Two very different uses of sighing

I’m for the moment just posting this because I find it an interesting example of how a single artistic gesture can be used to greatly differing effect in two different works. (Not that this should be surprising; but it’s nice to see it done so well and so differently.)

Anyway, listen to the two songs below:




Hear the sigh each singer uses? How do they make you feel?

Of course, a sigh isn’t just a sigh, nor is it sighed in isolation. The musical context contributes heavily, creating the atmosphere that the sigh breathes. In the case of “John Wayne Gacy, Jr.”, it’s creepy and disturbing; even more so for the way it works with the whole song—thetremulous voice, the quiet, tender melody that worms into your head carrying the initially unremarkable and eventually deeply dark lyrics—to create something profoundly unsettling, and unsettlingly attractive.

Meanwhile, in Buckley’s rendition of “Hallelujah”, there’s a hell of a lot of sex appeal. Buckley notably trims down the lyrics to focus almost exclusively on those pertaining to love and desire. And the inhalation at the beginning, as if Buckley had just been touched for the first time by a long-desired lover…



A short poem or snippet or thingy by Brian Andreas (source: Story People), which I like a lot, but which also needs a tiny bit of improvement. See that last little phrase there? Yeah, “& there are no words for that”, that’s the one. It’s nice because it calls up once more the opening lines talking about specialized cultural vocabularies. So it gives a sort of circularity to the poem. But what it expresses? That’s already included (and very strongly so) in the phrase immediately prior. 95% of what these last words do is already done and far better; they simply serve as a way to wrap up the piece—elegant, sure, but also unneeded, extra.

Here, try this: cover up that last, extraneous phrase with your hand, and then read the poem. See how the evocation of two lovers snuggling against each other in bed hits you, right in the solar plexus, knocks the wind out of you? That’s where the poem needs to end.

(The depiction also implies that that very snuggling is a language in itself, its own vocabulary—a suggestion that is not borne within the statement “& there are no words for that”.)

(Also, I am aware that I do not know the context for this snippet. Maybe it all makes sense in its original place. Maybe my critique is not valid. Maybe not.)