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Euphoric Moments in Rock Songs

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Euphoria: a feeling or state of intense excitement and happiness.

I imagine there are quite a few euphoric moments in rock songs. Moments that have you turning the volume up to 11, punching the air and shouting “Yes! You go girl/boy!” Though, of course, one person’s “intense excitement” can be another person’s “meh”.
An obvious example for me is in Bat Out Of Hell when Meatloaf is all torn and twisted and dying at the bottom of a pit in the blazing sun, poor chap, after a motorbike crash and the last thing he sees is his heart “still beating… still beating… then breaking out of my body and flying away… LIKE A BAT OUT OF HELL”. That bit. Another good example is in Common People when Jarvis Cocker sings the last “Wanna live with common people like you” and goes into “ooooh a la la la la la, ooooh, la la la la.” Or a subtler, slightly less dramatic example would be the way Jackie Leven sings “honour” in Main Travelled Roads. Or when Thom York sings “One day I am gonna grow wings” in Radiohead’s Let Down. My absolute favourite though can be found in a most unlikely source. I say “unlikely” simply because I only know two songs by Elkie Brooks: Lilac Wine and Pearl’s A Singer. Lilac Wine is obviously brilliant, but it’s Pearl’s A Singer that has me literally or not literally punching the air. It starts off all lazy and barroom with Brooks’s fantastic voice, but at 2:30 it transforms into a whole other song that has the entire audience (me) turning the car stereo to ‘deafening’ and singing along to it like a demented Tom Cruise.
Anyone else care to share their euphoric moments?

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Comments

  2. At the risk of provoking a “here he goes again” reaction –
    Pilgrims by Van der Graaf Generator.

    Two bits, each where the verse and middle 8 end, and the chorus surges in, with positive lyrics and an uplifting melody (roughly 2’16” and again from 4’42” through to the end) – guaranteed euphoria for me: and one of of my all-time favourite tracks by my all-time favourite band.

    • Just listened to that (with headphones). I’ve never listened to anything by VDGG before. I think I’ve always just assumed you were joking when you said they liked them. I’m afraid I actually preferred the quiet bits to the euphoric bits.

      • Two things, @Gary:

        Don’t apologise for liking the quiet bits more than the euphoric bits – the fact that you took the trouble to listen is pretty damn’ good.

        Why on earth would you assume I was joking when I said I liked them? I first heard them in 1976 – something clicked and they’ve been my favourite band ever since. And that’s NAE kiddin’…

        • I was joking when I said I thought you were joking, but the comedic hilarity behind my joke stems from the fact that I’ve never met anyone who likes VDGG. To me they’ve always been one of a handful of bands, like Greenslade, Gong, Gentle Giant, who I’ve never heard and no one I know in my real life ever mentions. I notice now that they all prominently feature the letter G. There might be something psychological involved somewhere!
          I must admit, for a long time I thought people here were really joking about the Mahavishnu Orchestra as I’d never remotely heard of them. Took me ages to realise people were serious and they proper existed and everything. I still haven’t learnt their name without having to look it up.

          • I like every one of the bands you mentioned above: but, then again, we’ve never met in real life (as far as I know, anyway) – so your theory still (potentially) holds water…

          • On this site? You jest, sir. At one time it was mandatory to like all those bands, or to have a dirty little secret buried since the punk wars (“I saw them in the mid 70s, but hated them”, or similar).

          • I’ve seen all the bands you mention @Gary except maybe Gentle Giant (though I may have you never know, actually you don’t why should you)

            Still enjoy Gong.

            Maybe I’ll take a listen to the others I might surprise myself, I saw Sons of Cream on Sunday I don’t think I’ve heard a Cream song in 50 years I was surprised how much I remembered.

  3. I have a million of these & most of my favourite songs have that one moment that makes you (well, me!) go woooaaahhh!!!

    First to mind today;

    Crying In The Rain – The Everly Brothers
    That bit at 1:34 when it all goes up a notch & they sing ‘You”ll never see me complain’ for the last time!

    Like A Prayer – Madonna
    1:11 The first ‘Feels like flying’ of the song with Madge harmonising with herself – a glimpse of heaven in Aural terms.

    Age Of Consent – New Order
    2:54 ‘Do you feel this happens all the time’ the 2nd verse, a long time coming but worth the wait.

