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Will Future generations will laud the wildly theatrical Trapped in the Closet as the work of a lunatic?

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Will Future generations will laud the wildly theatrical Trapped in the Closet as the work of a lunatic?

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“Trapped in the Closet” is an urban opera, R&B opera, or hip-hopera released by contemporary R&B singer R. Kelly in 2005. The songs relate an ongoing narrative, which Kelly and Jive Records promoted by releasing each chapter to radio stations one at a time. This also serves as the first official single off R. Kelly’s album TP.3 Reloaded. The only chord progression used is an Am chord (with a C in bass which then slides down to an A) to an E-Major chord (with a G# in the bass, which then slides down to an E) with crescendos and more instruments added at some points, thus adding suspense. The song then returns to its tonic E-Major chord. The songs tell the story of a one-night stand that sets off a chain of events, which gradually reveals a greater web of lies, sex, and deceit. In November 2005, six more chapters were released, for a total of twelve, on DVD. Nearly two years later, in August 2007, ten more chapters were released on DVD and shown on the Independent Film Channel (IFC), and

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Trapped In The Closet Every song ever written has at least a subtext of dialogue. The act of writing down words, setting them to a musical arrangement and then performing them is to editorialise your emotions, and to construct dialogue and narrative where previously there were none. It’s a neat trick, and one we have all fallen for a million or more times. The songs for this week’s list needed more, though; they needed the ability to step outside of their own world and report back, or comment upon it. Let’s think of it as three-dimensional writing – the writer of the pop song both within it, and detachedly gazing upon it and themselves. It’s quite a brain-freeze.So all this week’s songs contain dialogue, but only one is built entirely from dialogue and that’s Tom Waits’ I Never Talk to Strangers which, via the smart contrivance of an at-the-bar conversation with Bette Midler, finds Waits’ washed up drunk persona – whose “life’s a dime store novel” – finally finding love. Don’t You Want

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