flood! RefrainYes, ’tis sweet to trust in Jesus,Just from sin and self to cease;Just from Jesus simply takingLife and rest, and joy and peace. RefrainI’m so glad I learned to trust Thee,Precious Jesus, Savior, Friend;And I know that Thou art with me,Wilt be with me to the end. Refrain


'Tis Well if it Takes
'Tis Well if it Takes is a 1719 comedy play by the British writer William Taverner.


'Tis Well if it Takes
It premiered at Lincoln's Inn Fields on 28 February 1719. The original cast included John Leigh as Loveless, William Bullock as Oldish, Lacy Ryan as Charles, James Quin as Careful, James Spiller as Prate, Robert Pack as Easy, Jane Rogers as Corinna, Frances Maria Knight as Wishit, Mary Willis as Isabella, Elizabeth Spiller as Beatrice and Jane Egleton as Lucy. Lewis Theobald wrote the lyrics for a song performed in the Third Act. It ran for five nights, a reasonable length for a new comedy in the era.


'Tis Well if it Takes, Bibliography
This article on a play from the 18th century is a stub. You can help Wikipedia by .


'Tis a Pity She Was a Whore
"'Tis a Pity She Was a Whore" is a song by English musician David Bowie. It was released on 17 November 2014 as the B-side of "Sue (Or in a Season of Crime)". A re-recorded version of the song appears as the second track on Bowie's 25th and final studio album, Blackstar (2016). "'Tis a Pity She Was a Whore" charted in multiple countries, including Bowie's home country of the UK, where it peaked at number 107.


'Tis a Pity She Was a Whore, Background and recording
Bowie recorded a home demo of "'Tis a Pity She Was a Whore" in mid-2014 at his home studio in his New York City apartment. It holds a distinction in his catalogue as being one of few songs in which he played every instrument himself. Upon hearing the demo, his regular collaborator Tony Visconti stated: "It was just kick-ass. His production skills have gone up 5,000%." The title derives from the 1633 play 'Tis Pity She's a Whore by 17th century English dramatist John Ford.


'Tis a Pity She Was a Whore, Background and recording
However, while Ford's play is a tale of incestuous love and vengeance, the lyrics themselves are darker and more violent; biographer Nicholas Pegg believes they are taken from an entirely different source. Nevertheless, Ryan Dombal of Pitchfork argues that the two share the same theme–"humans will always resort to a language of savagery when necessary, no matter where or when." Bowie himself only released one public statement on the song: "If Vorticists wrote Rock Music it might have sounded like this."


'Tis a Pity She Was a Whore, Background and recording
O'Leary writes that the song has a "steady rhythmic" beat that is counteracted by Bowie's saxophone and piano. Regarding the bass part, Jason Lindner stated: "Compositionally the bass part has more of a rhythmic and less of a harmonic function. It remains pretty much the same through the harmonic changes, with a couple of notes shifting to complement the progression." Bowie's vocal performance is subdued while he plays a "continuo figure" on saxophone. Stephen Dalton of Classic Rock magazine writes that the song has "a propulsive, roaring, heavily electronic wall of sound." Mojo critic Andrew Male described the track as "a raucous five-minute mesh of melody and discord, an art-rock anti-war romance, gasping under the pack-ice of no-wave sax-squawk."


'Tis a Pity She Was a Whore, Background and recording
"'Tis a Pity She Was a Whore" was released on 17 November 2014 by Parlophone as the B-side of the single "Sue (Or in a Season of Crime)". A press release accompanying the B-side stated, "The song acknowledges the shocking rawness of the First World War".


'Tis a Pity She Was a Whore, Blackstar version, Recording
Before the sessions for what would be his final studio album Blackstar began, Bowie sent his home demo of "'Tis a Pity She Was a Whore" to saxophonist Donny McCaslin. McCaslin, who worked with Bowie on the original version of "Sue (Or in a Season of Crime)", recalled, "I sat there in stunned silence for a while," after hearing it. After hiring McCaslin's jazz quartet — pianist Jason Lindner, bassist Tim Lefebvre and drummer Mark Guiliana — as the backing band for the sessions, Bowie sent the demo to the remaining musicians in preparation for the sessions. Both "'Tis a Pity She Was a Whore" and its A-side "Sue" were re-recorded for Blackstar.