    The Dark Is Rising – Mercury Rev
    1:57 – ‘I have my suspicions, when the stars are in position, all will be revealed’ Yes!! Every time I hear this I am transported back to commuting to work with this on my walkman & a massive grin on my face. Sublime

    Topaz – The B-52s
    0:40 – The first ‘Our hearts are travelling faster’ from Fred when everything aligns & that riff from Nile Rogers goes up ever so slightly in the mix. Wow Wow Wow!!

    Do Nothing – The Specials
    2:52 – When it changes from ‘I’m’ to ‘They’re just living in a life without meaning’. The specials have never sounded better & that is the highest of bars

    • I like these ones. Like a Prayer didn’t really grab me at the time but now I think it’s a momentum gathering, euphoric masterpiece. Also, Shout by TFF. As the song enters its final two minutes, it feels like a giant industrial machine kicking in properly and moving into higher gears.

  4. Masters of the euphoric moment, here’s REM’s It Happened Today. Euphoria starts at 1:25 and builds for the rest of the song. See also Texarkana, Bad Day, Imitation of Life and any number of other Mills / Stipe harmony drenched songs.

    • I think my biggest regret in life is that I never listened to Richard Thompson before going deaf.

      Edit: Just checked and it’s actually considerably further down the list than I’d imagined. Doesn’t even make the top 100. Dunno what I was thinking of.

    • Unless I can’t hear the singing, from 4.08 is instrumental. “Instrumental euphoria” it’s probably known as. I think my first port of call for instrumental euphoria would be Waterfall by the Stone Roses. That bit in the guitar solo where the guitar goes all jaggedy.

  7. I’ve put my headphones away and am off for a swim, but I’m going to listen to all these suggestions later. At least I’m going to try to. I tried listening to Seanioio’s Mercury Rev one and my ears can’t pick up the singing at all. At all! What a stupid thread for a deaf person to start, though but.

  9. Patti Smith – Free Money.

    About 1m15s in, on this clip..
    “I know they’re stolen, but I don’t feel bad.
    I’ll take that money, buy you things you never had..”

  11. So many options here. Just a few:

    Stevie at 3:34 here, where he climbs to something extraordinary.

    At the moment I’m grooving on this Police song. Stewart Copeland’s amazing drum fill brings out my air sticks at 2:56:

    And this minute from Big Big Train at 11:12 to 12:05 makes the hairs on my arms go on end, every time. It’s worth enjoying the entire song for the build up if you have the time.

  12. 3-09 onwards, from ‘We were on the bed when you came home’ , via ‘I only went with her ’cause she looks like you, my god!’ to ‘yeah yeah yeah yeah yeah yeah’. Sublime.

  14. You Can’t Beat a Boy That Loves The Ramones by Helen Love
    A fairly standard start to the track then suddenly at about 50 seconsd in, there’s a rising scale of tubular bells and it kicks into joyous top gear and stays there for the rest of the song. When this comes on in the car, the volume just creeps up and up.

  15. A well placed, well though out Guitar solo give things a lift.
    No Regrets (Alan Parker)
    Reelin’ In The Years (Elliott Randall)
    Baker Street (Hugh Burns)
    Another Girl Another Planet (John Perry)
    Wuthering Heights (Ian Bairnson)
    Another Nail In My Heart (Glenn Tilbrook)
    Goodbye To Love (Tony Peluso)

    The first solo (at 1:29) is played relatively straight, but the second (at 2:47) presses the fuzzbox pedal and goes off on one

    • I’ve given up trying to hear suggestions, cos it requires too much mental application, but of those I know, Baker Street would be get my first vote. Totally smiley-face euphoric.

      I was watching today a thing that came up somewhere where David Gilmour was talking about how much he loved that the producer of his forthcoming album wasn’t at all in awe of who he was and would say things like “why do we have to have a guitar solo there?”.

  16. Never liked Elkie Brooks. It was all a bit musical theatre. If it’s a vocal moment then nothing can beat Merry Clayton’s contribution to Gimme Shelter. Another one is Rhiannon by Fleetwood Mac. Live is best. The way Stevie goes up a gear and really gives it all she’s got.

    5:40 ish. You need to hear the build up though to appreciate the moment.

