![the voice just the two of us the voice just the two of us](https://a10.gaanacdn.com/gn_img/albums/YoEWlabzXB/oEWlM5Lgbz/size_m.jpg)
![the voice just the two of us the voice just the two of us](https://s3.amazonaws.com/halleonard-pagepreviews/HL_DDS_9122265Blw52at6O.png)
Reporter 1: The number of confirmed deaths has passed two hundred. Joel: Sarah!-Baby! Don't do this to me, baby. You're gonna be okay baby! Stay with me! I'm gonna pick you up! I know baby! I know it hurts! Come on baby! please! I know, baby! I know! Joel: Sarah?! Move your hands baby! I know, baby, I know! God! Listen to me, I know this hurts. Joel: Listen, buddy, we've been through hell. Joel: We're gonna get you to safety and go back for him, okay? Soldier: We've got two civilians in the outer perimeter, please advise. Joel: Please, it's my daughter I think her leg is broken. You can start helping out with the mortgage then. Joel: Where did you get the money for this? Joel: It's nice but I- I think it's stuck. Sarah: You kept complaining about your broken watch. Joel: What are you still doing up? It's late.
![the voice just the two of us the voice just the two of us](https://d.newsweek.com/en/full/1662755/voice-season-19-sneak-peek.jpg)
Joel: Let's talk about this in the morning, okay? We'll talk about it in the morning. He's the contractor, okay? I can't lose this job. Tommy listen to me, he is the contractor.
![the voice just the two of us the voice just the two of us](https://d29ci68ykuu27r.cloudfront.net/items/20430125/cover_images/cover-large_file.png)
They show key events, such as meeting new characters and entering new areas in the game. So that made it a little bit easier, the fact that we were buddies.īut the fact that their evolution as songwriters and as friends took place in tandem is still felt in the emergence of popular musical enterprises from schoolyards and youthful peer groups in rock and beyond.Cinematics are small, pre-rendered cutscenes in the The Last of Us, Left Behind and The Last of Us Part II. He’d had a baby by then – he’d had Sean – so we could talk babies and family and bread and stuff. With the hurly-burly of the Beatles behind them, they found common ground over the more prosaic matters of middle age. We can’t know, of course, what would have happened had Lennon lived to 80, especially given that – their business problems receding into the past - his personal relationship with McCartney had become warmer again by the onset of the 1980s. Their success coincided with, and helped to shape, an explosion of youth culture as both creative and commercial enterprise. Their legacy, though, was more than just musical. Lennon’s grit added texture and leavened some of McCartney’s more saccharine tendencies. McCartney’s melodic facility smoothed over some of Lennon’s rougher edges. Ultimately, Lennon and McCartney complemented one another as personalities and as musicians. But in truth, the various threads are often hard to fully disentangle. “Musical differences” is often jokingly referred to as a proxy for personal enmity. The Beatles took divergent paths as the 60s wore on, as is natural enough for school-friends as they move through adulthood and start families.īut by the end of the decade, simultaneous divergence in the creative, social and financial pathways made the partnership unmanageable. Tensions across one of these axes might be sustainable. In the case of the Beatles, Lennon and McCartney had ceased to co-write the songs several years before the band actually split, although as performers and bandmates they continued to help shape them in the production process. And Queen shifted to such an arrangement and away from individual composers’ credits, partly as a way of reducing intra-band disputes about which songs to choose as singles. R.E.M., the Red Hot Chilli Peppers and U2, for instance, made a point of co-crediting all band members regardless of who wrote a particular song or passage. Indeed, some acts have deliberately reoriented their arrangements to account for this. A band is a partnership on several levels: social, creative and financial. There was – and is – a financial advantage to being credited as a songwriter on top of being a performer in terms of the rights and royalties that accrue. They were also central to the power dynamic within bands. And songwriting partnerships such as Lennon-McCartney, and Jagger, Richards (as they appeared in the credits) were at the heart of this. It mattered, for instance, when Ringo Starr contracted tonsillitis and was replaced for part of a tour of Australia by replacement drummer Jimmy Nicol. It also drew from folk traditions, as singer-songwriters asserted their individuality – Bob Dylan is a case in point here.īut there was a growing sense of authenticity in bands, residing in the membership as well as the music. The role of the songwriter as a marker of authenticity in rock music – singing one’s own compositions – drew from a Romantic wellspring, harking back to the 18th century, of artists as a source of inspiration and value beyond being mere entertainers. This wasn’t exclusively the case in rock. An important underlying aspect of how such partnerships worked, however, is that as well as springing from self-taught musicianship, and the rough-and-tumble of social lives away from the formal demands of school and adult society, they combined what had hitherto often been separate functions – that of songwriter and performer.