'Tis a Pity She Was a Whore, Blackstar version, Recording
The remake of "'Tis a Pity She Was a Whore" was one of the first tracks recorded for the album. The backing track was recorded on 5 January 2015 at the Magic Shop in New York City. McCaslin recalled: "When we got together that first week, David said he wanted to re-record [it]. We were playing hard, going for it. That just happened in like ten minutes. That might have been the first take." McCaslin recorded additional saxophone overdubs months later. Like most of the vocal tracks, Bowie recorded his vocals at Human Worldwide Studios in New York City on 20 and 22 April 2015.


'Tis a Pity She Was a Whore, Blackstar version, Composition
For the re-recording, Bowie took inspiration from McCaslin's 2012 album Casting for Gravity; Lefebvre stated: "usually it's the other way around – you research the guy who hired you." According to McCaslin, Bowie said, "he imagined the solo section as being something like 'Alpha and Omega', which is the Boards of Canada track we covered, or maybe talk about the intensity we have on 'Praia Grande'." Biographer Chris O'Leary notes that in McCaslin's cover of "Alpha and Omega", McCaslin, who's multitrack, plays a "looped, phased melodic theme" over fluctuations played by Guiliana and Lefebvre; "Praia Grande" builds "to a maximalist sax solo full of waggled bass notes, surfing over waves of drums and synths."


'Tis a Pity She Was a Whore, Blackstar version, Composition
Regarding the drum part, Guiliana stated: "The groove on the demo was a driving one-bar loop. The challenge was to play this repetitive part but stay in the moment and keep pushing the intensity." Guiliana overdubbed a Roland SPD-SX "full of 808 sounds", which appear prominently in the mix around the 3:33 mark. The remake opens with two intakes of breath, which O'Leary compares to "a man readying himself to walk up another flight of stairs".


'Tis a Pity She Was a Whore, Blackstar version, Composition
Commentators have characterised the song's beat as similar to hip hop. Chris Gerard of PopMatters finds Bowie's vocals reminiscent of the Lodger track "DJ". Andy Gill of The Independent describes the re-recordings of both "'Tis" and "Sue" as "frantic, bustling whirls of avant-garde, banshee sax improvisation and drumming"; he compares Bowie's vocal performance and lyrics to his 1976 track "Station to Station".


'Tis a Pity She Was a Whore, Blackstar version, Release
The re-recording of "'Tis a Pity She Was a Whore" was released on 8 January 2016 as the second track on Bowie's final album Blackstar, sequenced between the title track and "Lazarus". Bowie died two days after its release, after having suffered from liver cancer for 18 months.


'Tis a Pity She Was a Whore, Blackstar version, Release
The re-recording of "'Tis a Pity She Was a Whore" has received positive reviews from music critics, with many highlighting the performance of the backing band. Gerard praised the remake as "far more fully developed" than the 2014 original, giving particular attention to the backing band. He writes that the band "infuses Blackstar with a restless anxiety that is particularly evident on ''Tis a Pity She Was a Whore'," calling the final track "maddening and thrilling".


'Tis a Pity She Was a Whore, Blackstar version, Release
Alexis Petridis of The Guardian similarly praised the band's "synergy" on the track, while positively comparing Bowie's vocal performance to the "exploratory, barely contained chaos" of "'Heroes'" and "Scary Monsters (And Super Creeps)" or the "tumultuous, wildly distorted version" seen on "Panic in Detroit" and "Cracked Actor". O'Leary has praised the track as "a latter-life masterpiece, with no top and no bottom."


'Tis the 30th Season
"'Tis the 30th Season" is the tenth episode of the thirtieth season of the American animated television series The Simpsons, and the 649th episode overall. It aired in the United States on Fox on December 9, 2018.


'Tis the 30th Season, Plot
After Thanksgiving dinner, Bart and Lisa give Marge and Homer their Christmas lists, asking for only one present: a smart TV that costs $2,400. Seeing a commercial for a Black Friday sale at the Sprawl-Mart, Marge and Homer plan a strategy to take advantage of it. Marge waits in line overnight at the store, giving Gil Gunderson some of her winter clothing so he can keep warm. Homer wakes up at 2:30 in the morning to take her place as planned, but gets his scarf caught in the front door and knocks himself unconscious.


