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(wow) Words Of Wonders Level 1985 Answers
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Last summer I discovered a wonderful website called Window Exchange, created by Sonali Ranjit and Vaishnav Balasubramaniam, a couple living in Singapore. With real travel in perspective, the site displayed views from other people’s windows, submitted by users from around the world. One click allowed me to ignore what was going on around my backyard—horned pigeons flocking to the fence, a Santa near my house—and instead get lost in a Hawaiian marshmallow sky or a sunlit apartment building in Russia or a child bouncing a giant. the ball under the strong palm trees of Colombia.
Window Exchange made headlines during the mid-July holiday season, a year when for many of us there was only a dream of escape. That same week, roots-reggae star Koffee released a song that brought back memories of better times. “Where are we going / when quarantine is over and everyone’s on their way?” she sang in Jamaican patois on “Lockdown,” whose strong chorus gave way to smooth, expansive lines that showcased her pop instincts and let her lyrics shine. Read more
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The video was another window to the poor listeners at home: coffee wearing a white fish tank and denim clothes, dancing in the streets of Jamaica with boys (including Popcaan stars – a natural change for his growing profile) and playing on the jewelry beach in the convertible. His own hope, however, was deeper: “I know you are like that
You / So what do we do now? For listeners suffering from the stress of already demanding ministerial jobs, or new backaches from working in uncomfortable chairs at home, the promise of a new one-man comedian, for a song’s time, was offered as an escape.
The shy and charming 21-year-old Koffee – born Mikayla Simpson, in Spanish Town, Jamaica – has made a name for herself with the right comforts. He’s a roots revivalist who borrows dancehall beats and focuses on the positive: gratitude, his love of language, his desire for a government that puts the interests of its people at the center. “Life is hard sometimes,” she sang on “Burning,” from 2017. “But I know me and I’m mama affi di sunshine.” She is the first international female reggae star in a long time. The Obamas are fans; Rihanna has reportedly approached him to collaborate on a reggae-inspired album. Before the tragedy shut down live shows, he was scheduled to tour with Harry Styles and play Coachella.
But “Lockdown” is not the simple joke it seems at first. Cut to the chorus, and Koffee not only imagines where she and someone will go when the restrictions are lifted, but worries whether the romance that has blossomed in secret, the lone couple in the apartment, will survive exposure to the outside world. . His partner seems evasive, one minute “small talk” about not wanting a relationship, the next he’s busy with marriage (with someone else?). Even if lovers are just relaxing, they know the neighbors are watching. He suggests places they can go together but they meet, the song suggests, stoned.
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The usually impudent star tries every trick imaginable to make his wishes heard: gently he asks if the suitor’s heart is open; forcefully announcing that he would put their bodies “locked up”; comes out immediately and shows his impatience. In the end, he is reduced to naked despair: “I give you my heart, please take it away from me!” It’s different from him. The deceptively beautiful song may seem like an easy way to escape, but what Koffee wants most is to free his trapped heart.
Laura Snapes is The Guardian’s Deputy Music Director. Celina Pereira is a Brazilian-American graphic designer and artist based in Los Angeles.
Essay by Niela Orr / Photo by John Edmonds / Essay by Niela Orr / Photo by John Edmonds / Essay by Niela Orr / Photo by John Edmonds / Essay by Niela Orr / Photo by John Edmonds / Essay by Niela Orr / Photo by John Edmonds / Essay by Niela Orr / Photo by John Edmonds / Essay by Niela Orr / Photo by John Edmonds / Essay by Niela Orr / Photo by John Edmonds /
I’d only been dating a man for a few months and wanted to know if lines of text, voice notes, FaceTime dates, and phone calls would translate into physical attraction—something I hadn’t had a chance to explore in the past year. Then, in February, singer Jazmine Sullivan’s EP “Heaux Tales” arrived. At a time when most of us have had little physical contact, how this EP’s lead single, “Bodies (Intro),” heightens the emotional experience.
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While “Bodies” is a sultry song, its depravity is beside the point. Sullivan tells a story about a woman trying to break a cycle of hookups: “I keep piling bodies on bodies on bodies,” she sings. The narrator examines himself and asks him to stop bad behavior. Sullivan presents a protagonist who narrowly avoids perceived danger; Low suspicion cases; experience out-of-body travel in altered emotional states; and frantically searches for her underwear in unknown rooms. “You don’t know who you went home with / Is it a friend or a friend of a friend?” he asks. Isolated and secluded as he is, he finds no answers. Read more
Whether he’s singing about romantic attachment or not, Sullivan, 33, makes music about the intersection of freedom and destruction, toughness and vulnerability; dichotomy was introduced in the titles of his first two albums, “Fearless” (2008) and “Love Me Back” (2010). After taking a break from music, he released his third album, ‘Reality Show’ in 2015, which uses reality TV as a metaphor for the pressures of modern life, characterized by surveillance and drama.
Moving from “Reality Show” to “Heaux Tales,” Sullivan focused on the psychological costs of these pressures. “The Body” sets the tone: It speaks to the compass of a woman’s conscience and the troubling places it has led her. This song is more catchy, enigmatic and seen on radio and streaming. In discussions like “Take Your Feelings,” Sullivan’s narrator is always on point; they know where to blame. “The body” is more like an existential mystery. “Let me take that back,” Sullivan says, his delivery shaky and muddy like a tape recorder with a dead battery. Here’s Sullivan’s point not to break windows. He examines them, considers and controls the uncertainty that is there.
The boy and I did not work. We were rebounds of each other, and the distance had contributed to my sense of what was possible in a relationship. All I had to do was sign up. “Body” helped me rethink my psyche in the form of a songwriter. In some ways I am not like him. This is for the good – I always know when I wake up – and for the bad – I rarely let anyone in. But like him, I used love
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