    • Both good choices. Just watched that clip. What a band. Nicks is stunningly beautiful and a stunningly talented singer/frontperson. Can’t help thinking John McVie was a lucky fella. I’ve never picked up a bass, but looking at that clip I reckon I could do his job.

        • Every now and again, I think about learning to play the bass, largely so that I could play *that* bit in The Chain.

          I wonder if John McVie used to watch F1 and tell people “Hear that bit? That’s me, that is.”

          If that song was the sum total of my bass-playing career, I’d feel it was a job well done.

  17. Barry Ryan’s “Eloise”, the whole damn song. I find it’s totally uplifting – from the opening, when the full orchestra kicks in, through the quiet bit that ends with four strikes of a drum, and then, at 5:06, the vocals (“My Eloise, I got to please her, yeah, she knows I love love, love….”). Play it loud.

  18. I was about 16 I think. Four of us piled into a tiny car and went off to London – which was about an hour’s drive away. My friend’s sister had just passed her driving test that morning so we went off with her and one of her friends.

    We were all in a good mood and our accidental approach to a busy Trafalgar Square was unforgettable (driver – bloodcurdling scream).

    At some point in that journey, the Katrina and the Waves song “Walking on Sunshine” came on the radio. We all sung along at the top of our voices. It was rising in the charts and at that point hadn’t been in a thousand breakfast cereal adverts for 40 years.

    I took music very seriously indeed in those days and this was completely out of character- however, the general mood and the freshness of the song turned it into a euphoric experience.

  21. It’s not rawk!!! – but the second guitar bit at the end of Time Is Tight.

    Maybe I should mention it to the local football club, actually ‘any’ football club: “… this is what you should run out to every home match”.

  24. Ok if we’re talking Euphoria then dance music has been perfecting this for nigh on forty years. Here’s my starter for a massive rush following 1:52 of build up. Slight element of cheese present, but hey we’ve had Baker Street and a-ha mentioned so far.

  25. Dan Snaith (caribou) is an absolute master of the fundamental dance dynamic of tension and release – throughout this track he alternates these two brilliantly, locking it down and then getting the euphoric rush when the drop gives way to the melody:

  26. Industrially manufactured euphoria : tense verse, release chorus followed by massive on repeat chant – rinse and repeat 2 x job done. You can dislike it, but you can’t fight it.

  27. Two off the top of my head:

    Red Light Spells Danger by Billy Ocean, especially the build up to the chorus when it appears in Peter Kay’s Car Share and our heroes sing along while holding hands. Absolutely joyful. Sian Gibson deserves to be carried round the nation in a sedan chair for being so lovely here:

    And I’m surprised nobody’s mentioned this already: Born to Run. It’s euphoric from beginning to end, and the live video makes being in the E Street Band look like the best job in the world:

    • Cracking moment from Car Share, though in our family car the Billy Ocean number of choice would be Love Really Hurts Without You. But the scene captures where some of the best euphoric moments happen… singing along with friends and/or family to a familiar tune in the car. A month or two back it was a folky version of Green Grow the Rushes, O!. Only today, my youngest and I were giving it full voice to the Everley Brothers’ Bird Dog and Wake Up, Little Susie as we drove into town. (My daughter pointed out that if one starts to hear the backing voice on Bird Dog as sung by Donald Trump, one cannot unhear it)
      But over the years it’s been so many tunes. One of our old favourite singalong tunes was Remedy by Little Boots:

      https://youtu.be/McdqerXrwXE

  29. Euphoria? Contender for the GOAT dance track – remixed, remade endlessly over the past thirty years and still everywhere. Again, 4:20-5:20 is a masterclass in holding it back and letting it go:

    • Trans:

      O blessed art, how often in dark hours,
      When the savage ring of life tightens round me,
      Have you kindled warm love in my heart,
      Have transported me to a better world!
      Transported to a better world

      Often a sigh has escaped from your harp,
      A sweet, sacred harmony of yours
      Has opened up the heavens to better times for me,
      O blessed art, I thank you for that!
      O blessed art, I thank you!

  32. A non-dance track from the always-controversial here first class hat-transporters. Again, all about the tension and release. With the odd exception – Born To Run, Stop In The Name of Love – you can’t start with euphoria, it has to be built up to. The old tax dodgers could get in the room here for one last stab at an unstoppable, undeniable monster track. I would contend after this they were done:

  34. I find a classic ‘ba ba ba’, especially with key changes, to be hugely uplifting, and they don’t come much better than this, particularly from about 1-12 ’til the end.