'Tis the 30th Season, Plot
When the Sprawl-Mart opens at 6:00, Marge hurries to get a smart TV, but stops to help Gil get a present for his granddaughter. By the time she finishes, the shelves have been picked clean. In addition, Gil immediately sells the present to Reverend Lovejoy at a greatly inflated price. As Marge becomes increasingly stressed over the approach of Christmas, Homer and the children secretly book a vacation at a theme park and resort in Florida. They drug Marge's tea to put her to sleep. By the time she wakes up, the entire family is in the car and driving through Tennessee on the way to Florida.


'Tis the 30th Season, Plot
Upon reaching the resort, they find themselves booked into a cramped hotel room with an extremely low ceiling. Homer urges Bart and Lisa to act as if they are enjoying themselves for Marge's sake, but the theme park turns out to be full of bizarre, frightening rides and obscure cartoon characters. Bart and Lisa complain to the manager, Jeanie, saying that the site looks nothing like the pictures on its web page. When she ignores them, Bart vows revenge. The Simpsons finally admit to each other that they are not enjoying the trip and decide to leave quickly so they can make it home by Christmas. Bart scares Jeanie by removing the heads from the animatronic figures in the Hall of Vice Presidents and putting them in her bed.


'Tis the 30th Season, Plot
The car runs out of gas just outside Springfield, leaving the Simpsons to walk the rest of the way in the snow. Upon reaching town, they find Moe hosting a dinner for the old and needy at his tavern. They join the dinner, along with Grampa, having gained a new appreciation of the importance of being with family and friends for the holidays.


'Tis the 30th Season, Plot
Jeanie refunds the Simpsons' money and adds $2,400 in exchange for their promise never to visit the resort again. They buy the smart TV and begin watching Yule Log in HD, ignoring the actual log burning in the fireplace nearby.


'Tis the 30th Season, Reception
Tony Sokol of Den of Geek gave the episode 2 out of 5 points ranking, stating '"'Tis the 30th Season" has a better premise than an execution, not to be confused with a crucifixion. Marge does a good deed in the spirit of the holiday and it costs her the perfect Christmas gift for the kids. It's kind of like the gift of the Maggie without even any Oh Henry bars for Homer.


'Tis the 30th Season, Reception
The Simpson family sacrifice personal happiness to the least fortunate, former salesman Gil, the unluckiest man in town, only to see it crassly discarded for a better offer. The casual cynicism sends Marge on an implosive breakdown, which is the best part of the episode, but ultimately gets caught in a chimney.'


'Tis the 30th Season, Reception
Dennis Perkins of The A.V. Club gave the episode C- ranking, stating "The Simpsons makes use of family sitcom plots and its own fluid and comically inventive reality to take those hackneyed plots and bend them into something satirically subversive, while still remaining true to its core of recognizable humanity. Or, you know, it should. "'Tis The 30th Season", however, shows what The Simpsons is like when the inspiration's left out—a blandly pleasant family sitcom with a few lazy surreal touches thrown in.'


'Tis the 30th Season, Reception
"'Tis the 30th Season" scored a 2.8 rating with an 11 share and was watched by 7.53 million people, making The Simpsons Fox's highest rated show of the night.


'Tis the Damn Season
"'Tis the Damn Season" (stylized in all lowercase) is a song by American singer-songwriter Taylor Swift. It is the fourth track on her ninth studio album Evermore, which was released on December 11, 2020, by Republic Records. It was written and produced by Swift and Aaron Dessner.


'Tis the Damn Season
Musically, "'Tis the Damn Season" is a Christmas song that eschews the traditional festive value for a melancholic atmosphere. It gives the perspective of a female narrator named Dorothea who arrives to her hometown in Tupelo, Mississippi, and encounters her former lover, knowing the rekindled relationship will inevitably end. It is a wintry alternative rock song instrumented by an electric guitar riff entwined with minimally programmed drums, accompanied by violins, trombone, and organs. "'Tis the Damn Season" is a counterpart to fellow track "Dorothea", which gives the former lover's point of view, addressed to the titular character.


