Theme or themes may refer to:
In Indo-European studies, a thematic vowel or theme vowel is the vowel *e or *o from ablaut placed before the ending of a Proto-Indo-European (PIE) word. Nouns, adjectives, and verbs in the Indo-European languages with this vowel are thematic, and those without it are athematic. Used more generally, a thematic vowel is any vowel found at the end of the stem of a word.
PIE verbs and nominals (nouns and adjectives) consist of three parts:
The thematic vowel, if present, occurs at the end of the suffix (which may include other vowels or consonants) and before the ending:
Athematic forms, by contrast, have a suffix ending in a consonant, or no suffix at all (or arguably a null suffix):
For several reasons, athematic forms are thought to be older, and the thematic vowel was likely an innovation of late PIE: Athematic paradigms (inflection patterns) are more "irregular", exhibiting ablaut and mobile accent, while the thematic paradigms can be seen as a simplification or regularisation of verbal and nominal grammar. In the Anatolian languages, which were the earliest to split from PIE, thematic verbs are rare or absent. Furthermore, during late PIE and in the older daughter languages, a number of athematic forms were replaced by thematic ones, as in prehistoric Greek *thes- 'god' versus *thes-o- > Classical Greek θεός (theós).
The Family Way is a soundtrack recording composed by Paul McCartney, released in January 1967. The album is the soundtrack to the 1966 film of the same name, directed by Roy Boulting and starring Hayley Mills. Produced and arranged by George Martin, the album was credited to "The George Martin Orchestra" and issued under the full title The Family Way (Original Soundtrack Album). A 45rpm single, again credited to the George Martin Orchestra, was issued on 23 December 1966, comprising "Love in the Open Air" backed with "Theme From 'The Family Way'", as United Artists UP1165.
The Family Way won an Ivor Novello Award in 1967. It was remastered and released on CD in 1996 with new musical compositions not on the original 1967 soundtrack album.
The recording took place over November and December 1966, before the Beatles began work on their album Sgt. Pepper's Lonely Hearts Club Band. McCartney's involvement in the project was minimal, according to biographer Howard Sounes, who quotes Martin's recollection that he had to "pester Paul for the briefest scrap of a tune" with which to start writing the score. After McCartney had provided "a sweet little fragment of a waltz tune", Martin continued, "I was able to complete the score."
"Freak" (also titled as "Freak U.S.A.") is the first single from The Smashing Pumpkins's eighth album, Teargarden by Kaleidyscope, and the first song released for the second accompanying EP The Solstice Bare. Like all other songs on the album, "Freak" was released as a free download on their official website. The song was first played live on July 24, 2009, at the first Spirits in the Sky show in memoriam of Sky Saxon. It was performed live by the Pumpkins throughout their 2010 tours.
Spin praised the song, noting that "the catchy chorus of bright guitars and cheerful na na na na nas recall his short-lived pop-rock side-project Zwan; the heavy, distorted bass lines revisit the goth-rock moments of Mellon Collie and the Infinite Sadness; and his lyrics are all early-Pumpkins."PopMatters's reviewed that "Freak" "largely explores and builds on The Smashing Pumpkins’ earlier, mid-1990s sound while also very subtly hinting at the newly pointed and cultish, lysergic musical atmosphere."
A freak is a person with something extraordinary about his or her appearance or behaviour.
Freak or freaks may also refer to:
"Freak" is a song recorded by American singer and songwriter Lana Del Rey for her album Honeymoon (2015). It was written by Del Rey and Rick Nowels. It was released as the third single from the album on February 9, 2016.
Del Rey debuted a preview of the track along with previews of "Terrence Loves You" and "Music to Watch Boys To" in The Honeymoon Sampler, which preceded the American release of the album by ten days.
The song was generally acclaimed by music contemporary critics. DigitalSpy's Amy Davidson stated that Del Rey "dance[s] in slow motion with you before leaning in to convincingly whisper the argument towards being "a freak like me too" in your ear." Jessica Hopper of Pitchfork stated that Del Rey branched away from the normal "pop music style" that she is known for and had begun to include California girl-lyrics into some of the songs off the album include "Freak", "High by the Beach", and "Art Deco". Hopper later went on to praise the switch in lyrical styling which is sampled in the song.
He rides the wave, aspiring slave
The Prince of Darkness plays his games
You're hypnotized, under failing skies
He breathes the red wind 'cross your eyes
Who leads you to the dark secret?
Who leads you to the dark secret?
Your life is lost, your soul is damned
But it feels too good to make a stand
That is bad, but this is worse
Let judgment come, you love this curse
When you look at me you're like a god
Swimming in the tide of light
Somersault into the flood
Watch as you unwind
Who leads you to the dark secret?
Who leads you to the dark secret?
Who is your mistress that leads you to the dark secret?