  35. ZZ Top. Bad Girl.

    The verse drop into the bridge, which in this case is a simple repeated chord arpeggio. But it’s Billy Gibbons playing it with a megaton of verve and sass over the boogie beat.

    I’ve loved it since I first heard it as a spotty herbert.

    From the string scrape at 01:26 and ka-pow.

      • I was on the road when this thread was launched, and felt euphoria couldn’t really be captured on a smartphone, but the track that came into my head was Awaken. It matters not that the band are very clearly aiming directly at the euphoria target with a massive build. 12:48 is the moment it lifts off, soon to be joined my celestial choir.

        I can remember clearly nearly coming a cropper in the fast lane of the southbound M6 near Stafford trying to play several air instruments at the same time at that moment.

    • There’s a great remix of this by Paul Van Dyk, who of course is the poster boy for that subset of mainly European trance in the 90s literally called Euphoric Trance. This the exemplary track:

  38. Euphoric vocals – gospel an obvious source of this feeling. The last three minutes of this track see Joni and sisters just take off against a stellar Chic tune. If you only know the single version you’re in for an absolute treat:

    • They stretch it out too long, in my opinion. All the energy in what is a superb track is dissipated in the last couple of minutes. Unless you’re off your bonce on a dance floor, I suppose, but a good DJ would have cut to something else well before that.

  39. I know you’re all gagging for a bit of Depeche Mode euphoria, so I’m not going to make you sit though a grainy, black and white Anton Corbijn video – just something short and bizarre done by someone on YouTube. This features just the bit at DM concerts where the entire crowd waves their arms around like a field of wheat.

  40. Ry Cooder’s guitar at 1.36

    Not to mention the drumming throughout, either Jim Gordon or Jim Keltner. Talk about in the pocket, and so admirable at that slow 12/8 tempo

  41. Stupendous thread @Gary. You’ve really inspired us all to get euphoric.

    I’ll start with a Eurovision winner.

    Do we have to stick to rock music? I’m sure there that other genres which could provide rich pickings. There must be some classical concerts where the audience are punching the air? Particularly at the Proms.

    A few personal favourites, I saw Belle and Sebastian live at Roskilde this summer and when they played this at the end of the set, the atmosphere was completely euphoric. Rather like a revivalist meeting.

    The audience was not just grizzled baldies like myself. Stuart Murdoch commented on the fact that many in the audience had not been born when some of the songs they played had been released.

    Patti Smith had a similar reaction a few years back when playing this splendidly euphotic song.

    “Here’s one your grandparents will know”

    Eartha Kitt was euphoric about this song in 1967 . I still am in 2024.

    https://www.youtube.com/watch?v=BrZBiqK0p9ET

    And talking of euphoric Brazilians, here are a new discovery. the magnificent Bixiga 70, who proved themselves to be a live band to be reckoned with.

    Nusrat Fateh Ali Khan was euphoria personified.

    Add a Massive Attack remix and even more fists were waving in the air.

    • Good choice with Loreen, but if we’re talking Eurovision my pick has to be Mans Zelmerlow’s 2015 winner Heroes. On the night, it was in a different class entirely. It is the only Eurovision song I’ve ever bought, and remains the best to ever come out of the contest (yes, it’s better than Waterloo).

      When the drums kick in at about 1.12, I’m euphoric every time.

      • My daughter really liked that one. The staging and performance was really impressive.

        A good Eurovision song is about as euphoric as it gets. This one is from 2019 by a trio from Norway singing Spirit in the Sky (not that one).

        According to the YouTube comments, the bald chap sings in a native language Sami. The song stops for his solo bit and then builds up to crash back into the chorus. Utterly great.

          • Ooops! Sorry Gary. I didn’t set out to transform your thread into and ESC live in.
            But I’m rather glad I did.

            As BC so observantly writes: euphoria is at the heart of Eurovision..

            Here’s one of the favs from this year. If Rammstein were a Croatian folk band they might sound like this

    • Wagner the King of the Kozmyk moment: climax of Tristan und Isolde; the Good Friday music and final Grail scene from Parsifal; Brunnhilde’s awakening in Siegfried… a link to the last of these…

        • Glad you enjoyed it, @Kaisfatdad. Obviously, one has to listen to an awful lot of Wagner (the monologues and duologues) before you come to to the ecstatic bits (“Wagner has some great moments and some terrible quarter hours” or “Parsifal starts at 5.30; three hours later you look at your watch and it’s 20 to 6”). But the good bits are good (tingles, goosepimples, tears, the whole emotional-manipulation thing).