'Tis the Damn Season
Upon the release of Evermore, "'Tis the Damn Season" was extolled by music critics, who admired its nostalgia-inducing lyrics and twist on festive music. In the United States, it debuted at number 39 on the Billboard Hot 100, number six on the Billboard Hot Rock & Alternative Songs chart, and number 13 on the Rolling Stone Top 100. Internationally, it charted at numbers 13, 23 and 24 on the Canadian Hot 100, the Billboard Global 200, and the Australian Singles Chart, respectively.


'Tis the Damn Season, Background and release
On July 24, 2020, during the COVID-19 lockdowns, Swift surprise-released her eighth studio album, Folklore, to widespread critical acclaim and commercial success. In September 2020, Swift and her co-producers and co-writers for the album, Aaron Dessner and Jack Antonoff, assembled at Long Pond Studio, located in a secluded cabin in upstate New York, to film the documentary Folklore: The Long Pond Studio Sessions. Released to Disney+ and accompanied by a live album released digitally, Swift performed the stripped-down renditions of all 17 tracks on Folklore and recounted the creative process of developing the album.


'Tis the Damn Season, Background and release
After the filming process, Swift, Antonoff, and Dessner celebrated Folklore by drinking and ultimately decided to stay in Long Pond and unexpectedly continued writing songs. Swift wrote "'Tis the Damn Season" in the middle of the night while drunk on the first day of rehearsal. The next day, at approximately 9:00 a.m., she presented the lyrics to Dessner, who recounted the moment in an interview with Billboard: "That was definitely another moment [where] my brain exploded, because she sang it to me in my kitchen, and it was just surreal."


'Tis the Damn Season, Background and release
Dessner wrote the music to "'Tis the Damn Season" several years before Evermore and described it as one of his favorite works ever. He compared the background and writing of the song to that of "Peace" from Folklore and recounted that the song could have remained instrumental but "someone of [Swift's] incredible storytelling ability and musical ability took it and made something much greater."


'Tis the Damn Season, Background and release
Before the release of Evermore, Swift teased the song "'Tis the Damn Season" on December 9, 2020, in an Instagram story in which she posted a photo of herself from an Entertainment Weekly feature with the caption "This outfit really screams 'TIS THE DAMN SEASON." On December 10, 2020, Swift announced that her ninth studio album and Folklore's sister album, Evermore, would come out at midnight and revealed its track listing, where "'Tis the Damn Season" placed fourth.


'Tis the Damn Season, Background and release
In the announcement, Swift teased imageries of various tracks, including "'Tis the Damn Season", which is narrated by a character named Dorothea who left her hometown of Tupelo, Mississippi for Hollywood. When she comes back for the holidays, she rediscovers an old romantic relationship with an unnamed lover to whom the song is addressed to, knowing it will inevitably fade again. "Dorothea", the eighth track on the album, is written from the unnamed narrator's perspective. Lyric videos of each song on the album were released to Swift's YouTube channel; "'Tis the Damn Season" has since garnered over 6.5 million views as of June 2021.


'Tis the Damn Season, Composition and lyrics
"'Tis the Damn Season" is a minimalistic, nostalgic, alternative rock song that spins a twist on traditional Christmas balladry. The song is set in the key of F major with a moderately fast tempo of 146 beats per minute. Swift's vocals span from C3 to A4. "'Tis the Damn Season" is built on an "icy", swirling finger-picked electric guitar, minimalistic drum programming, syncopated and sparse percussion. Aaron Dessner performed the acoustic guitar, bass, drums, electric guitar, and piano for the song; also instrumenting the song were a cello, harmonium, keyboard, trombone, and violin.


'Tis the Damn Season, Composition and lyrics
Lyrically, it is written from the perspective of a woman named Dorothea, a Hollywood actress who returns to her hometown of Tupelo, Mississippi to visit her family for Thanksgiving weekend. Dorothea encounters an unnamed former lover and ends up reluctantly engaging in a "fleeting but intimate" relationship with somebody from her youth and ending up in bed together, despite knowing she will inevitably have to abandon their relationship again.


'Tis the Damn Season, Composition and lyrics
Similar to "Cardigan", "August", and "Betty" on Folklore, the song is part of a series of songs written from different perspectives of the same romantic relationship; "Dorothea", the eighth track on Evermore, is written from the perspective of the unnamed narrator, who is more optimistic towards the possibility of dating Dorothea once again.


