Observation: Unlike Clinton, Sanders does not explicitly promise to not raise taxes on the middle class. That means he might raise taxes.

From what I gather, Sander’s point is that taxing the middle class an extra $2 a week is a reasonable cost in return for the money that the working families (working class and middle class?) will save with paid family/medical leave.

But outright saying that “I’m going to raise taxes on the middle class, but the benefits will be worth it” is too complicated to directly state (the statement’s first part is too much of a hot button), so Sanders performed some verbal acrobatics to deliver his point.

I’ll research further into what he means by this so I can make sure I’m interpreting him correctly.

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O'Mally might suffer as the third-wheel candidate, but he fires clear, blunt shots (excuse the phrasing) at Clinton.

9/11 is a hot issue for rhetoric, so for O'Mally to accuse Clinton of exploiting a tragedy to evade one of her most sensitive topics… the media better highlight this quote, if they dare do so.

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Muir implicitly asked Clinton to address the “many CEOs in corporate America” and “Business Loves Hillary”. Wall Street occupies this category.

Clinton dodges this part of the question by mentioning her father’s small-business roots (pathos), and then use the phrases “people who are in the private sector” and “business leaders”, which have more “common folk” connotations than “CEOs in corporate America”.

Therefore, she doesn’t address her Wall Street accusations–at this time. On the other hand, Sanders jumps right at Wall Street, and O'Mally outright lunges at Clinton on this issue.

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On this list alone, one singer-as-victim song is our #30 entry. Keep scrolling!

Meanwhile, Adele’s “Hello” (#50) is a mixed case, presuming that it’s even a love song:

I’m sorry, for everything that I’ve done
But when I call you never seem to be home

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Yep, it’s inspired by a real phone call–or lack of.

“Delilah” alludes to the tale of Samson and Delilah, although this isn’t the album’s only biblical reference. Check out the Sodom and Gomorrah reference in “Caught”, for instance.

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Specifically, Spotify declared “Lean On” the global song of the summer.

Although it’s overshadowed in the U.S. by “Cheerleader” and its kin, “Lean On” has prevailed popularity-wise–and it’s a fantastic song too. Godspeed to MØ!

http://edm.com/articles/2015-09-05/major-lazer-lean-on-song-of-the-summer

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Welch said that the outro is “what music feels like” to her. Since it was the first bit of music she shared from the album, it’s suitable. Within the album’s context, it’s a turning point, as she goes from roughing out a bad romance, to escaping it.

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Shout out to lead guitarist Robert Ackroyd and bassist Mark Saunders. Everyone except Welch gets overshadowed, but the instrumentalists make one half of the sound.

For example, the guitar work in “What Kind of Man” helped the song in getting two Grammys nominations.

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In the studio, producer Markus Dravs ordered Florence to not write as much about water, with one of the methods being a water glass with the label “Water to drink from, not write about.”

Even this creative constraint couldn’t stop Welch from sneaking in aqua allusions into every other song, but it does lead her to mine other image clusters, like religion.

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Of this category, it seems like F+TM is he popularity dark horse, and the critical darling. A dark horse victory is possible, but “Uptown Funk”, “Bad Blood”, and “See You Again” have higher odds based on how the Academy feels.

“Sugar” feels out of place.

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