          Used to listen to loads of classical music so myriad examples and don’t want to corrupt the thread too badly. But here’s a couple:

          Richard Strauss (very much a musical descendant of Wagner with the lush strings) Im Abendrot (At sunset) from the Four Last Songs (big moment is 5.30 mins, but go from the start)

          And who can forget this moment?

            • Sorry it’s taken me a couple of days to respond to your excellent comment @diffugere_nives.

              As an ardent cinephile, I found the second one particularly fascinating.

              It’s years since I saw the movie and I really enjoyed re-watching that scene. I feel a new thread coming on about the use of unexpected or anachronistic pieces of music in films and TV programmes. Give me a day or so to gather my thoughts!

  42. Surely, if we’re looking for songs that make you want to shake your fist in the air, we have to include Village People’s YMCA?

    That clip is 4 years old, but I believe Big Orange still loves this song. Or has he changed his tune?

  43. Hate them or hate them, you have to admit that the bit where Coldplay drop the bomb in Fix You is a teeny weeny bit glorious. Tears stream, indeed.

  44. I am a bit of a sucker for a slow floaty intro and then the drums kick in with an almighty crash. So,
    Quo – Mystery Song
    The Cult – She Sells Sanctuary
    Dandy Warhols- Bohemian like you

  45. Three I’m surprised no one has mentioned here yet

    First up, This is What She’s Like –

    Not just Dexy’s finest moment but also a song chock full of euphoric little flourishes that starts with the Ba-ba-ba-ba chorus and culminates when the horns kick in at around the 8’00” mark

    Second Van the Man

    So many euphoric moments to choose from – the climax of Moonshine Whisky on His Band The Street Choir and the whole of It’s Too Late to Stop Now being just two examples.

    An overlooked gem that got lost along the way is the uniformly euphoric Joyous Sound from Period of Transition

    Last but not least, surely the most euphoric moment of them all – the point of the song at which Keith Moon kicks his drum kit down the stairs at 7.32 and Roger Daltrey screams his approval 12 seconds later

  46. 2 Stones tracks
    Midnight Rambler when the boogie kicks in
    Can’t You Hear Me Knocking – when they wind it down but Mick T keeps going and they kick back in again
    Lou Reed Rock n Toll animal when the Sweet Jane riff kicks in after the extended guitar intro with Dick Wagner and Steve Hunter

  48. Another that grabbed me this weekend

    Icehouse – Hey, Little Girl
    That glorious bit at 1:29 when it drops back into the verse. The chorus is incredible, but it’s the split second when they transition between the two that get’s me. Glorious!

    • Great choice, from an underappreciated band. I think they’ve always been thought of as one-hit wonders here in the UK, but I picked up the box set of all their albums, and it’s packed with good stuff. They also do a good live turn.

  49. If you aren’t an Otway fan please ignore my comment but I find the song Geneve immensely euphoric, the more so with every year that passes. I’m posting a live version though others are, of course, available. I appear to own 10 on CD. The major lift appears just after 2:30 in this one.

  50. And Firth of Fifth never fails to give me a lift, especially the guitar part that begins around 5:40 (as long as Steve Hackett is playing it).

    And then of course there’s Supper’s Ready which is full of euphoric moments, one of them being at 18:50

    • I didn’t have to click on the Supper’s Ready video to know which bit you’re referring to.

      During Covid, we were told to wash our hands for about 20 seconds, and maybe it would help to think of a familiar, 20-second bit of music to make sure you washed for long enough.

      So each time I washed my hands, I ran through the lyrics from “666 IS NO LONGER ALONE!” to “Gonna blow right down inside your soul”.

      Not sure what that might say about me, but I share that musical tip in case we get struck by the ‘rona again.

    • For me it’s the end of Cinema Show – the twiddly keyboards at around 9.30 and then at 9.42 when they soar. Gets me every time, even though I listened to the track 1.794 billion times.

