![]() Trust that I won’t leave you without some alternatives: To focus on the lead-up to an undefined part of said fight defeats the purpose of the song entirely.īut fear not. So what are we counting down to? The aforementioned metaphorical death? The start of each round of Rock, Paper, Scissors? The END of each round? A true fight song must capture the aggression, the bloodshed, the pain of the fight. Now correct me if I’m wrong, but Rock, Paper, Scissors is a fight to the metaphorical death for a much desired pitch. The solution is clear: Down with “The Final Countdown.” Now, unless we’re in the final week of the comp and all our execs pitch out are f-bombs - features, of course - such a scenario is unlikely to happen. That would mean it would take at least 14 contested pitches to make it to the song’s first words. If we’re lucky and get a whole three rounds - we do best two out of three, to make things fair - that’s six seconds. By my calculations, each round of Rock, Paper, Scissors (the definitive means by which writers and compers battle it out for a pitch) lasts two seconds. The song’s intro lasts a whopping one minute and 26 seconds. ![]() Here is my case against “The Final Countdown” as The Crimson Arts’ unofficially official fight song. And just because it’s tradition doesn’t make it right. But considering how much Arts has grown since then, it’s come to be a… tedious tradition, to say the least. When several writers or compers want to pick up the same pitch, one song and one song only is constantly in play: Europe’s “The Final Countdown.” In my small comp class of 10 elected compers - in which, fun fact, my name was misspelled in the announcement! - picking up pitches wasn’t as competitive. When I first comped Arts my freshman fall, I experienced the first of many inundations of overplayed, overrated songs.
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