In that-- in that play, there is a song and it is a rousing song called The Room Where It Happen.
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In Nike's latest ad, United Together, Chance delivers a rousing song about unity and America, weaving in references to the Star Spangled Banner and the Constitution.
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The last song in my medley was the movie's finale, "Nowhere to Go But Up," a rousing song about how things can only get better from here.
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The Orthodox Jewish Public Affairs Council shared footage of Rabbi Chaim Rottenberg leading a room full of celebrants in rousing song after the event at his home was interrupted by the attack.
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In the end, everyone joins together for a rousing song and dance number about how "We're all in this together," because they've learned to support one another in all of their ambitions — be they creative, athletic, intellectual, or otherwise.
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There are some beautiful debuts in the Down entries, like WANGARÏ MAATHAI, the founder of the African Green Belt movement and a Nobel Peace Prize winner (she was the first African woman to win one); ENTRANCE MUSIC, and I would just like to say that I believe all should have a rousing song that plays whenever they enter a room; and ALPHABET BLOCKS, which are adorable.
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Thomas S. Hischak, author of The Oxford Companion to the American Musical: Theatre, Film, and Television, described "Journey to the Past" as "warm". According to Rachel Syme of The New York Times, "Journey to the Past" is a "twinkling and rousing" song about "moving forward by diving into history." Amazon.com reviewer Doug Thomas identified "Journey to the Past" as a "get-up-and-sing" number.
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Mr. Biddle sends John Lawless to look after Angie. John finds Angie at the local tavern, contemplating what he will do next. During a rousing song-and-dance sequence, John tries to convince Angie to go back to Cordy. However, Angie is stubborn and thinks of other ways to deal with his problems, among other things saying that he wants to join the Foreign Legion.
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Reaction to the song was mixed. While NME's Mark Beaumont ranked "Revolt" among the band's "most creative songs", Consequence of Sound's Collin Brennan likened it to the "overblown theatrics of Queen". Calling it "a catchy, occasionally rousing song with a couple of neat tricks up its sleeve", he concludes that the song ultimately fails to be the "convincing call to action" it seemingly intends to be.
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Following In the Pines, Engle became a member of Broken Social Scene, often serving as a live fill-in vocalist on songs that had been sung on record by Feist, Amy Millan or Emily Haines. The 2017 album Hug of Thunder marked her first recorded appearance on a Broken Social Scene album."Broken Social Scene's latest offers up one rousing song after another". Waterloo Region Record, July 7, 2017.
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Come, stack arms, men! Pile on the rails, Stir up the camp-fire bright; No matter if the canteen fails, We'll make a rousing night! Here Shenandoah brawls along, And burly Blue-Ridge echoes strong, To swell our brigade's rousing song Of "Stonewall Jackson's way." We see him now, - the old slouched hat, Cocked o'er his eye askew; The shrewd, dry smile, - the speech so pat, So calm, so blunt, so true.
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The songs and sketches are written to showcase extravagant costumes designed by Howard Crabtree. Despite the exuberantly camp style, the songs belie their surface silliness and the show's apparent amateurishness, and often have a serious point: "Born This Way" is a rousing song about the nature vs. nurture debate of the origins of homosexuality, "Last One Picked" looks at gay schooldays, and "A Soldier's Musical" makes points about gays in the military. Whoop-Dee-Doo! won 1994 Drama Desk Awards in two categories: Best Musical Revue and Outstanding Costume Design (Howard Crabtree).
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It was to be a major production number requiring the New York Street set on the backlot to be enlarged, involving the main characters of the film and showcasing Garland's enormously strong voice and engaging performance style as she sang and danced up the avenue with her father, played by George Murphy, her stereotypical grandfather (played by Charles Winninger) and her boyfriend (Douglas McPhail). The movie was well received, but is now most remembered for the rousing song it introduced into Irish-American culture and as Garland's only death scene on film.
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To promote her candidacy for senior class president, Brittany (Heather Morris) sings a rousing song of female empowerment—"Run the World (Girls)"—at an impromptu assembly, with the help of the Cheerios and Santana (Naya Rivera), who has rejoined New Directions unbeknownst to cheerleading coach Sue Sylvester (Jane Lynch). The enormous enthusiasm of the school's entire female population worries Kurt (Chris Colfer), the other candidate in the race. Kurt has given up his dream to play Tony in the musical, and gives a bouquet of roses to his boyfriend Blaine (Darren Criss), the likely choice as Tony. Will (Matthew Morrison) is insecure about his relationship with Emma because she hasn't asked him to meet her parents, so he invites them to dinner without telling her.
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Ken Tucker of Billboard said that it had "a little less bluster and bravado," calling "Are You Feelin' Me" a "rare show of vulnerability" and "Loaded" a "rocking and rousing" song. It received a B-minus rating from Entertainment Weekly critic Whitney Pastorek, who said that the "brash mockery of current events in the title track offset[s…] a sweet tribute to a friend who passed away" but added, "too few of these samey-sounding songs are memorable." Slant Magazine critic Jonathan Keefe wrote that Keith "walks a fine line between self-mythologizing and self-parody" and said that the "uptempo numbers[…]don't amount to much more than empty posturing," rating the album three stars out of five. In his Consumer Guide, Robert Christgau picked out two songs from the album ("Ballad of Balad" and "Cryin' for Me [Wayman's Song]") as a "choice cut".
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He enjoys a stature, especially because of his radio programs, enjoyed by no other singing star in show business..." Bosley Crowther writing in The New York Times was not impressed, saying, inter alia: "Gentlemen (and ladies), be seated—at the Paramount Theatre that is to say—if you are interested in some old-time minstrel capers tossed off in a Technicolor film. For songs and jigs and funny sayings are what Paramount is delivering about 40 per cent of the time in a ruffled and reminiscent picture entitled 'Dixie' which came to that theatre yesterday. Otherwise, the remainder of the picture is mainly and not so spiritedly absorbed in a largely fictitious story of Dan Emmett, the original ‘Virginia Minstrels’ man and the author of the rousing song “Dixie”— a role which the old booper, Bing Crosby, plays... And when Bashful Bing is warbling such sparkless but adequate songs as “Sunday, Monday or Always”, “She’s from Missouri” or “A Horse That Knows the Way Back Home”, it is easy to sit back and listen. There is also a dash of liveliness in the wholly apocryphal climax which pretends to show how “Dixie” was born.
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