  53. Two from Roxy, Phil Manzanera in particular:

    1. Out Of The Blue – the guitar led wig-out after the second bass interlude.

    2. In Every Dreamhome… the guitar-led wig-out after ‘you blew my mind’.

  54. Euphoria: the build. This entire song builds from the first notes of the strings and Kate singing ‘I still drwam of Organon’ throughout five minutes, picking up momentum, instruments, rhythms to the moment at 4:00 about when the backing vocals coming in with ”yeah yeah yay yo’.

    • I’ll see your euphoric Cloudbusting, and I’ll raise you The Big Sky, which is basically euphoric from start to end. I particularly like the backing vocals coming in at about 2:45 after Kate sings “Tell me sisters”. From then to the end it’s a full-on wig-out, with double drummers and plenty of dials turned up to 11.

        • I’d never heard of Birdvox, @thecheshirecat , and got a little curious.

          Natty outfits!

          The festival programme filled me in:

          https://www.cambridgelive.org.uk/folk-festival/folk-festival/folk-festival/line-up/friday-0/birdvox

          Inge Thomson! They are a bit of supergroup.

          “Birdvox are a dynamic folk fusion group formed by four of Scotland’s best known artists who have created a truly original and unique sound.

          Born from a mutual love of birds, harmonies and kitchen discos. Sarah Hayes, best known for her work in Admiral Fallow and 3 times finalist in the BBC Radio 2 Folk awards, brings vocals, flute, synths and programming to the fore. Jenny Sturgeon, of Salt House fame, who won album of the year 2020 at the Scottish alternative music awards and was a finalist the 2021 Scottish Album of the Year with her solo album, joins on vocals, guitar, synths and sampling. Inge Thomson, a key performer with Karine Polwart and BAFTA winning musician adds vocals, accordion, electronica and beats. The trio are joined by Charlotte Printer on bass and vocals, who has toured extensively with artists such as Albert Hammond, Altered Images and Joesef.

          All multi-tasking producers and creators in their own right, they share a passion for creating fresh sounds exploring the potential of traditional and electronic instruments. An evolution of the Northern Flyway project, they embrace energetic shapeshifting synthesis and the joy of vocal interplay.

          Expect velvet harmonies, considered lyrical stylings and lively bespoke beats.”

  55. I knew that the word euphoria comes from ancient Greek and means extreme well being:

    Euphoria (/juːˈfɔːriə/ ⓘ yoo-FOR-ee-ə) is the experience (or affect) of pleasure or excitement and intense feelings of well-being and happiness.

    https://en.wikipedia.org/wiki/Euphoria#:~:text=6%20External%20links-,History,is%20semantically%20opposite%20to%20dysphoria.

    What I didn’t know is how the greatest euphoria is achieved.

    “Hedonic hotspots – i.e., the pleasure centers of the brain – are functionally linked. Activation of one hotspot results in the recruitment of the others. Inhibition of one hotspot results in the blunting of the effects of activating another hotspot. Therefore, the simultaneous activation of every hedonic hotspot within the reward system is believed to be necessary for generating the sensation of an intense euphoria.”

    Time for a few Greeks?

    Vangelis having a fag at the piano.

    And naturally Demis. No half measures from Mr Roussos!

    Finally, Ross Daly: a Irishman who relocated to Crete and dedicated himself to traditional Cretan music. The results are breath-taking.

    My hedonistic hotspots are bubbling over!

    Dim the lights and lose yourself in this recital.

  56. Maybe it’s my ADHD, but I often get a thrill bordering on euphoria from short musical interjections, eg Graham Bonnet’s ‘huh!’ before the penultimate chorus of Since You’ve Been Gone, or Paul Weller’s ‘oi!’ after the intro to All Around The World.
    This beauty, though, is full of joys, but saves its final release until the very last ‘yeah yeah yeah yeah’

    • That Pete Churchill song is excellent @Mike_H

      But as far as I can see, no one has ever recorded it. I see that he has written a lot of material for Kenny Wheeler but I drew blank there.

      Smashing version anyway.

  60. Sorry it’s taken me a couple of days to respond to your excellent comment @diffugere_nives.

    As an ardent cinephile, I found the second one particularly fascinating.

    It’s years since I saw the movie and I really enjoyed re-watching that scene. I feel a new thread coming on about the use of unexpected or anachronistic pieces of music in films and TV programmes. Give me a day or so to gather my thoughts!

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