'Tis the Damn Season, Composition and lyrics
Dorothea painfully reminisces her luxurious life in Los Angeles, loathing her star-studded career in favor of the comfort of her hometown and the unnamed addressee: "So I'll go back to L.A. and the so-called friends / Who'll write books about me if I ever make it / And wonder about the only soul / Who can tell which smiles I'm fakin'".


'Tis the Damn Season, Critical reception
"'Tis the Damn Season" received widespread critical acclaim for its "rather moving" variation on traditional, more upbeat holiday music. In a review published in Rolling Stone, Brittany Spanos described the song as a "nostalgic gut-punch" and "tautly [capturing] the eerily specific nostalgia and the familiarly messy unraveling that is bound to accompany it." Spanos praised its "lyrical flourishes" and more awkward, less idealistic narrative that distinguish it from traditional Christmas songs. In a review of Evermore, Claire Shaffer, also of Rolling Stone praised the storyline detailed from different sides of the story in "'Tis the Damn Season" and "Dorothea".


'Tis the Damn Season, Critical reception
Sam Sodomsky of Pitchfork praised Swift's use of her "wordy" and detailed lyricism: "she treats [Aaron] Dessner’s electric guitar framework as an empty diary page, her notes spilling into the margins, using every inch of space he offers to describe the fog on the windshield, the mud on the tires, the parking spot by her old school." Brodie Lancaster of The Sydney Morning Herald described the song as powerful, highlighting the "references to suburban nostalgia" that reveal the comfort Swift takes in her hometown, despite being a world-famous celebrity. Madeline Crone of American Songwriter depicted the storyline in "'Tis the Damn Season" as "the all-too-familiar night before Thanksgiving narrative".


'Tis the Damn Season, Critical reception
Maura Johnston of Entertainment Weekly chose "'Tis the Damn Season" as a "luminous" example of Evermore's elevated songwriting and production. Annie Zaleski of The A.V. Club opined that "'Tis the Damn Season" was an example of Evermore's sonic cohesion and wintery songwriting, and Patrick Ryan of USA Today identified the track as a hallmark of Evermore's "escapist fantasy" that slips between various narratives and perspectives. Insider critics lauded the song's "thicker" production and Swift's nuanced vocals. Callie Ahlgrim said the song is "littered with wistful what-ifs, holiday-season reminiscence, and hometown yearnings."


'Tis the Damn Season, Critical reception
In a review of Evermore, Jason Lipshutz of Billboard chose "'Tis the Damn Season" as an example of how "smartly paced" Evermore is, "offering hope and longevity in the midst of the wreckage." Lipshutz ranked the song as the 7th best track on the album, applauding the "sparkl[ing]" lyrical detail and describing it as a song that could fit on Speak Now or Red but with "wiser" storytelling and production.


'Tis the Damn Season, Commercial performance
Following the release of Evermore, on the issue dated December 26, 2020, "'Tis the Damn Season" debuted at 39 on the Billboard Hot 100 alongside the album's 14 other songs; the next week, it dropped to number 91 then fell off the chart. It debuted at 13 on the Rolling Stone Top 100, with 134,000 units sold and 16.2 million streams in its first week. It debuted at number 6 on the Hot Alternative Songs chart, where it spent seven weeks. It achieved success internationally, debuting at 13 on the Canadian Hot 100, 23 on the Billboard Global 200, and 24 on the Australian Top 50 Singles chart.


'Tis the Fifteenth Season
"'Tis the Fifteenth Season" is the seventh episode of the fifteenth season of the American animated television series The Simpsons, and the seventh Christmas-themed episode overall. It first aired on the Fox network in the United States on December 14, 2003.


'Tis the Fifteenth Season
This episode is notable as being the first to make reference to Lisa's Buddhism since she converted in an earlier Christmas episode, "She of Little Faith".


'Tis the Fifteenth Season, Plot
Instead of a Christmas bonus, Mr. Burns gives Homer a baseball card. He sells it to Comic Book Guy and earns a small fortune, then takes the family Christmas shopping. Homer promises to buy a large Christmas tree, but instead spends the money on a talking astrolabe for himself; the family are disappointed by his selfish behavior. That night, Homer watches Mr. McGrew's Christmas Carol and realizes that he must change his ways.